O projeto EMAI: uma análise sobre seus pressupostos políticos, filosóficos e pedagógicos e a questão da autonomia

Pós-graduação em Educação para a Ciência - FC

Gestão democrática da escola: possibilidades e dificuldades na percepção dos pais e dos gestores do Ensino Fundamental

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O Ensino de História, Cultura Africana e Afro-Brasileira, na perspectiva da Lei Nº 10.639/2003: análise de políticas públicas na EE. Prof. Hélio Palermo, cidade de Franca SP

Pós-graduação em Planejamento e Análise de Políticas Públicas - FCHS

Gestão democrática: participação da família em uma Escola Municipal de Educação Básica no interior do Estado de São Paulo

Pós-graduação em Planejamento e Análise de Políticas Públicas - FCHS 33004072069P5

Currículo, Infância e Educação Corporal: Fundamentos na perspectiva histórico-cultural e orientações no campo da interdisciplinaridade

Pós-graduação em Docência para a Educação Básica - FC

A questão do voto para o adulto analfabeto ou pouco letrado

The Youth and Adult Education is a reality that still stands on the school benches of Brazil. Elderly people historically get more integration in the world when appropriate to the written code. One of the issues that touch this insertion is the right to vote and, more than that, the awareness of the vote of young and adult illiterate or poorly literate. Thus, this project aims to raise throug the point of view of this student how he see himself as voter and what is their role in the democratic consolidation of this act, even if he is in the condition of illiterate or poorly literate. Therefore, a qualitative approach to research will be conducted, in which individual audio recorded interviews will be held, later transcribed and the data will be analyzed in the light of the studied literature, based on the writings of Paulo Freire. Will participate as subjects Teachers of EJA and of study the students enrolled in the Education of Young Adults rooms on the city of Bauru. The results shown in interviews with the teachers confirmed the investigation of expectations in the study of Paulo Freire which has literacy training as part of the citizenship, the results allowed the construction of the profile of a group of students. We also concluded that it was possible to deconstruct the myth of non-political consciousness of the illiterate and the presence of dialogue in pedagogical practice enabling awareness of Educating

Gestão democrática: participação da família em uma Escola Municipal de Educação Básica no interior do Estado de São Paulo

Pós-graduação em Planejamento e Análise de Políticas Públicas - FCHS 33004072069P5

Currículo, Infância e Educação Corporal: Fundamentos na perspectiva histórico-cultural e orientações no campo da interdisciplinaridade

Pós-graduação em Docência para a Educação Básica - FC

A questão do voto para o adulto analfabeto ou pouco letrado

The Youth and Adult Education is a reality that still stands on the school benches of Brazil. Elderly people historically get more integration in the world when appropriate to the written code. One of the issues that touch this insertion is the right to vote and, more than that, the awareness of the vote of young and adult illiterate or poorly literate. Thus, this project aims to raise throug the point of view of this student how he see himself as voter and what is their role in the democratic consolidation of this act, even if he is in the condition of illiterate or poorly literate. Therefore, a qualitative approach to research will be conducted, in which individual audio recorded interviews will be held, later transcribed and the data will be analyzed in the light of the studied literature, based on the writings of Paulo Freire. Will participate as subjects Teachers of EJA and of study the students enrolled in the Education of Young Adults rooms on the city of Bauru. The results shown in interviews with the teachers confirmed the investigation of expectations in the study of Paulo Freire which has literacy training as part of the citizenship, the results allowed the construction of the profile of a group of students. We also concluded that it was possible to deconstruct the myth of non-political consciousness of the illiterate and the presence of dialogue in pedagogical practice enabling awareness of Educating

80 anos do Manifesto dos Pioneiros da Educação Nova: questões para debate

O artigo, produzido no âmbito das comemorações dos 80 anos de publicação do Manifesto dos Pioneiros da Educação Nova, interroga-se sobre a atualidade dessa carta. Para tanto, explora as condições históricas de emergência do documento, os significados atribuídos à Escola Nova no Brasil na década de 1930 e as contendas ocorridas na arena educacional no período. Além disso, discorre sobre as especificidades do movimento escolanovista brasileiro, procurando demonstrar que a Escola Nova constituiu-se no país como uma fórmula, com significados múltiplos e distintas apropriações produzidas no entrelaçamento de três vertentes: a pedagógica, a ideológica e a política. No que tange ao primeiro aspecto, a indefinição das fronteiras conceituais permitiu que a expressão Escola Nova aglutinasse diferentes educadores, católicos e liberais, em torno de princípios pedagógicos do ensino ativo. No segundo caso, a fórmula ofereceu-se como meio para a transformação da sociedade, servindo às finalidades divergentes dos grupos em litígio. Já na terceira acepção, tornou-se bandeira política, sendo capturada como signo de renovação do sistema educacional pelo Manifesto e por seus signatários. Assim, o documento emergiu como parte do jogo político pela disputa do controle do Estado e de suas dinâmicas, e, portanto, como elemento de coesão de uma frente de educadores que, a despeito de suas diferenças, articulava-se em torno de alguns objetivos comuns, como laicidade, gratuidade e obrigatoriedade da educação. Ademais, ele também foi representante de um grupo de intelectuais que abraçava um mesmo projeto de nação, ainda que com divergências internas.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Personality and Current Political Beliefs | Comparative Study of Polish and Belgian Samples)"

