Educação e inclusão: o ser professor ao educar alunos com deficiência numa escola confessional

O presente estudo tem por objetivo refletir o significado do ser professor ao educar alunos com deficiência e dificuldades de aprendizagem no contexto da confessionalidade Metodista . Para tanto contou com preciosas contribuições teóricas e relatos de experiências profissionais, com destaque às teorias de Paulo Freire, Merleau-Ponty. Hannah Arendt, Lino de Macedo. Maria Tereza Eglêr Mantoan. Joel Martins, Maria Aparecida Viggiani Bicudo, Leonardo Boff e Rui de Souza Josgrilberg. Para a coleta de dados necessários, foram utilizadas entrevistas orientadas pela pergunta da pesquisa - o que norteou toda a tragetória metodológica, contando com a participação de professores do Grupo Alternativo do Colégio Metodista. O método utilizado para a análise dos dados foi o fenomenólogo. Da análise empreendida ressalta, principalmente, a evidência de que no lócus alternativo de escolarização, o professor tem a condição de assumir uma nova atitude frente ao fenômeno da aprendizagem mediada pelo princípio da inclusão pautado em valores éticos e cristãos na formação do conhecimento e da cidadania. Da reflexão do que se desvelou, põe a descoberto o significado do ser professor. Surge a oportunidade dele repensar sua práxis, a concepção do ser professor que em relação de educabilidade, busca habitar o Lebenswelt. Abre-se, assim, uma possibilidade de compreender e intervir significativamente na relação com o aluno, que envolve uma atitude fenomenológica no compromisso com uma educação humana.(AU)

Sense-Making Bodies: Feminist Materiality and Phenomenology in Constructive Body Theologies

Constructive body theology provides an ethical commitment to and a set of analytical principles for understanding bodily experience. If we insist upon the theological value of embodied experience, how can we give an adequate account of it? Are feminist appeals to the senses useful in developing theological truth claims based in embodied experiences? Feminist theologies which explicitly seek to overcome body/mind dualisms often reinscribe them when they neglect to attend to perception as a critical element of bodily experience. Phenomenological analyses of perception (such as suggested by Merleau-Ponty) strengthen and refine our conception of embodiment. Grounding constructive theology in experience requires understanding experience as bodily perceptual orientation, as perceptual bodily and cultural acts involved in socially and historically situated contextual meaning-making processes. This shift expands phenomenological concepts such as intentionality and habit, and allows for a comparative investigation of historical and cultural differences in embodied experiences through examples found in sensory anthropology. Body theology, framed as principles, strengthens theological projects (such as those by Carter Heyward and Marcella Althaus-Reid, as well as new constructive possibilities) through opening dialogical avenues of exploration into embodied being in the world. Body theology principles help us conceive of and address how our bodily experiencing--our feeling, tasting, hearing, imaging, remembering and other sensory knowledge --comes to matter in our lives, especially where oppressive forces viscerally affect embodied life.

Antropología educativa aplicada a las prácticas clínicas en Enfermería: las diferencias culturales implicadas en el proceso de prácticas clínicas en Enfermería. Una aportación desde la antropología de la complejidad y el pensamiento crítico

En los estudios de la Diplomatura de Enfermería existe una división, tanto a nivel secuencial-cronológico (transmisión gradual y lógica de los contenidos), como en la dimensión espacio-ambiental (aula, sala simulación y servicio sanitario: comunitario u hospitalario). Estas divisiones tienen consecuencias en la estructura curricular de la disciplina: módulo teórico, módulo práctico y módulo práctico-clínico, confiriéndole a estos estudios una peculiaridad asentada en las diferencias en los tipos de escenarios, ambientes, instituciones, normas, y personas que se manifiestan en los contrastes percibidos (Merleau Ponty, 1988) por los alumnos en su proceso de enseñanza-aprendizaje según se dé éste en un módulo u otro. La enorme variabilidad de la práctica se ve también afectada por las características del escenario en el que tienen lugar las prácticas clínicas: centros de atención primaria y/o instituciones hospitalarias, en los que el alumno debe iniciar sus prácticas de enfermería con el que va a constituir su objeto-sujeto de trabajo durante toda su vida profesional: el ser humano (individuo, familia y comunidad) atendiendo a sus necesidades fisiológicas, psicológicas y sociales desde una perspectiva holística. Los contrastes entre el aula y el servicio sanitario suponen a veces contradicciones que desenfocan la visión lógica con la que el alumno pretende interpretar su realidad formativa en esta compleja fase de sus estudios, y esta visión borrosa puede derivar en situaciones de disminución o pérdida de significado que esta experiencia educativa debe tener en el alumno (Bruner, 1991).

