SABERES DAS PROFESSORAS ALFABETIZADORAS BEM-SUCEDIDAS

Objetivando investigar os saberes presentes na prática pedagógica de seis professoras que, ao longo de sua trajetória profissional, apresentaram uma prática bem-sucedida na alfabetização, sempre atuando em região periférica de uma cidade da Grande São Paulo, utilizei, neste estudo, entrevista semiestruturada, observação participante e relato de história de vida, no intuito de responder às questões: O que há de significativo nas práticas bem-sucedidas das professoras alfabetizadoras? Quais saberes são mobilizados com os educandos no processo de alfabetização? Como as professoras lidam com diferentes saberes dos alunos e com as situações em que se defrontam com um possível não saber? Inicialmente, descrevo o contexto histórico da alfabetização em 1983, com a implantação do Ciclo Básico de Alfabetização (DURAN, 1995), período em que as professoras-alvo da pesquisa iniciaram carreira no magistério na rede pública estadual e foram desafiadas a uma nova forma de pensar a alfabetização no âmbito da Psicogênese da Língua Escrita (FERREIRO e TEBEROSKY, 1979), embasadas no construtivismo piagetiano, numa ação dialógica com autores que priorizam a reflexão sobre saberes e prática pedagógica (FREIRE, 1996; OLIVEIRA, 1997; ALARCÃO, 2005 e TARDIF, 2007). Os resultados mostram que a constituição dos saberes das professoras na condução do trabalho em sala de aula ocorre ao longo da trajetória de formação e atuação pedagógica, em diferentes momentos: no diálogo com experiências vividas, com materiais pedagógicos produzidos; na relação com as crianças com quem convivem; nos cursos de formação de que participam; nas parcerias e trocas com professores. A criatividade diante dos desafios de alfabetizar faz com que reorganizem o saber e busquem conhecimentos para que a qualidade das intervenções e ações pedagógicas atenda a diversidade que compõe o espaço da sala de aula. Por acreditarem na capacidade das crianças, propiciam atividades desafiadoras que oportunizam a reflexão sobre a leitura e a escrita (FERREIRO, 1989, LERNER, 2002 & WEISZ, 2002), sempre respeitando os conhecimentos prévios do aprendiz que interage com elas e constrói conhecimentos.(AU)

SINDICATO DOS PROFESSORES DA REDE PÚBLICA DE EDUCAÇÃO DO ESTADO DE SÃO PAULO: COMO VAI O MOVIMENTO NA ERA NEOLIBERAL?

O estudo sociopolítico aqui contido analisa a ausência da participação dos professores do ensino público da rede estadual de São Paulo nos movimentos sindicais, a partir da década de 2000. À desvalorização da carreira e os baixos salários continuam sendo queixas semelhantes ao passado; o que difere é que não há mais movimento como no passado. Para pesquisar tal inércia partimos da observação da participação dos professores nos movimentos sindicais a partir de 1980 até 2009 e dividimos em dois períodos: o primeiro período, que vai de 1980 a 1989 e 1990 a 1999, (porque neles, ocorreram as maiores movimentações da categoria), e um segundo período que vai de 2000 a 2009 (onde se observa claramente o declínio de tais movimentos). O objetivo dessa pesquisa é responder por que o professor atualmente não participa mais dos movimentos sindicais e o que provoca a ausência dos professores nos movimentos da categoria. Faremos a pesquisa com duas gerações de professores distintas: uma geração que vivenciou os movimentos da categoria nas décadas de 1980 e 1990, e que ainda está ativa na rede pública, e outra geração de jovens professores que ingressaram a partir de 2000. A hipótese aqui levantada é a de que as diferenças da origem de classe social dos professores, a formação política e a formação universitária dentro dos moldes neoliberais e a política neoliberal adotada para a educação pública do Estado de São Paulo, foram os fatores que influenciaram o nível de participação dos docentes em movimentos sindicais, gerando diferenças de comportamento reivindicatório entre as gerações. A pesquisa não tem por objetivo a análise das entidades sindicais e sim do pensamento e sentimento dos elementos que compõem esses sindicatos e formam a alma dos movimentos: os professores.

