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

Uma educação tecida no corpo

In theory say the education as a knot of meanings made in the body. We take as a reference for demonstration of this argument the shows Folguedos, Guarnicê and Flor do Lírio and built within such spectacles cultural, symbolic and aesthetic meanings, which reveal the education woven in the body. Education that can happen not only in the formal space like the classroom or the university, but also in the area of art and the inclusion of individuals in the world of culture. So during the construction of the thesis we reflect on the following issues: what is the construction of culture and art that have in the Parafolclórico group? What way theses shows in their buildings bring significant elements that might compose an educational activity. How objectives sought asking the dichotomies present in the concepts of art and culture; critically systematize a work of artistic, cultural and educational production in the group, in addition to expanding the understanding of education, considering the body experiences. The phenomenological attitude of Merleau-Ponty, is a reference methodology of this study, which places the reference knowledge as a result of our experience in the world, our world lived. Thus, this study considers the experience of the researcher in the three shows in tariff, represented by scenes described, as a dancer and spectator. Therefore we understand that Folguedos, Guarnicê and Flor do Lírio in their artistic, aesthetic and cultural languages, allow many meanings that occur in the body, which invites the perception and extend the experience of the subject, demonstrating an education that allows sight and knowledge, seeking new sensations and experiences, we show our intimacy with the world, with the objects and with the other. The art is understood as virtuality, as a human creation that carries the reality and that allows many readings and experiences, each perception can recognize and know new horizons, having as base and material the culture. This entails the heterogeneous, is not closed but that individuals can interpret it entered and recognize the symbols they created the same way, confirming a unit. The art and culture show us significant evidences of an education woven in the body

A (re)significação conceptual nas práticas colaborativas com professores do Ensino Fundamental

The work objectified to apprehend the degree of the teachers' concept concerning the territory concept and to intervene with situations of critical reflections to accompany and to analyze the process of conceptual elaboration. It contemplates on the (new)meaning of knowledge and (new)elaboration of the concept in study done inside a pedagogic intervention. The Municipal School Dr. Julio Senna - Ceará-Mirim/RN and six (6) teacher-collaborators that taught in the 3rd and 4th grades of the fundamental teaching, constitutes the empiric field of the research. Its theoretical-methodological contributions are built in the studies of Vigotski (2000a, 2000b and 2001) on the formation process and development of concepts; in the methodology colaborate (Ibiapina (2004), Bartomé (1986), Kemmis and Mctaggart (1988), Arnal, Del Ricon and Latorre (1992), Pepper and Ghedin (2002), among others) and in the critical-reflexive conception of the Geography (Soares Júnior (2000 and 1994), Silva (1998), Raffestin (1993), Santos (1994), Felipe (1998), among others). The accomplishment of the work presupposed starting from the reflections on the following subjects: which the teachers' understanding in the school space concerning the territory concept? How does happen the process of conceptual construction territory for the teachers? The analysis of the teachers' previous knowledge on the concept in study, evidenced that its apprehensions on the attributes of the referred concept went mentioned the to light of the perceptible dimension of the real-concrete relationships of the reality linked to the degree of the spontaneous concepts and followed by the ideas of the traditional, humanistic and cultural geographical conceptions (positivism and phenomenology), restricting the territory meaning the notion of State-Nation and place of the men's dwelling. In the intervention process, it was verified to real possibility of the acquisition of indispensable scientific concepts to the process of (new)meaning conceptual of geographical knowledge through the continuous practice of the educational formation, when it was evidenced that the teacher-collaborators acquired high degrees of attributions of the significance of the territory concept to the they elaborate generalizations by means of analyses and syntheses of the concept-attribute (essential and multiples) of the reference conceptual in study

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

Pastoril: uma educação celebrada no corpo e no riso

By means of the Pastoral one an Education celebrated in the body and the laugh, visible is unmasked by means of cançonetas and of the licentious gesticulations of the jokers of this idleness. For such, we support ourselves in the phenomenological of Merleau-Ponty, the tradition and transmission of the verbal as it is conceived by Paul Zumthor, as well as in the phenomenology of the memory of the jokers and in the studies of cultural history and the philosophy of the body. The objective research to argue the body and the laugh as learning of the culture, as well as carrying through the production of a cartography of the potiguar pastoral ones, in the direction to argue the elements of the licentious gesticulations for the look and of cançonetas for hearing. The research is of phenomenological nature and when appealing the Phenomenology as an attitude, recognizes our look on the phenomenon, what if we show for while searching citizens and we assume the reduction and the lived world as methodological boarding to think the searched phenomenon. As he was evidenced in this study, one searched to dimensional the reach of a reflection centered in the body and the laugh through the listening of cançonetas of the Pastoral one and the vision through the licentious gestures; a reflection centered in the body of the joker of Pastoral