La cirugía estética como práctica sociocultural distintiva : Un lacerante encuentro entre corporeidad e imaginario social

La noción de "habitus"-"historia hecha cuerpo" (Bourdieu)-converge hoy con la de un paradigma tecnocientífico "fáustico" (Sibilia), cuya aspiración sería la maleabilidad ilimitada de la Naturaleza. A este paradigma no son ajenos ciertos avances en la ciencia y la tecnología médicas. Bajo la "mirada clínica objetivante", el cuerpo tiende a verse como un "borrador a rectificar" (Le Breton). Esta mirada nos interpelaría con fuerza creciente desde la "pantalla total" (Baudrillard) de la "cultura de consumo" (Featherstone). No comprenderemos profundamente el auge y la normalización de las cirugías estéticas, sin atender al encuentro entre el dispositivo médico y el mediático, de cuya interrelación dialéctica se constituiría un imaginario con efectos de "violencia simbólica"-literalmente-encarnizados. Considerando sus precios, las cirugías estéticas se nos sugieren como un consumo "distintivo", pero también, dado el riesgo y el dolor que implican, como un "trabajo corporal" (Wäcquant)-una acumulación de "capital físico" (Shilling) cuyas estrategias de reconversión aún están por ser estudiadas. Y esto resulta relevante en un estadio del capitalismo caracterizado por la "instrumentalización de aquello que nos hace humanos" (Boltanski): las emociones-la "bisagra" (Elias) entre lo social y lo biológico, donde se concreta la corporeidad en cuanto modo de "ser-en-el mundo" (Merleau-Ponty)

Educação e inclusão: o ser professor ao educar alunos com deficiência numa escola confessional

O presente estudo tem por objetivo refletir o significado do ser professor ao educar alunos com deficiência e dificuldades de aprendizagem no contexto da confessionalidade Metodista . Para tanto contou com preciosas contribuições teóricas e relatos de experiências profissionais, com destaque às teorias de Paulo Freire, Merleau-Ponty. Hannah Arendt, Lino de Macedo. Maria Tereza Eglêr Mantoan. Joel Martins, Maria Aparecida Viggiani Bicudo, Leonardo Boff e Rui de Souza Josgrilberg. Para a coleta de dados necessários, foram utilizadas entrevistas orientadas pela pergunta da pesquisa - o que norteou toda a tragetória metodológica, contando com a participação de professores do Grupo Alternativo do Colégio Metodista. O método utilizado para a análise dos dados foi o fenomenólogo. Da análise empreendida ressalta, principalmente, a evidência de que no lócus alternativo de escolarização, o professor tem a condição de assumir uma nova atitude frente ao fenômeno da aprendizagem mediada pelo princípio da inclusão pautado em valores éticos e cristãos na formação do conhecimento e da cidadania. Da reflexão do que se desvelou, põe a descoberto o significado do ser professor. Surge a oportunidade dele repensar sua práxis, a concepção do ser professor que em relação de educabilidade, busca habitar o Lebenswelt. Abre-se, assim, uma possibilidade de compreender e intervir significativamente na relação com o aluno, que envolve uma atitude fenomenológica no compromisso com uma educação humana.(AU)