GESTÃO DO CONHECIMENTO: UM ESTUDO SOBRE A RELAÇÃO ENTRE A LIDERANÇA TRANSFORMACIONAL, A CONVERSÃO DO CONHECIMENTO E A EFICÁCIA ORGANIZACIONAL

Este estudo teve como objetivo principal analisar a relação entre a Liderança Transformacional, a Conversão do Conhecimento e a Eficácia Organizacional. Foram considerados como pressupostos teóricos conceitos consolidados sobre os temas desta relação, além de recentes pesquisas já realizadas em outros países e contextos organizacionais. Com base nisto identificou-se potencial estudo de um modelo que relacionasse estes três conceitos. Para tal considera-se que as organizações que buscam atingir Vantagem Competitiva e incorporam a Knowledge-Based View possam conquistar diferenciação frente a seus concorrentes. Nesse contexto o conhecimento ganha maior destaque e papel protagonista nestas organizações. Dessa forma criar conhecimento através de seus colaboradores, passa a ser um dos desafios dessas organizações ao passo que sugere melhoria de seus indicadores Econômicos, Sociais, Sistêmicos e Políticos, o que se define por Eficácia Organizacional. Portanto os modos de conversão do conhecimento nas organizações, demonstram relevância, uma vez que se cria e se converte conhecimentos através da interação entre o conhecimento existente de seus colaboradores. Essa conversão do conhecimento ou modelo SECI possui quatro modos que são a Socialização, Externalização, Combinação e Internalização. Nessa perspectiva a liderança nas organizações apresenta-se como um elemento capaz de influenciar seus colaboradores, propiciando maior dinâmica ao modelo SECI de conversão do conhecimento. Se identifica então na liderança do tipo Transformacional, características que possam influenciar colaboradores e entende-se que esta relação entre a Liderança Transformacional e a Conversão do Conhecimento possa ter influência positiva nos indicadores da Eficácia Organizacional. Dessa forma esta pesquisa buscou analisar um modelo que explorasse essa relação entre a liderança do tipo Transformacional, a Conversão do Conhecimento (SECI) e a Eficácia Organizacional. Esta pesquisa teve o caráter quantitativo com coleta de dados através do método survey, obtendo um total de 230 respondentes válidos de diferentes organizações. O instrumento de coleta de dados foi composto por afirmativas relativas ao modelo de relação pesquisado com um total de 44 itens. O perfil de respondentes concentrou-se entre 30 e 39 anos de idade, com a predominância de organizações privadas e de departamentos de TI/Telecom, Docência e Recursos Humanos respectivamente. O tratamento dos dados foi através da Análise Fatorial Exploratória e Modelagem de Equações Estruturais via Partial Least Square Path Modeling (PLS-PM). Como resultado da análise desta pesquisa, as hipóteses puderam ser confirmadas, concluindo que a Liderança Transformacional apresenta influência positiva nos modos de Conversão do Conhecimento e que; a Conversão do Conhecimento influencia positivamente na Eficácia Organizacional. Ainda, concluiu-se que a percepção entre os respondentes não apresenta resultado diferente sobre o modelo desta pesquisa entre quem possui ou não função de liderança.

Iniciação docente na educação infantil: cenários de uma cultura profissional

This paper focalizes the initial teacher socialization in the Infantile Education from the acknowledgement about that as a phase of a professional life cycle on distinguish of other steps in the teachers’ carrier. It is based on the studies of sociological and anthropological mark with the comprehension that the professional reality is equally constructed by daily practices of social interactions in the work environment. It aims understanding how the initial process of professional culture building of beginners in the infantile education occurs under a view toward to the organizational and dynamics aspects of the teacher activity (events, interactions, practices, wisdoms, tensions and dilemmas). This investigation assuming the orientations of an ethnographic type approach has been developed in a Municipal Center of Infantile Education (Centro Municipal de Educação Infantil) in the city of Natal, with daycare and pre-school. The participant subjects are four female teachers with less than five years in Infantile Education career. It has used a participant observation and a semi-structured interview in the data building that had interpreted through a content analysis and sources triangulation. It delineates three dimensions to the professional culture scenarios: the personal and formative profile of the subjects, the school daily and the teacher work management. The multiform character of the finds evidences that the professional culture of the novice teachers has been constituted from the confrontation with different situations of unpredictably in their emotions, routines and pedagogical and administrative difficulties, simultaneously to the dilemmas of child care and educate. The solitude feeling has been generating from the institutional and scholar organization, which offers no material and pedagogical conditions to the peers collaboration and discussion. Finally it means that teaching in the Infantile Education must been based on an expanding network relations, been indispensable to the beginners the support and orientation related to doubts, wistfulness and expectations as means of socializing and redefining their teaching practice

O vencimento e a remuneração do magistério público municipal de Natal/RN: repercussões da implementação do Fundeb (2007-2010)

