A Poética do corpo no mito e na dança butô: por uma educação sensível

The thesis presents the body poetry and its inscribing in the myth and Butô dance. The argumentation highlights the sensitive dimension present in these itineraries, as a possibility to operate the emergency of knowing inscribed in the body, bringing a kind of rationality that links the fragments, that allows the knowing to break through the barriers of disciplinary isolation, that abandons the certainties and goes through the ways of creation and that gives the body new space and time, featuring epistemological elements, ethical and esthetical, that can permit a sensitive education. All along the way, we comprehend by sensitive education, a education that considers the relinking of logical, analogical, symbolic and artistic knowledge and therefore reconsiders the own act of knowing as a continuous and inconcluded process. That sensitive education is also understood as retaking the body experience, its sensitive nature, as well as being meaningful to reading the world. It includes the body memory, its history and creativity, opening it to innovation, change, sense amplification and dialogue with other bodies and world, because it is within them. It is about an investigation of phenomenologic nature, that dialogues philosophy and art, pointing breakdowns of this reflection foe the body and education studies. We find it necessary to notice the body language, that allows one to think through movements, articulate a thought that is risen from articulations, guts and all the body. This incarnated reason starts the expressive body action, that makes us move to mean, communicate, inaugurate senses. Among these senses, we present a possibility of approach of the elements of Butô dance teaching and physical education, as ways of sensitive education showings of body poetry

O Bumba meu boi como fenômeno estético

Cette étude propose d'articuler une discussion entre les définitions de corps, esthétique et éducation, tout en les plaçant dans le scénario des danses traditionnelles, surtout, le Bumba-meu-boi de l'État du Maranhão. On part de la proposition selon laquelle le Bumba-meu-boi ainsi que d'autres réjouissances traditionnelles, réunissent des éléments constitutifs qui se traduisent en langage esthétique et celui-ci exprime, par le biais des corps qui le cultivent, se constitue aussi, tout comme expression éducative des formes d'être et de vivre en société, dans l'espace et dans le temps, créant et récréant des structures, de modes d'être et de faire des sujets sociaux. À travers le chant, la danse, les actions organisatrices et d'autres aspects, on établit différentes stratégies de lecture du monde; tout en se mouvementant, se réorganisant, se renseignant à sur l'ambiance et de soi même. La recherche a, comme configuration méthodologique l'approche qualitative phénoménologique, dont la trajectoire du phénomène situé a été développée à partir des descriptions de l'expérience vécue par l'auteur dans le monde-vie du Bumba-meu-boi da Liberdade siégé à São Luis do Maranhão. C'est, donc, avec la compréhension de l'esthétique phénoménologique que nous nous sommes identifiés pour l'élaboration de cette étude. Cette conception est en rapport avec le domaine de l'appréhension sensible vinculée à la relation de sens de l'homme avec le monde, avec soi-même et avec les autres. La thèse présente la production de connaissance en tant que cathégorie esthétique et le phénomène éducatif configuré dans la condition corporelle de l'être humain. Nous comprenons que, dans l'expérience vécue et construite dans le scénario du Bumba-meu-boi, il y a une éducation qui se configure dans la plasticité du corps, dans sa capacité de donner des sens et de construire de significations

A escola de aprendizes artífices de natal: república, trabalho e educação (1909 1942)

