Students perceptions about attention to diversity in Secondary Education Teachers Initial Training

This work aims to analyze the perceptions of students enrolled in the Master's Degree in Secondary Education Teaching, Training and Language Teaching at the University of Jaen, about the initial training received on attention to diversity. A descriptive methodology has been followed using an ad hoc questionnaire as data collection instrument. The results show favorable attitudes of future secondary teachers for diversity, having received an adequate training in curricular and organizational aspects, making it able to fully achieve inclusion of students with special educational needs in the classroom.

La crítica de Plotino a la concepción aristotélica del tiempo en "En". III 7

El presente trabajo intenta mostrar de qué manera Plotino refuta la noción aristotélica del tiempo como «número» o «medida del movimiento», cuáles son las aporías que plantea, cómo las compulsa con sus propios argumentos y qué soluciones propone con respecto a esa misma confrontación. Todo esto será encauzado a partir de un estudio descriptivo y analítico, acompañado de una lectura a la vez hermenéutica y crítica de los textos seleccionados para esta ocasión.

Relation of the work of the artist Antonio Lopez with the photography. Methods of a teacher rejected as a professor

In 1966 the artist Antonio Lopez was rejected for the chair in “Preparatorio de colorido” (Preparatory Colouring) by the San Fernando School of Fine Arts where he himself presented his work Nevera de hielo (Ice Box). After 5 years as a “stand in” for this post he left the Institution. This article analyzes the circumstances and proof of a decade where there appears to be evidence of a definite change in his work, more toward Realism, uncomfortable in a system that maintained with difficulty the traditional academic model copy, and incompatible with, in those years was imposed by Spain. At the same time his relation with photography conditioned by the theoretical thoughts of the artist, and his work methods also are analyzed in this article.

Some thoughts on Juan Antonio Ramírez´s iconologic-paranoid method for the study of Dali´s works

In 1990, Juan Antonio Ramírez made known his iconological paranoiac method to the academic world. It is a system devised to study Dalí´s work, born of happy matrimony between the catalonian artist´s critical paranoiac method and the first iconographic school of Warburg and Panofsky. What, at first sight, seemed to be an extravagant methodology with little academic credibility, turned out to be, by going forward in time, an effective research method when analyzing Dali´s initial works. It is no wonder that, at the beginning of XXI century, this hybridization between Dalí´s and Panofsky’s methods, were regarded as a strange and nonsensical idea. Nevertheless, twenty years after, blatant examples have been noted, which endorse the advantages of this new system for “iconographic” study. As usual, this new contribution by Juan Antonio Ramirez to art history methodology is called upon to have a successful future survival, in forthcoming generations. This article, attempts to analyze this method, inquiring into the validity, effectiveness and practical utility.

Redescubrir la dinámica escultórica desde el trabajo en grupo

La iniciativa que se describe en este artículo, surge de una propuesta de investigación plástica, que se inició espontáneamente en el seno de una asignatura de escultura en la Facultad de Bellas Artes del CES Felipe II-UCM, y que tuvo como principal objetivo explorar nuevos modos de enseñanza artística desde la dinámica creativa en sí misma, con el fin de motivar el aprendizaje desde la participación directa en propuestas creativas que se apoyen en métodos de intervención crítica y que exploren las ventajas de las dinámicas interdisciplinares para complementar las eficacias de los ejercicios individuales, y así poder generar un aprendizaje desde dinámicas de trabajo en grupo. Para ello, hemos puesto en marcha procesos de trabajo cooperativo valorando sobre todo la experiencia directa, ofreciendo a los estudiantes contribuir en la actividad, tomar decisiones, lo que les permite aportar ideas, puntos de vista y opiniones sobre la combinación de nuevas tecnologías y técnicas tradicionales de la escultura, usados en proyectos artísticos actuales.