Corpo e poesia: para uma educação dos sentidos

In this research, we reflect on Body and Poetry: for an Education of the senses. This piece of work has as its objective the comprehension of the body and poetry s interlacement, for an education of the senses, starting from the experience of the Being in the world. With this purpose, we search to understand the poetic creation as the corporal transubstantiation by means of the senses, which is realized in the creative expression and manifests itself in the body language, opening ways to an education felt in the aesthetic experience. In order to comprehend the process of poetic creation, we rely on the phenomenological method of the lived world from Merleau-Ponty, philosophy, always opening forests of questionings and sprouting new doubts in search of other comprehensions about Poetry, Body and Education. These three phenomena were investigated by means of a reflection on my own life trajectory as a poet and Physical Education professor; identification and analysis of poets/reciters; sensitive experiences experience lived in Oficinas de Poesias (Poetry Workshops), held in seven public governmental schools of the State of Rio Grande do Norte and through a permanent dialogue with the works of Merleau-Ponty, Severino Antonio, Paul Zumthor, Petrucia Nóbrega, among other authors. Phenomenology and the sources investigated have permitted us to conclude that poetic creation is not a product of a divine inspiration, of a spirit come from over yonder, nor a hereditary gift, but poetry is created from a dialogue between the poet and the organic and cultural world, revealing at each experience undergone a new world of senses and meanings. It was possible to comprehend the poetic language as a synesthetic and performable manifestation, which ontologically reveals itself and hides itself at each experience, bringing new expressive clarities of the Being in the world. This piece of research has revealed us that poetry as a sensitive experience of the poetic state makes it possible a construction of a sensitive, glad and ludic knowledge for an education of the senses

Esporte como experiência estética e educativaEsporte educativa: uma abordagem fenomenológica

This paper deals with sport as a possibility of disclosing the sensible, and defends the idea that being a sportsperson equals living an aesthetic and educative experience in which one can interacts with the sensible by the athletic body s reverberation of sensations in the dimension of the experienced. We try to answer, in our work, basically three questions: what moves the athlete when practicing a sport? Which are the meanings and motivations for the practice of sports? At what measure the athlete s experience gains an educational character? Sport is debated in this work as an extension of the living, as long as it tries to understand the meanings inherent to sport itself as well as to the sportive experience as a kind of education. In support of our argument, we give a theoretic and philosophical approach to our thesis, based on thinkers like Maurice Merleau-Ponty, Walter Benjamin, Marcel Mauss and Friedrich Schiller. For this purpose, we get support on the phenomenology of the French philosopher Maurice Merleau-Ponty. Our reference is the living world of the athlete and his experience as a field of the sensible. Our point of departure is the analysis of the narratives of sport experiences, including five aesthetic elements; time and space of the body in the sports courts; the look on the sportive context; the contact with the adversary; victory and defeat; the technical gesture. Besides it, we worked out an aesthetic evaluation of the movies Olympia and Invictus , what let us discuss three thematic categories: sensibility, emotions and the play paradox. Subsequently, we point sport as an optimizer of the sensible education, present on the body s processes, like the body in movement. It was also made clear along this paper that we tried to accomplish an analysis on sports centered in the athlete s body as an outfit of the senses to things related to the sensible, whose aesthetic experience overpasses any deterministic conception that should sum up the sportive world to mercantilization, discipline practices and mechanicism. This approach franchises gateways to a Physical Education which, containing sports as one of its support, let pupils enjoy the pleasure of constructing common objectives, incorporating the capacity of replicating, re-making and playing as a field of possibilities offered by an education characterized as being moving, sensible and fitful to a body in movement