Le travail suivant discute le salaire touché par les professeurs et leur rémunération, face à l’implémentation du Fond de Mantenance du Développement de l’Éducation de Base et Valorisation des Professionnels de l’Enseignement (Fundeb), au Système d’Éducation Public de la Municipalité de la ville de Natal, entre les années de 2007 a 2010. L’objectif est l’analyse des repercussions du Funeb pour la rémuneration des enseignants dans le contexte de la politique de financement de l’Éducation de Base e ses propositions de valorisation des enseignants – revennu et rémunération. L’étude s’est utilisé la recherche bibliographique et documentale, les informations relatives à : Éducatif (inscriptions), rémunération (bulletin de salaire et bulletin de paie), budgétaires (recette et dépense) au ressource – microinformations du recensement scolaire (INEP/MEC), SIOPE/FNDE et lo PCCR de la municipalité (LC nº058/2004), et comme donné comparatif on utilise la rémunération et la valeur du salaire minimum national – actualisé par le INPC. À partir de là, les études montrent que dès la Constitution Fédeérale de 1988, il y a eu des changements dans la structure du financement de l’Éducation par la politique de Fonds, iniciée par le Fundef et continuée par le Fundeb, avec des reflets pour la valorisation des enseignants, spécialement, sur la rémunération. Par rapport au revennu, l’étude montre un réajustement à chaque année qui observe, en 2007, un pourcentage de 23,74%, c’est-à´dire, la plus grande de la série historique. Par l’analyse des donnés de revennus on peut observer que les enseignants, au début de leur carrière, présente des réajustement sur leur revennu et rémunération plus petit que celui du Salaire Minimum National, et pourtant les enseignants de niveau supérieur (N1), spécialisation et maîtrise (N2) ont présenté le même pourcentage de croissance de la rémunération pendant cet étude, qui correspond à 14,7%. Le pourcentage pour le professeur docteur a été noté en 33,9%. Par rapport aux enseignants de plus de temps de service, entre 10 et 15 ans, les pourcentages de réajustement ont été différents, car ils montrent des proportions croissantes selon le niveau de formation et le temps de carrière comme enseignant. Malgré le Fundeb présente des progressions, il ne s’est pas encore configuré comme une politique d’amélioration de salaire pour les enseignants. On remarque que pendant l’analyse, il y a une diminuition de proportion entre la valeur de rémunération e la quantité de salaires minimum composant le total, ce qui configure un procès qui exige de plus grands investissements aux salaires des enseignants.

Isso é o nome das coisas: a palavra-canção em Arnaldo Antunes

This thesis aims to analyze a corpus containing some hybrid poems and some images related to these poems because the omnipresence of some of them in different semiotic systems and even different books of Arnaldo Antunes. The poems in question will be drawn from two of his books: Things and Name; We will also consider some excerpts from songs, which are present in the same author career discs; as well as observe the embodiment of the poem video coming out of the paper support and enters on the TV screen through the VHS / DVD project Name. Our work focuses on this corpus, mainly observing a recurrent feature already observed at Masters level that is the hallmark of firstness, theoretical category developed by Charles Sanders Peirce. In addition to observe the semiotic aspect, we will also be a discussion of the relationship of verbal texts with visual and its nuances with changing media. The semiotic theory is basically anchored in Peirce vision studied by Lucia Santaella on the headquarters of language and thought (noise, verbal and visual). And with regard to the study of the songs, we use the theory of Luiz Tatit, which discusses the verbal intonation and musical indices as the party responsible for global understanding of Song.

