A escrita da escrita em (d)enunciação no espaço sócio-escolar: um espaço (em vão) para a (cri)atividade escrita

This thesis is a writing of (d)enunciation because it reveals the language experiencies of those individuals who take, in social school space, the social role of the teacher and of the student, for some reason, they feel restrained by a demand which prevents them of teaching and learning how to write – and, even, their own writing. On this basis, we consider some questions concerning Benveniste‘s theory of enunciation and the teaching and learning process in Portuguese from the triad among teacher – teaching of writing/ knowledge – student, making this theoretical area closer to the pedagogical one. We support in the working hypothesis that is based on the position of the loosening of this triad has its effects in the process of intervention-interference to the point where it does not leave a scar which can remain working on productive effects on the student‘s writing. As a consequence, we show two findings which allow us to think the teaching of writing in Portuguese is a space for writing creativity in such a way it reveals itself as a sine qua non condition for the institutionalized and subjective writing. The first finding is that taking genre as a model has some implications in the teaching and learning process of writing according to the instructions of the official documents. The second finding, as a result of the first one, is the assumption that genre is at the same time a model and a transgression and taking it as a (ex)sample opens space for writing creativity which ―is a transposition of the interior language‖ (BENVENISTE, 2014 [1968-1969], p. 132) in a way this creativity makes it intelligible and highlights what is a model (interactiveness) and a transgression (inventiveness). From such findings, we organize our heterogeneous corpus according to these procedures: recording the classes in audio; recording the interviews we made with teachers and students in audio; and constituting an archive with the students‘ writing production. From this corpus, we analyzed the (d)enunciative mo(ve)ments in the teacher – teaching of writing/ knowledge – student triad and the history of (d)enunciations, of language experiences. Besides, we analyzed the teacher‘s discourse in relation to the way he plans his classes based on the knowledge that must be taught and his own way of managing this knowledge in order to understand his interference in his students‘ writings. Our analyses (re)affirm that when the loosening of the triad happens, the students become lost, what makes them unable of working upon their own writing epilinguisticaly. Because of it, schools have lost their specificity as a place for teaching students how to read and write as they open space for training, only. On this basis, we consider that the effect of such a loosening generates complaints and denunciations. Therefore, based on such (d)enunciations, we present the Primary sketches of a proposition for intervention-interference in teaching how to write and we aim at introducing much knowledge to teachers and students in order to allow them to think about possible ways out.

Renovando os sentidos: percepção e escrita etnográfica na etnomusicologia

MENDES, Jean Joubert Freitas. Renovando os sentidos: percepção e escrita etnográfica na etnomusicologia. In: ANPPOM, 17. Rio de Janeiro, 2005. Anais... Rio de Janeiro: UFRN/ANPPOM, 2005.

Renovando os sentidos: percepção e escrita etnográfica na etnomusicologia

MENDES, Jean Joubert Freitas. Renovando os sentidos: percepção e escrita etnográfica na etnomusicologia. In: ANPPOM, 17. Rio de Janeiro, 2005. Anais... Rio de Janeiro: UFRN/ANPPOM, 2005.

Detectives de palavras: uma abordagem ao desenvolvimento da criatividade através da escrita

O projecto de intervenção pedagógica “Detectives de Palavras: uma abordagem ao desenvolvimento da criatividade através da escrita” remete-nos para uma análise acerca da importância da criatividade no mundo actual, como capacidade pessoal e social. Partindo da ideia de que a criatividade é o produto da interacção entre o domínio, o campo e a pessoa (Csikszentmihalyi, 1988) e de que a imaginação, a originalidade e a expressão são características essenciais do processo criativo (Bellón, 1998) desenvolveu-se um projecto direccionado para crianças em idade escolar com o intuito de desenvolver o pensamento criativo assim como despertar a motivação para a escrita e para a leitura. No presente projecto, são trabalhadas com os intervenientes algumas estratégias de Escrita Criativa passando, as crianças, a incorporarem o papel de Detectives de Palavras. Cada criança possui um kit pedagógico-didáctico de construção/investigação de histórias. Este kit é constituído por uma pasta de detective que contém alguns objectos utilizados por escritores e por detectives, tais como blocos de notas, lupas, pasta arquivadora de textos, cartões de identificação, entre outros, que podem ser capazes de ajudar as crianças a desenvolverem as suas ideias. Além de ser essencial avaliar o desenrolar do projecto, ou seja, o processo, também é importante avaliar o produto, neste caso, os textos das crianças. Contudo, avaliar a criatividade é uma tarefa complexa e muito subjectiva, por isso, esta avaliação baseia-se nos quatro factores que, de acordo com Guilford (1950) e Torrance (1972), estão envolvidos no processo criativo: a flexibilidade, a originalidade, a fluência e a elaboração.

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

A Performance como Outro Lugar da Escrita: Escritura, Autoperformance e Emergência

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

A emergência da escrita num grupo de cinco anos

Relatório de Estágio apresentado à Escola Superior de Educação de Paula Frassinetti para obtenção de grau de Mestre em Educação Pré-Escolar

O desenvolvimento lexical como potenciador do processo de aquisição da leitura em contexto do 1º. Ciclo do Ensino Básico

Trabalho de Projeto apresentado para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Educação: área de especialização em Animação da Leitura.