Crées par leDécret n° 7.566, le 23 septembre 1909, les 19 Escolas de Aprentizes Artífices (Écoles d Aprentis Artisans) stratégiquement situées dans les capitales des états brésiliens, répresentaient l une de plus importantes réalisations pour la formation de main-de-oeuvre qualifiée dans les premières décennies de XXème siècle. Alors, ce travail est constitué par une recherche historique ayant eu pour base les informations apportées par des documents divers (Lois, Décrets, Rapports et Messages Gouvernementales, Livres des Immatriculations) et des nouvelles publiées dans le journal A República, disponibles à l Instituto Histórico e Geográfico do Rio Grande do Norte IHG-RN, à l Arquivo Público do Estado et au Centro Federal de Educação Tecnológica do Rio Grande do Norte (CEFET RN). On montre la configuration que l expérience de l École d Aprentis Artisans a constituée au Rio Grande do Norte à partir de 1909, crée avec le niveau élémentaire jusqu au 1942, quand la Lei Orgânica do Ensino Industrial a changé cet enseignement en le modifiant pour le niveau secondaire. Dans l état du Rio Grande do Norte(RN), ce genre d école a été crée au 3 janvier de 1910. La finalité était la formation des ouvriers et contremaîtres par l enseignement pratique et technique nécessaires aux mineurs qui puissent apprendre un métier. L école du RN a contribuée pour la consolidation du projet politique-idéologique de la construction de la nationalité brésilienne, par des pratiques des contenu patriotique et civique-militaire, en détachant l insertion du scoutisme scolaire comme expression de la militarisation des pratiques éducatives pour le contrôle des corps. Malgré l enseignement professionnel avoir été utilisé pour l imposition des modèles culturelles sous-jacents aux rapports de production capitaliste qui étaient exigés des travailleurs, la Escola de Aprendizes Artífices de Natal a répondue à la demande locale, ce qui renforce l idée que sa création dans ce moment historique a attendu surtout le but politique-idéologique plutôt que celui du développement économique et éducationnel de la population norte-riograndense

A dança dos monstros: corpo e estética na arte e na Educação Física

The speeches about the body in interface with the technology, that fulfill the contemporary discussions, have been a stage of innumerable ethical, epistemological, aesthetic and ontological reflections. These happened bodies of the biotechnological scene also invade the dance, making several possible dialogues, making old concepts instable, opening way to revealing explorations and bringing with it implications and reflections. In this context, this research has as objective to discuss relations between body and technology in the dance; to understand the aesthetic configurations of the monster in the dance as possibility to question the body; to establish relations between the monstrous body in the dance and the conceptions of body in the Physical Education. We believe to be able to contribute for the reflection in the field of the Physical Education, since the work visualizes to extend the field of the discussions on aesthetic body and, as well as evidencing dialogues between different areas of the knowledge, as the Art and the Physical Education. From the point of view of the method, the work follows orientation of the Phenomenology for an aesthetic image appreciation of the videos in the choreographies In'perfeito and Violência of Cena 11, Dance Group that has marked new aesthetic configurations in the brazilian dance. Thus, we took for us the reflections on the "significant scenes" proposed by Bicudo (2000), to appreciate the dance of Cena 11. We emphasize that, after the identification of the Significant Scenes, it was necessary to approach these scenes from close senses, from which we detach the appearance, the space and the gesture. We evidence that, the bodies revealed by the group Cena 11, show an aesthetic that it interlaces the beauty, the ugly and the grotesque. An aesthetic of the unharmony, capable to transgress the oppositions, dialoguing with multiple antagonisms and that it amplifies the apollonian aesthetic linear rules, so predominant in the history of the dance and the Physical Education. We identify some indicatives that take us to the problematizations on an affective and anarchic body, when questioning the tyranny of the perfect corporality; the naturalization of the pain; the closed gesture in a finished and unique grammar; the standardization of feminine and masculine roles and the negation of the feeling. From these indicatives, we discuss the aesthetic of the deformed bodies of Cena 11, approaching it of the conceptions of body in the Physical Education, sometimes criticizing the rationalists and naturalistic views, sometimes dialoguing with more recent perspectives studied by researchers of this area of knowledge, which point to a reflection on the body under the optics of the sensible