Ludopoiese e humanescência no educador infantil

This research has as study objective the development of humanescent experience in the process of self-formation of the teachers of the Infantile Educational Unit of the Education Center of the Federal University of Rio Grande do Norte. It has as general objective the description and analysis of how the humanscent experience of life contributes and is manifested in the children educator in his way of being, living and in his pedagogical practice. As specific objectives, the identification of the contributions of the humanescent experiences in the children educator in his way of being, living and in his pedagogical practice; the analysis of the contributions of the humanescent experiences to the children educator from the ludopoetic categories self-esteem, selfworth, self-realization, self-territory and self-connectivity. It is a descriptive study of qualitative nature understood as an existential action research that uses the principles and fundamentals of the etnomethodology and phenomenology. Sixteen teachers six that are effective teachers, six substitute teachers and 4 interns - took part in this investigation. Six humanescent experiences were carried out with them. As main tools we point out: the participative observation, the sand game, the photographic register and the semi-structured interview. The analyses were centered in the categories of the ludopoetic system, described above and referred to in the theoretical fundamentals selected for the study. From the analyses and to the answers to the objectives of the study, we make clear the following considerations: the reports of the teachers reveal that the humanescent experiences have contributed to make them more ludic, sensitive, emotional and lovely people, and this has reflected in their educational practice and has been making sense in their and their students lives. In this way, we make evident that the humanescent experiences have contributed to improve the ludopoesis of the teachers, revealing in the embodiment changes in their way of being, of living together and in their educational practice. In relation to the contributions of the humanescent experiences to the children educator from the ludopoetic categories self-esteem, selfworth, self-realization, self-territory and self-connectivity, we emphasize the following aspects: with the self-esteem, teachers have become more creative, rebuilding their possibilities of intensely experiencing the pleasure of living; in the context of selfterritory, the teachers have provided the realization of the wishes and expresson of oneself while lively interacting with the environment and with the other different territories of the educational process, in a continuous process of demarcation. Concerning the self-connectivity category, we emphasize that the teachers started to become more tuned with themselves, with the environment and with the other teachers because of the general well-being to the success of personal, pedagogical and institutional objectives, promoting a harmonic, lovely and ludic environment. Concerning the self-worth category, the teachers have valued the struggle for a school that is more committed with the search for happiness. From the self-realization, the teachers have shown self-recognition while ludic beings, playing with the beauty in their lives, allowing the flowing in its completeness, the other possibilities of analysis, the educational formation and development. We would like to emphasize that the considerations above are not over after what has been presented because of the richness of experiences revealed in the research

Body art, existência e conhecimento :a percepção do corpo na Educação Física

In the Renaissance, the anatomy project a map of the body. Since then, the human body has been investigated for innumerable techniques, configuring new landscapes on the condition human being and the proper knowledge. In accordance with Merleau-Ponty (1975), All technique is body technique. It configures and extends the Metaphysical structure of our meat. In this direction, any intervention in the human body, a tattooing, a surgery or a performance, extends the perception and the directions of the existence of the subject. Merleau-Ponty (1975) still affirms, that all technique presents objective interventions. However, the body, ahead of these interventions, doesn t have to be considered only object, but subject that, from the interventions, attributes sensible and meanings through the movements, also being this its way of being in the world. Searching to extend this reflection on the discontinuities between the object body and the subject body, as well as, with the objective to reflect on the relation between the corporal techniques and the production of the subjectivity and the knowledge of the physical education, we reflect on the body art, as one technique of body that marks the exterior of the body, exteriorizing the subjectivity, to search new means to the body and that ahead of this, we believe being able to project innumerable directions for the corporal transformations in the contemporarily. As a method for our reflection in we will support them in the phenomenology. IT presents as a new ontology, in which distinction does not occur enters the operating paper of the citizen that knows and the influence of the known object. The phenomenological understanding of body will be able to contribute with the knowledge of the Physical Education, a time that gives us important arguments on the experience of the body in relation with the nature, the culture, history. To be a body is to be tied to a world that we do not possess completive, but that we do not cease to search it