Tratamento didático do erro na produção escrita dos alunos do 1.º ciclo do ensino básico : um estudo de caso

Relatório de Estágio apresentado à Escola Superior de Educação do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Educação Pré-Escolar e Ensino do 1.º Ciclo do Ensino Básico.

Do Pré-escolar ao 1.º Ciclo: O percurso da escrita

Relatório de Estágio apresentado à Escola Superior de Educação de Paula Frassinetti para obtenção de grau de Mestre em Educação Pré-Escolar e Ensino do 1.º Ciclo do Ensino Básico

Metodologia de Trabalho de Projeto: uma abordagem estimulante no processo educativo

Relatório de estágio apresentado à Escola Superior de Educação de Paula Frassinetti para a obtenção de grau de mestre em educação pré-escolar e ensino do 1º ciclo do ensino básico

Prática de ensino supervisionada em educação pré-escolar e ensino do 1º ciclo do ensino básico: a aprendizagem da leitura e da escrita na primeira infância (dos 3 aos 10 anos)

O presente relatório surgiu da nossa investigação e da nossa praxis tanto no contexto da Prática de Ensino Supervisionada em Educação Pré-Escolar, como em Ensino do 1º Ciclo do Ensino Básico, em instituições da cidade de Évora. O principal objetivo foi compreender a finalidade e funcionalidade atribuída pelas crianças à aprendizagem da leitura e da escrita. Neste sentido, foi construído um referencial teórico que sustentou todo o processo de investigação. Desta forma, considero fundamental, contextualizar de forma breve, os ambientes educativos e a conceção da ação educativa que regeu a minha prática. O presente relatório foi construído com base na investigação-ação, levando assim, à utilização de algumas técnicas e instrumentos de recolha de dados, de forma a atingir os objetivos propostos. Ao longo da investigação procurei promover o desenvolvimento da leitura e da escrita, por parte das crianças, no contexto educativo, bem como, promover uma exploração da língua portuguesa articulada com os diversos domínios curriculares. Os resultados que surgiram deste trabalho veem evidenciar que as crianças já apresentam diversos conhecimentos acerca do que é a leitura e a escrita, bem como a sua funcionalidade. Por outro lado, é notória a separação entre a educação pré-escolar e o 1º Ciclo do Ensino Básico, no sentido em que, no primeiro contexto, as crianças apresentam um papel central na aprendizagem, pois tudo é realizado com base nos seus interesses e necessidades, ao passo que, no segundo contexto, as atividades são planeadas para as crianças, mas elas não são participantes nesses processos. Assim, este relatório encontra-se organizado em quatro capítulos. O primeiro capítulo refere-se à fundamentação teórica que sustenta a investigação do tema. O segundo capítulo encontra-se relacionado com a conceção da ação educativa, na qual são apresentados os contextos onde desenvolvi a minha prática. No terceiro capítulo encontra-se a metodologia aplicada ao longo da PES, tendo por base a questão do educador/professor-investigador, bem como a análise, interpretação dos dados obtidos através da entrevista individual semiestruturada e respetivas conclusões. Por fim, no quarto capítulo tecerei implicações e investigações futuras acerca do estudo realizado; Supervised Teaching Practice in Pre-School Education and Teaching of the 1st Basic Education: Learning reading and writing in early childhood (from 3 to 10 years old) Abstract: This report emerged from our research and our praxis both in the context of Supervised Teaching Practice in Pre-School Education, as in teaching of the 1st Cycle of Basic Education in some institutions of the city of Évora. The main objective was to understand the purpose and function assigned by the learners to reading and writing. In this sense, a theoretical framework was created which underpinned the whole process of investigation. In this way, I consider fundamental to contextualize briefly the educational environments and the design of the educational action that conducted my practice. This report was built on the basis of research–action leading to the use of some techniques and tools for data collection in order to achieve the proposed objectives. Throughout the investigation I tried to promote the development of reading and writing by children in the educational context, as well as to promote an exploration of the Portuguese language in conjunction with the diverse curricular areas. The results that have emerged from this work prove that children have already a wide knowledge about what reading and writing are as well as its functionality. On the other hand, it is evident the separation of pre-school education from the first cycle of basic education in the sense that, in the first context, the children have a central role in learning, because everything is done based on their interests and needs, while in the second context activities are planned for the children, but they do not participate in those processes. Thus, this report is organized into four chapters. The first chapter refers to the theoretical background that supports research on the theme. The second chapter is related to the design of educational activity, which presents the contexts where I developed my practice. The third chapter presents the methodology applied along the PES based on the issue of educator/teacher-researcher, as well as the analysis, interpretation of data obtained through the individual semi-structured interview and the corresponding conclusions. Finally, in the fourth chapter I will discuss the implications and the future investigations about the study performed.

O processo criativo e a personalidade criadora : um estudo da poética de Anaïs Nin no poema em prosa A Casa do Incesto

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Programa de Pós-Graduação em Literatura, 2016.

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game