Beleza e poder na Ginástica Rítmica: reflexões para a educação física

La beauté dans la Gymnastique Rythmique (GR) s est esquissée comme condition de son existence. Pour son analyse, nous avons eu recourt au discours sur le pouvoir de Foucault (1971, 1979, 1987, 1988, 1997, 2003) et à sa relation avec la production de savoirs. Basés sur cette compréhension, nous avons réfléchi sur les relations de pouvoir dans la GR qui se sont établies et consolidées grâce à la réglementation de sa pratique, dans lequel le Code de Pointage a un rôle prépondérant. Ainsi, la GR a construit sa beauté à travers les temps au moyen de jeux de force où la gestualité de corps performatiques, à travers la discipline, a été prépondérant. Cette dernière a configuré des sens attelés à la coercition-résistence des corps: la production de discours. C est en pensant à une beauté comme ume trame de discours construits par ces relations de pouvoir-savoir des investissements du corps dans la Gymanstique Rythmique que nous nous posons les questions: Comment le Code de Pointage réglemente la gymanstique rythmique et sportive au sujet de la construction de la beauté ? Quelle est la relation entre les pouvoirs et les savoirs impliqués dans cette réglementation ? Nous avons donc pour objectifs de rechercher la beauté dans la Gymnastique Rythmique comme savoir produit à partir des relations du pouvoir circonscrites dans les règles de la modalité et de discuter la beauté à partir de la relation pouvoir/savoir comme réflexion pour le milieu de l éducation physique. Nous avons utilisé comme méthodologie la technique de l analyse de contenu (Bardin, 1977) afin d analyser le Code de Pointage de la GR dans sa version 2005-2008. Nous avons également fait usage des images de gymnastes comme moyen analogique pour amplifier le sens des discussions. La lecture fluctuante nous a permis de sélectionner des unités significatives et d organiser nos discussions en trois axes thématiques qui composent le premier chapitre intitulé « La beauté réglementée ». Dans ce chapitre, nous discutons les spécificités de la GR, la prescription de l utilisation du temps et de l espace et la configuration du geste technique à partir de l analyse de son code de ponctuation. Dans le deuxième chapitre, « Le corps beau transcende la règle », nous réalisons quelques réflexions destinées à l éducation physique à partir de la discussion du chapitre antérieur en prenant pour cible trois sujets : Pouvoirs et Savoirs, Technique et Style, Beauté et Éducation. Nous avons ainsi constaté que la beauté de la Gymnastique Rythmique contemporaine est entourée par sa réglementation, mais a été et continue à être dessinée par des mécanismes de pouvoir-savoir tout au long de sa trajectoire historique. Malgré l existence de conditions pour la beauté dans le Code de Pointage de la GR, il existe la possibilité de la création du propre style par la gymnaste, par la possibilité de vivre l improvisé et l imprévu, de sensibiliser le public, parce que le pouvoir crée des savoirs et le corps, qui se dépasse, créera toujours de nouvelles formes d être beau. La constatation que le Code de Pointage produit une beauté et que la gymnaste la reconstruit continuellement en en réactualisant les règles est une réflexion importante pour l éducation physique: elle réaffirme que le corps n est jamais seulement soumis, que même dans la soumission il est capable de produir du savoir, d être beau et de créer de nouveaux sens pour la Culture de Mouvements