O Corpo do grupo corpo: os movimentos das obras Benguelê, Lecuona e Onqotô

In this research, we invite to reflection by a phenomenological gaze on the body, through the description of some works of contemporary Brazilian dance company Grupo Corpo. This Company was chosen intentionally to give us elements in their creations to interrogate the understanding of the body and sensitive. Thus, as we launch issues in this dissertation: that body dance in Grupo Corpo? And as we can see, a phenomenological approach, an understanding of the body and sensitive works in that company? Building on this, the works are to be questioned Benguelê (1998/2003), Lecuona (2004) and Onqotô (2005). It is intended, through these works, coreological approaching the discourse of philosophical discourse and give movement to phenomenological thought of Maurice Merleau-Ponty, in special the sensitive, flesh of the body, the investment in the sensory world as a merger, calling the know body and its power to take chances, to incorporate the world, language, culture, create and choose. Thus, these openings is where thought enters this research. This consistency, we used the phenomenological attitude of Maurice Merleau-Ponty as a methodological approach, since in their study the philosopher takes a look expressive on the body, forming a sensitive language that is expressed in the movements, which deepens the arguments of the Phenomenology a new arrangement for knowledge as a result of our experience in the lived world. The reflections presented here aim to take us to the amazement, the unthinking, whom many still impose epistemological challenges, including understanding the body of knowledge and sensitive

Ginástica rítmica: um concerto para o corpo

As características adquiridas pela GR desde a sua origem fomentaram a criação de infinitas possibilidades de movimento. O sentido estético que busca o belo ginástico, o vínculo inabalável com a música, o entrelaçamento com a dança, a busca por formas inusitadas e especialmente tramadas, configuram esse esporte aberto a diferentes interpretações. Esse estudo tem como objetivo refletir sobre o corpo na GR a partir do seu entrelaçamento com a técnica, a arte e a cultura, além de ampliar a discussão sobre os esportes considerados artísticos no universo da Educação Física. Para tanto, utilizamos a Pesquisa Qualitativa com suporte na Fenomenologia segundo Merleau-Ponty e através da redução fenomenológica e da hermenêutica como modalidade da fenomenologia, utilizada para descrever, compreender e interpretar vídeos de conjuntos de GR simples e misto, selecionados intencionalmente. A escolha dos conjuntos deu se em virtude da relação possível com os conceitos abordados nesse estudo, além da sua representatividade no universo ginástico, principalmente na prova em questão. Limitamos as escolhas coreográficas ao ciclo olímpico 2009 a 2012, por corresponder ao período onde os critérios para a elaboração e avaliação das composições estavam sedimentados. Para favorecer o entendimento do tema elencado dividimos o texto em três capítulos que tratam prioritariamente de cada um dos conceitos básicos que são entrelaçados ao corpo na GR: a técnica, a arte e a cultura. Nas considerações finais, respondemos as questões de estudo e reatamos a configuração essencial à GR como modalidade diferenciada no mundo esportivo

Corpo e aprendizagem em Boris Cyrulnik e em Merleau-Ponty

This research seeks to identify views of the body and learning the authors Boris Cyrulnik and Merleau - Ponty, thus tracing reflective for the educational field in several areas, with emphasis on physical education paths . We notice that the above authors present a wide collection of books, needing to develop this theoretical construct a limitation in their works. Therefore , on the theme of the body , were used mainly books The Sixth Sense , Boris Cyrulnik and Phenomenology of Perception , Merleau- Ponty , as both present in their organizational context a specific chapter on this subject . The phenomenological approach is included as path to be taken to devise this study because it is based on daily reflections that the human being perceives through his experiences with his peers and mainstream culture. The phenomenological reduction was carried out from the readings and interpretations of texts, writers and commentators, as well as approaching with life aspects of experience as a police officer and professor of ethics. The interpretation points to the understanding of body and learning that can be propagated within the Physical Education and as a way to understand and learn the constructs lived through sensitivity. The design of the body, feelings and affections of Boris Cyrulnik firm the empathetic bonds between human beings, bringing confidence to explore the world, learning through the new link with the other. This notion is close to the notion of expressive body Merleau Ponty, who holds intentions in their gestures (movements), entwining in time and space. Boris Cyrulnik and Merleau-Ponty expressed as the human being is enigmatic, lying embedded in a social and cultural world, so the experiences to traçarem existential trajetória and learning need in order to enaltercer freedom of expression as a mechanism that can be deployed in the appropriation of concepts and the criticality of the subject facing widespread theories (biological, social, anthropological , etc.) . From the reflections of the research is that recomneda Physical Education , as epistemological working area apprenticeships stemmed body movements should enable reflection on their practice, other do be done, but enabling the creation of different senses and meanings each body attitude