This project had a threefold aim and sought to provide answers to several different questions. Kossowska first focused on the relationship between Openness to Experience and ideological variables such as authoritarianism and conservatism. The main questions here were (1) whether there are differences between the Polish and Belgian samples studied with respect to the relationship between political ideology and Openness to Experience, and (2) whether this relationship applies to all facets of Openness to Experience. The study showed significant negative correlations between Openness and right-wing ideology in both adult samples, and that Fantasy and Actions were the most robust correlates of political ideology. A second problem examined concerned the relationship between ideology and cognitive functioning. The important questions here were about the conceptualisation and measurement of cognitive variables such as rigidity, intolerance of ambiguity, or the need for closure, which determine individuals' attitudes to politics. The results confirmed the significance of the need for closure construct in both samples for understanding the process of formulating and holding political beliefs. The last aspect of the study was the differences in political beliefs between the Polish and Belgian samples in relation to the social, political and economic situation in the two countries. The most important question here was the changes in the political mentality of Poles during the period of system transition. Kossowska expected to find differences between Poles and Belgians with respect to the level of conservatism and authoritarianism, but in fact both samples showed comparable levels of right-wing political beliefs.

Pedagogical Aspects of Sustainable Development"

The project produced three main sets of results. The first is related to the conception of ecological education, the second to an investigation of the current situation in ecological education in secondary schools in the Czech Republic, and the third presents ways and means of improving ecological education in schools. Kvasnickova first developed ideas on attitudes to the environment, clarified the term "ecological education" and carried out a methodological analysis of the systematic conception of ecological education, She then investigated the current situation of such education in various types of secondary schools throughout the country. Her results showed that the main problems of ecological education are the lack of an integrated approach to such education, the inadequate preparation of teachers and the lack of information in the area. During the project, she ran many seminars to increase teachers' qualifications for ecological education and prepared various textbooks, methodological guides and teaching aids.

Civil Society and Political Parties in the Period of Transition

The major aim of Mr. Marada's project was to investigate the role of political parties on the one hand, and various institutional forms of civil society on the other, in the process of establishing mechanisms of political decision-making and policy-formation in Czechoslovakia and the Czech Republic, after November 1989. Mr. Marada wanted to examine what consequences the interplay and tensions between political parties and institutions of civil society had on the status and practical understanding of citizenship and civil society. At the beginning of his research Mr. Marada found that, while the sphere of the political was relatively clearly defined, the phenomenon of civil society required a conceptual clarification. He devoted a great deal of time to analysing the emergence, development, and disintegration of Civic Forum as the major agent of the regime change and subsequent political reforms. Alongside this analysis is a commentary on Czech society in general, drawing on established research to show how, as yet, a kind of civic incompetence reigns within the country, and how this situation has its roots in the belief, promoted by politicians themselves, that politics is an activity for experts only. The final outcome of his research took the form of a series of articles, in English, totalling 40 pages.

The Ingrian Question as a Historical and Political Phenomenon

The project dealt with the political history of the Finnish-speaking minorities of the Russian northwest, mainly in the 20th century. The first part looks at the development of the national movement of the Ingrian Finns and other related ethnic groups (Izhoras, Votes) from the turn of the century to 1920, when Estonia and Finland signed peace treaties with Soviet Russia and the national rights of the Finnish minority in Russia were to some extent guaranteed. In the second section, on the history of the Ingrians during Soviet and post-Soviet times, areas covered include Ingrian national-cultural autonomy in the 1920s, the activities of Ingrian "ingri" organizations in Finland during the inter-war period, social and national repression and the end of autonomy in the 1930s, the dispersal of the Ingrians during the second world war, their first attempts to return home in the immediate post-war period, trends in the development of the social and cultural life of Ingrians during the last 40 years, and the prospects for their existence as an ethnic unity in the future. The research is based on documentary sources from 15 Russian archives, many of which have not previously been used.