A estética da Commedia dell Arte: contribuições para o ensino das Artes Cênicas

Theatrical phenomenon borned in the Italy the Comedy dell Art concerned to it climax in the XVI century and spreading itself by the word than can be sight like the theatre base modern. Lasting parallel the conventional theatre since the three hundred years, this gender influenced significativly the making theatrical in the Europe graces the popular character of its simulation turned for the improvise. In spite of treat a theatric manifestation no more existing in the present time, we understand that the Comedy dell Art was constituted in one artistic language whose esthetics centralized in the popular fanciful and in the improvise permitted a rich possibility of verbal and not-verbal communication that today can to be taken again in contemporary productions theatricals. Departing of an approach of esthetics, this work has with purpose concentrate the references esthetics that configure that one artistic manifestation such that one references can contribute for the Arts teaches in the present times. We appeal the text and image of Comedy dell Art, such this historical reference that in context, with fountain investigated that mean and if complementary in one esthetic reflection for the creation of meaning diverse and news interpretations for the purpose investigated if having with base some analysis categories such as: the actor s body, the actuations spaces and the esthetics categories such the ugly, the comic and the absurd. To investigate the Comedy dell Art esthetic in the ambit of the teach of Arts Scenics is a manner of be understand the artistic universe of three century behind that can be meant, revived, in the marking possibilities of an art teach able to incentive the critical, the appreciation, the discussion and the transgression of instituted true. Having investigated the exhibition Comedy dell Art esthetic we rebound four stich that we judge significative for we think the Arts Scenics teach, they are: the articulation between actor s body, the text and the space actuation in the play; statement what it is given between actor s body and the on-looker and the every gesture that did share of scene in a popular scenic space; a conception actor s body that transgress with the true duty socially that is capable the to admit its dimension Dionysian, creative and ambiguous in the to do theatrical; the text conception that get beyond the ambit the word writing by the dramatist and talked by actors, if spreading the other elements significance in the scene like gesture, the parody, the recent news, the gags and the word used in the day-to-day; the scenic space like a statement symbolic between actors and on-looker that make a quality of amusement pact supported by the scenic true of artist that actuate in not usual spaces bid at an auctioning degrees of participation in the building the scenic phenomenon; and the importance of esthetics categories such as the ugly, the comic and the absurd, those categories that foundation like a do scenic transgressor make a possible exchange mutual between actor and appreciator. The statement of esthetics categories in joint continuous between the body, the text and the scenic space evident themselves in doing theatrical and in the its appreciation. We believe that the reflection esthetic about the Comedy dell Art in the arts class, consider the stich detached, can favor possibilities of to share discovery, ideas, feelings and attitudes, and can permit the observation of different stich of view, establishing the statement of individual with the group in a participative and democratic form

O corpo como matriz pedagógica

The contemporary conjuncture based on the capitalistic knowledge converges to the corporal consciousness that makes us see, feel, taste and hear, be in/to pieces. Disembodied reason legitimate and legislate ways of being and living socially and its development is the dehumanization of human relations causing pain and suffering. The objective of this work is to discuss the body as pedagogical matrix through imagistic/artistic elements: music, painting and literature. Metaphors lead to self knowledge of human subjectivity and approach us to the kaleidoscope of sensitive knowledge and enables learning to learn with the infinite combinations of images, knowledge, feelings and worldviews. The song Memória da Pele comes in the voice of Maria Betânia speak of the memories that are not mine, but are tattooed in me in the memory of skin, singing the memories of a love lived by who tries to forget rationally, but the body insists on remembering. It is password to think about what we are. The short story by Clarice Lispector, entitled Miss Algarve, narrates the life story of an unmarried and virgin woman, and her encounter with an alien called Ixtlan. Until then, she who lived as if every day were a Monday, found herself seduced by the pleasure of having a body in contact with another body, which also allowed her to give visibility to the bodies of others. She had repudiation by the immorality that her body and the other s perspired. The discovery of the body brings important lessons for nursing, involving our body and the others'. The painting the flying bed or Henry Ford Hospital, by Frida Kahlo, is our final metaphor. The traumatic experience of abortion is shown in this painting trough the picture of the artist naked in a hospital bed. This painting invites us to reflect on our work process. We need to think in multiple dimensions of the being and accept the invitation of art, so that the lightness confronts us with the weight imposed by the hegemonic ideology. I believe it is not a single view, but the many views that should justify the knowledge and practices of nursing; what matters is that they are woven into the dialogue, democracy, provided that protagonism of those individuals involved in this process, in the wandering and uncertainty, in the rewiring, solidarity, plurality. To this end, the body must be the great pedagogue that is able to be viewed not as a tapestry seen by the right view, as the logical knowledge sees, but seen by the opposite side in its singular, irregular, discontinuous weavings

Estudo do comportamento no estado fresco e endurecido do concreto com incorporação de resíduo de corte de botão

This works aims at investigating the effects of adding waste from RCBP-polyester button manufacturing to Portland cement concrete, particularly regarding its consistency and mechanic strength. The RCBP used came from a button factory located in Parnamirim, RN, Brazil. The waste was added to the concrete on different ratios: 5 %, 10 %, 15 % and 20 % of the total cement mass. A sample of concrete without the RCBP was used as reference, 1:1,33:2,45:0,50. For the mechanic strength test four samples were tested with different ages (3, 7 and 28 days old) and mixtures. Furthermore, a Slump Test was also conducted in order to verify the concrete s consistency. A tendency to a reduction in the compression resistance was noticed for all samples. For the samples with 5 % and 10 %, there was also an increase in the traction resistance during inflexion, regarding the reference concrete. In the microstructural analysis, the RBCP was observed to show an irregular and porous surface, thus explaining the consistency decrease