Sentimentos de profissionais de enfermagem diante da morte de recém-nascidos em uma unidade de terapia intensiva

To understand the feelings of nursing professionals when faced with the death of newborn babies in an intensive care unit is the purpose of this investigation. Motivation was triggered by the countless hardships we go through everyday, as professionals, and the scarcity of publications in this specific area of knowledge. The aim is to describe the experience of the nursing professionals and identify their feelings when faced with the death of newborn babies in an intensive care unit. As a methodological procedure, this research is based on a qualitative, phenomenology-focused approach and on the following leading question addressed to the interviewed nurses and nursing technicians who work at the unit: How do you feel when you are faced with the death of a newborn baby in the ICU at which you work? Answers to this question on such phenomenon revealed a diversity of feelings, such as, loss, guilt, failure, negation, compassion, and sorrow, coupled with anguish, fear, and anxiety, resulting in an experience of the sensitive world of everyone. Theoretical support to this analysis was based on works by authors who discuss phenomenology, as well as authors who study the theme of death. An understanding of the phenomenon thus studied enables us to affirm that the death of a newborn baby is, for the nursing professional who takes care of the baby in the space of the ICU, an experience of conflicting, sometimes painful feelings, on account of their complexity. This is true not only in respect of their feelings for the baby, but for the family as well, especially the parents

Vivências de familiares do paciente internado em unidade de terapia intensiva: estudo fenomenológico

This study originated from my concerns as critical care nurse, regarding the lived experience of the family member of the patient that is hospitalized in the intensive care unit - ICU. The purpose of the study was to comprehend the experience of the family members while having a loved one interned in an ICU, and to identify the common elements of the phenomenon, based on the descriptions of their experiences. Considering that the object of study involves subjective and social questions, the study was conducted using some fundamental ideas of descriptive phenomenology as a referential and the situated phenomenon as suggested by Martins and Bicudo (1989). Ten (10) family members of patients that were interned in the ICU of private hospital in Natal, RN were interviewed using the following leading question: What is it like to have a member of your family interned in the ICU? Five thematic structural categories emerged from the comprehensive analysis of the interviews: Fear of the family member s death; Lack of humanization; Social isolation; Confidence in the ICU; and Overload to the personal life. The description of the phenomenon enabled a new look at how the care team relates to the family members of the patients interned in the ICU, providing some guidance on how to construct a humanized care that involves the family and that is based on affective human relations. This involves a rethinking of the care provided by team to the family and stimulates the reformulation of personal and social attitudes, and of hospital organizational norms

A morte a concepção de estudantes de enfermagem

Understanding the meaning of death for student nurses is the subject of this research. The motivation for the meeting place of my difficulties as a person and especially as a teacher in the face of nursing students in dealing with death on a day-to-day hospital during the undergraduate course. Death became known that this evil looms before men and destabilizing, causing often irreversible mental disorders when faced with family loss. Therefore, it is appropriate to study it the possibility of making us reflect on our way of living life and dealing with human beings from the perspective of finitude. Aimed to understand the meaning of death for nursing students. For this purpose, it was based on the following guiding question: What is the meaning of death for you as a nursing student? From this perspective, the study was developed within a qualitative dimension of the phenomenological approach. To perform ten students were interviewed during the month of July 2009. Emerged from these interviews a variety of feelings such as fear, anxiety, insecurity, failure, sadness, as the sensory experience of each. To understand the meaning units that emerged from the empirical data which constitute the essence of this research were fundamental studies dealing with Heidegger about the death in a phenomenological perspective, as well as authors Bicudo, D'Assunção, Dastur, Morin, Boff, Kübler-Ross, Boemer, among others. From the understanding of the phenomenon, we can say that death produces mixed feelings in these students that lead to selfprotection, understood, often as a departure from the other, at the approach of death. However, it proved to be sensitive and receptive to the approach of death in other dimensions, beyond the highly technical aspects, pointing to a paradigm shift that has the yeast's own willingness to change. In addition, the research highlights the weaknesses in the education of nurses regarding the understanding of the whole human death and the need to overcome them.