O cinema como educação do olhar

The knowledge is only possible due to we exist bodily. However, during the educational experience, the epistemic potency of the body is neglected, declining the registers of the intelligibility. The current thesis approaches that problem obliquely: from a body and image philosophy which has revealed other ways of doing those registers in the modernity – understood not as period itself, but as a qualification for the negotiations between the real and the intelligible. The referred ways are explored through Merleau- Ponty’s and Michel Foucault’s works, which offer a spectrum about that new negotiation of the real. In order to approach the studied problem, the visibility and the human body motricity in the cinema are taken as analysis object. The mentioned objects have been analyzed through a corpus of movies of which plots are centered at the formal education and they require from the characters and the spectators engagement into a visual performance. Aiming to approach the object, it is questioned how the Education phenomenon is represented by the cinema; how the body is exposed and how spectators can see it. Analyzing the corpus and articulating Merleau- Ponty’s and Michel Foucault’s theories, it has been possible to state the following thesis: the cinema as an education of the gaze. The general objective of this study is to reveal the educational potency of the filmic experience, which provides a new path of intelligibility for Education. In that sense, the body as a visual operator widens the capacity of understanding the real. The current work is divided in three chapters. The first one brings the methodological approach: it is pointed how the theoretical articulation is properly arranged; it explains the method of using the images as indirect language as part of the reality description; the filmic corpus is presented, as well the criteria for the films choices and for the construction of instrument adopted during the object analysis are described. In the second chapter, it is problematized the incapacity of the western society of formulating the real discursively by debating Merleau-Ponty’s and Foucault’s theoretical contributions about the visual performance displayed on the images while the films are watched and analyzed. In the third chapter, the implications of the education of the gaze provided by the cinema are developed, mainly concerning about the place attributed to the visibility during the formulation of the real. Finally, paths are designed for the construction of another approach for the visibility in Education. Assuming the gaze as an experience of knowledge, this study aims to present other ways of being, seeing, thinking and feeling the world. Therefore, it is a proposal to reset the epistemic and subjectification patterns at the educational context.

Dançando a carne: uma poética do corpo no mito adâmico

In this dissertation we reflect about sensitive the dimension of the body, which enables us to participate in mythical space and set him as a potential space for artistic creation in dance, experience provider in senses for world, for life and for existence. It´s a written, thrashing some reflections on the human condition from a gaze cast upon the myth of Adam, leading us to think about the possible relationships between art and myth in contemporary times, as fields of knowledge open to creation, and semantic spaces able to assign new meanings to living through the pulsations of a body that is myth and what is dance. One of the goals of this study is set up a new point of view to analyze the Adam's myth, enabling to new interpretations, meanings and understandings from the experience in the process of creation in contemporary dance. Therefore, methodologically reference is made in the Phenomenology, or rather the phenomenological attitude proposed by Merleau-Ponty (1994), which considers the experience of the body as the primary source of knowledge. Dipping on this process of creation in contemporary dance, one artistic and choreographic work was originated, titled "The Body I am”, in contemplation of this dance that echoes the mystery, that emerges from the depths of the body, and it brings to the human surface and your world, your relationships. Realize that dance is as a sensitive guide and counselor reflections ontological and epistemological, able to validate and perpetuate the myth whereas ancestral wisdom inheritance.

Experiencias de danzaterapia de mujeres que han sufrido cáncer de mama. Un estudio fenomenológico

Objective: This essay aims at identifying, describing and analyzing possible changes both in the experience of the body and in interpersonal relations of women with breast cancer, which result from their participation in Dance Therapy group meetings.Method: This is a phenomenologically oriented qualitative research using Maria Fux´s dance therapy method for group experiences. Eight meetings are described here, and an analysis of descriptions based primarily on Merleau-Ponty and María Fux is provided.Results: The participants have been able to express pain and sorrow over the circumstances that breast cancer and its relational environments have brought to their lives. They have been able to go through moments of creation and surrender to the rhythmic body sensations and experiential environment with different emotions lived separately and jointly. They have revived memories and sensations of their childhood and adolescence, and finally, they have rediscovered their sensitive body through body resignifications marked by the absence of the breast, and by means of feelings of greater acceptance and integration of lived experiences in new gestalts.Conclusions: This project is still under way, but it is already possible to conclude that the life experiences provided in dance therapy have allowed these women to improve their integration and welfare. Likewise, they have felt positive changes in the perception of their corporality and in their way of being in the world and with other subjects, thus experiencing the body in a new and different way.

Humanism is a violence typical of the beasts. Philosozing with a Hammer, using Levinas and Derrida, the Measure of the Human and the Human as a measure

Levinas’s reflections arose as a critique of traditional philosophy which, since it was based on presence and identity, leads to the exclusion of the other. Instead of an onto-logical thought the Lithuanian proposes that the ipseity of the human being be constituted by alterity, and that it be so ethically, because the subject is sub-ject, that is, that which upholds, responsibility. In an attempt to take the obligatory attention to the otherness of the other even further, Derrida would develop a radical critique of the Levinasian posture. Deconstruction of every trace of ipseity and sovereignty in the relationship with the other, the reading that we have done of the work of Derrida opts for a no definable understanding of the human. That is why every de-limitation of an ethical field as a properly human implies a brutal violence that the levinasian humanism of the other tried to exceed.