Avaliação de concreto com adição de fibras de PET submetido a altas temperaturas

The concrete for centuries constituted an essential structural element in the construction industry due to its relative ease of forming, before the weather durability, low cost, its lower maintenance compared to other materials such as steel. However, when the concrete is exposed to high temperatures tends to lose its mechanical characteristics, and may even result in loss of section, which undermines the stability and mechanical strength of structural elements. The pathologies resulting from exposure to elevated temperatures ranging from cracks, pops up chipping explosives (spalling). Recently, the technology of concrete is closely related to the study of its microstructure. The use of fibers added to concrete has been revealed as a solution to increase the mechanical strength of the concrete, it acts directly on the distribution of efforts to act in the play within the microstructure. In this work we used recycled PET fibers embedded in concrete with 15x2mm fck = 30MPa, water/cement ratio of 0.46, in works made for verification of mechanical strength of this mixture submitted to high temperature. The specimens of concrete with addition of PET fibers were tested after exposure to temperatures: ambient (30ºC), 100°C, 200°C, 300°C, 400°C, 600°C and 900°C. It was found that the concrete loses significant strength when exposed to temperatures above 300°C, however the use of fiber PET may delay the risk of collapse of structures for the formation of a network of channels that facilitate the escape of vapor 'water, reducing the pore pressure inside the structural element

Estudo do comportamento mecânico de areias artificialmente cimentadas

Soil improved with the addition of cement have been utilized as an alternative to the construction of various types of geotechnical works, almost always present economic and environmental advantages. This paper presents a study on the usage of cement in the improvement of mechanical properties of sandy soils, characteristic of the region of Natal, collected from its dunes. This research was made in order to analyze the influence of cement content, voids, and also including water immersion and confining pressure. Samples molded from cement-soil mixtures were tested for unconfined compression tests and triaxial tests. The samples had the percentage of cement mixed in 2.5%, 5% and 10% by weight. The cement agent used was the Portland Cement of High Early strength(CPV-ARI), which promoted agility to the experimental procedure for presenting a rapid gain in strenght. The void ratio used ranged from 0.7 (more compact), 0,9 and 1,1(softer). The soil under study can be considered as pure sand. In general, it can be stated that the larger the amount of cement added to the sand studied is, the greater ultimate strength will be. Likewise, as more compact the soil is, the less void ratio and more resistant it will be present. The confining pressure tends to increase the resistance of the specimens. The cementing adopted grades showed that the use of different criteria for failure did not significantly alter the stress-strain parameters for the sand studied. The angle of friction values were found within the typical range of medium and compact sands. Cementing acted in the sand providing an intercepted cohesion which increased enhancing the potential cementation. In triaxial compression tests, the sand with void ratio is equal to 0.7 and showed the expected behavior for a compact sand while the stress-strain behavior of the same sand with the void ratio of 0.9 tended to be expected for the soft sand as well

Estabilização de um Solo com Cimento e Cinza de Lodo Para Uso em Pavimentos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Análise do Comportamento Mecânico de Concretos Produzidos com Incorporação de Cinza do Bagaço da Cana-de-Açúcar de Variedades SP911049, RB92579 E SP816949

Concrete is the second most consumed product in the world and the incorporation of the Sugar Bagasse Ash (SBA) into this material can provide solutions for the utilization of by-products from other industries, thus reducing the environmental impact. The general aim of this dissertation focuses on analyzing the mechanical behavior of concrete with addition of SBA from three different species of sugar cane, through tests of consistency, compressive strength, porosity, absorption, voids and Scanning Electron Microscopy (SEM). Were prepared 13 specimens for each specific pattern and level of incorporation of SBA (10%, 20% and 30%) of the three varieties collected, totaling 130 samples of concrete. The trait was employed 1:2:3 (cement: sand: aggregates) in relation to the cement mass with a water / cement ratio of 0.532 and 1% additive Tec 400 Mult also based on the weight of cement. According to the results obtained in this study, it was concluded that the variety of cane sugar, used in the production of the CBC, influenced the mechanical behavior of the resulting concrete. All concrete with addition of SBA, reported a reduction of at least 10% in the properties related to permeability and an increase in the compressive strength of at least 16% compared to standard concrete at 28 days

Influência da adição de rejeitos cerâmicos nas propriedades de cerâmica vermelha da região do Recôncavo Baiano

The study of the physical and mechanic properties is an analysis of unquestioned importance on the production of the ceramic materials. In the region of the Recôncavo Baiano, there are ceramic and small brick factories, that still use rudimentary techniques, where the necessity of characterization of raw materials is denounced by the quality of the final product. The present work has for objective to study the behavior of the clay proceeding from the region of the Recôncavo, between the cities of Candeias and Camaçari/Ba, with addition of 5, 10 and 15% by weight of brick scraps, trying to optimize the physic and mechanical properties of the final product, aiming a better possibility of being manufactured, mechanic resistance, low linear retraction and water absorption. The brick scraps and the clay were characterized by FRX, DRX, TG, ATD and the granulometric analysis. Samples for testing where prepared by uniaxial pressing at 25Mpa, in 60x20x5mm size. The evaluated technological properties were: linear retraction, water absorption, apparent porosity and flexural strength. The samples were burned in electric oven in the temperatures of 850º, 950º and 1050ºC and compared its mechanical properties and the gresification. With addition of 15% by weight of brick scraps and burning at 900º-1000ºC the samples showed properties superior to that clay

Aproveitamento de resíduo de caulim em cerâmica branca

The world market of Kaolin has been growing as new investments for better quality of materials have been applied. This market produces amounts of dross that are put in the environment in a wrong way, causing damages to it. Trying to reduce these damages, researches have been done in an attempt to use kaolin dross in ceramic. The disposal of kaolin dross in the environment by the industries of the states of Rio Grande do Norte and Paraiba have great impact in society. Usually this dross is disposed clandestinely in places like roads, river banks and lands of small cities. The present work shows the characteristics of the kaolin produced by the mining company in Junco do Seridó, Paraiba state, western Seridó, 300 km from Natal, in the border of both states. After that, researches were done to study its physical and the chemistry characteristics, trying to see if it can be used in white ceramic. The samples got were bolted in fabric of 325# . The technological characteristics tried to use it as a product in white ceramic. For that, it was made a haracterization of the subject matter through enlargement analyses, ATG and ATD, elaborating three formulations that were burned in four different temperatures, 1175, 1200, 1250 and 1300 degrees centigrade up to 30 minutes. After the burning, the subjects were submitted to water absorbing tests, linear retreating, apparent porosity, apparent specific mass, resistance to flexibility and MEV. For one of the mixtures it was obtained demanded properties for a semi porous material

Obtenção de cerâmicas à base de tricálcio fosfatos utilizando óxido de magnésio como aditivo

The tricalcium phosphate ceramics has been widely investigated in the last years due its bioresorbable behavior. The limiting factor of the application of these materials as temporary implants is its low strength resistance. The tricalcium phosphate presents an allotropic transformation β→α around 1250 ºC that degrades its resistance. Some studies have been developed in order to densify this material at this temperature range. The objective of this work is to study the influence of the addition of magnesium oxide (MgO) in the sintering of β-TCP. The processing route was uniaxial hot pressing and its objective was to obtain dense samples. The samples were physically characterized through density and porosity measurements. The thermal behavior was studied through dilatometric, thermal differential and thermogravimetric analysis. The mechanical properties were characterized by three point flexure test and Vickers microhardness measurements, analyzed of the microstructure. The addition of magnesium oxide doesn t cause an improvement of the mechanical strength in relation to material without additive.