Psicodrama: cuerpo, espacio y tiempo hacia la libertad creadora

El Psicodrama, creado por Jacob Levy Moreno, es un método de abordaje del individuo, la familia, los grupos y la comunidad, que tuvo sus orígenes en el teatro, la sociología y la psicología. Desde su trabajo con niños y grupos marginales, su creador va gestando su teoría y su técnica. Se desarrolla en diferentes ámbitos: clínica, psicoterapia, pedagogía y comunidad. El cuerpo, el juego, el espacio y el tiempo confluyen de una manera poética y contribuyen a la libertad creadora y a la tan añorada espontaneidad. El Psicodrama se desarrolla en ese espacio transicional, que no siendo ni interno, ni externo, se transforma en ese espacio pluripotencial de infinitas posibilidades creadoras.

The visibility of the world and the invisibility of the soul. Phenomenological structure of the human perception

The essay intends to demonstrate the need to postulate an (invisible) spiritual reality in the human being as a condition of possibility of the world’s visibility. For that purpose, it employs the phenomenological method. It describes the structure of human sensitive perception. This description firstly presents the world’s structure (first distance). Secondly, it manifests the importance of the body as a border element between the soul and the world and as an organ by means of which the soul structures the world. It is the second distance the distance between the body and the world. But, thirdly, the description states that, no matter how intimately the soul interpenetrates the body and requires it to know the world, the soul is not the body. It is the third distance or the primordial distance between the soul and everything else (including the body itself).

Corporeidades negras em cena : um processo cênico : pedagógico em diálogos com a tradição e a contemporaneidade

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2015.

Actividad física e imagen corporal: conceptos y enfoques desde la equidad-inequidad en salud

Este trabajo rastrea el tratamiento dado a las categorías Actividad Física e Imagen Corporal en una selección de textos científicos del área de la salud; revisa la relación entre categorías y examina si en dichos textos son abordadas desde el enfoque de los Determinantes Sociales de la Salud o desde el enfoque de la Determinación Social de la Salud, usando la categoría de equidad como parámetro y explorando las implicaciones de ello. Su paradigma epistemológico es la construcción social del conocimiento y el eje metodológico el análisis de contenido. Los resultados muestran una construcción insipiente de las categorías, una relación diversa entre ellas y un privilegio del enfoque de los determinantes sociales de la salud en los textos académicos. Finalmente, el trabajo indaga sobre las implicaciones prácticas mediante un análisis de contenido de dos documentos de la OMS. Se concluye que en la práctica sí se reflejan las diferencias de enfoque.

Imaginarios sociales de adolescentes y docentes en torno al cuerpo, la corporalidad y la actividad física. Estudio cualitativo en un colegio de Bogotá, 2014-2015.

Problema. Esta investigación se aproxima al entorno escolar con el propósito de avanzar en la comprensión de los imaginarios de los adolescentes y docentes en torno al cuerpo, la corporalidad y la AF, como un elemento relevante en el diseño de programas y planes efectivos para fomento de la práctica de AF. Objetivo. Analizar los imaginarios sociales de docentes y adolescentes en torno a los conceptos de cuerpo, corporalidad y AF. Métodos. Investigación de corte cualitativo, descriptivo e interpretativo. Se realizaron entrevistas semi-estructuradas a docentes y a estudiantes entre los 12 y 18 años de un colegio público de Bogotá. Se realizó análisis de contenido. Se compararon los resultados de estudiantes por grupos de edades y género. Resultados. Docentes y estudiantes definen el cuerpo a partir de las características biológicas, las diferencias sexuales y las funciones vitales. La definición de corporalidad en los estudiantes se encuentra ligada con la imagen y la apariencia física; los docentes la entienden como la posibilidad de interactuar con el entorno y como la materialización de la existencia. La AF en los estudiantes se asocia con la práctica de ejercicio y deporte, en los docentes se comprende como una práctica de autocuidado que permite el mantenimiento de la salud. Conclusiones. Para promover la AF tempranamente como una experiencia vital es necesario intervenir los espacios escolares. Hay que vincular al cuerpo a los procesos formativos con el propósito de desarrollar la autonomía corporal, este aspecto implica cambios en los currículos.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.