Um percurso sobre o patrimônio e a morfologia urbana do centro de Fortaleza-CE

The incursion into the historical area from Fortaleza´s downtown presents reminiscences of a heritage collection that can be recognized as city built heritage, in architectural and urban aspects. The neighborhood has in its urban tracing a synthesis of the various phases from the Brazilian architecture materialized in its tracing and built goods. This composition mainly covers the eclectic production, passing the time of art déco, including the period of modern production. This paper aims to identify the existing heritage collection. This study aims to identify the existing net assets, the temporality and spatiality that allow to recreate the neighborhood´s form urbain history. Based on the theoretical and methodological support of the urban morphology urban of authors such as Aldo Rossi (1966), Gordon Cullen (1971), José Lamas (1990), Kevin Lynch (1960), and Philippe Panerai (1999) was allowed on a predefined route, to build part of urban memory of Fortaleza. The historical and morphological study runs through a sequenced analysis developed on the articulated subsets, formed by the network neighborhood squares: Praça José de Alencar, Praça Capistrano de Abreu (Lagoinha), Praça Clóvis Beviláquia, Praça do Carmo, Praça Murilo Borges (BNB), Praça Coração de Jesus, Parque das Crianças, Praça do Riacho Pajeú, Praça dos Voluntários (Polícia), Praça do Ferreira, Praça Waldemar Falcão (Correios), Praça General Tibúrcio (Leões), Praça Figueira de Melo, Bosque Dom Delgado (Pajeú), Praça Cristo Redentor, Praça Caio Prado (Sé), Praça dos Mártires (Passeio Público), e Praça Castro Carreira (Estação). Separated the neighborhood based on this square system because it is perceived that there is in these public spaces a path which includes a portion of the urban history of Fortaleza. In addition to this there is a higher concentration of goods in its area in relation to others sectors of the neighborhood, where the loss of the characterization is an imperative of the urban set. In order to find this network of public spaces contained in the study area were proposed two routes based on the city limits of 1875 established by Adolfo Herbster (Fortaleza´s city plan).The path starts by known boulevards (Imperador, Duque de Caxias and Dom Manuel avenues) and the seafront. The study is grounded in the literature review, document and empirical theme, consisting of an overlay of maps, drawings and photographic collection that ratify this net assets as both architectural urban nowadays. Among the results, it was observed that before a current context of loss of locus of the concept of historical-cultural agglomerated, the squares express the strongholds of equity ambience that perhaps stand in urban morphology of the capital from Ceará.

Promoção, vencimento e avaliação de desempenho do professor do ensino fundamental: o PCCR da rede municipal de ensino de Natal/RN (2004-2010)

This study is about the enhancement of the elementary school in Natal/RN, (PCCR - Law No. 058/2004), concerning to the horizontal promotion through the performance evaluation. It uses as reference the education policy on the legislative field hegemony and the managerial model. The analysis of the teacher´s valorization is based on the policy of Funds (Fundef and Fundeb) in the Brazilian social and educational agenda. The study focuses on the Career Plan, Career and Remuneration of teachers in the period (2004-2010).The study focuses on the Career Plan, Career and Remuneration of teachers in the period (2004-2010). The thesis argues for the necessity to adopt a direct relationship between career development and horizontal promotion for more others fifteen classes, no matter to any conditioning variables. In addition, the performance shall be evaluated by interval of 25 years to reach at least the provisions decided in the law, which determines the salary adjustment in 5% at every two years, as pointed at the PCCR, about teachers remuneration, and teachers qualifications. A work of a bibliographic and a documental review about the education funding with the purpose of enhancement of educational work, career concepts, and also promotion and evaluation performance as well was performed based on experts authors in this field. The survey was organized with the aim of articulating quantitative and qualitative information, analyzing data from the teacher's salary - payrolls and paychecks - also applying a questionnaire. After the implementation of the PCCR, it was found that the wage indices for horizontal promotion during the teaching career are tied to a strategy for evaluating the performance which disqualifies the teacher‟s salaries in a minimum percentage of 25% (up to 25 years) and there are also elements that disturb the promotion strategy. The national minimum wage was set in three salaries by the PSPN Lei nº11.738/2008 but it never reaches the three salaries at Natal/RN educational system.Otherwise, the elements that structure the horizontal promotion in fifteen classes, throughout the career, flout the minimum years of teaching work, long established in 25 years. In addition, changes in terms in the salary increase depend on individual efforts by professional development through titration. Concerning to the career, despite of the category approving its PCCR, neither this instrument nor the Funds Policy managed to establish regulations were able to cope effective rules for valuing the teachers in the educational district system. It is necessary to ensure, in percentage terms and financial, the real remuneration of teachers with the attainment of horizontal promotion, reviewing the elements that structure the career and the determinants of performance evaluation.

Processo identitário e saberes docentes: um estudo a partir da prática de ensino no estágio do curso de pedagogia da UFRN

Esta investigación parte del interés en la comprensión de la cuestión de los conocimientos enseñanza, precisamente el conocimiento necesario para el profesor profesional relacionada enseñanza, es decir, cuáles son los conocimientos, los profesores a construir en su contexto de trabajo. Somos conscientes de que el escenario es un momento de importancia fundamental para el desarrollo del conocimiento inicial de la profesión docente y la construcción de la identidad profesional. Tratando de entender estos aspectos nos preguntamos: ¿Qué conocimientos de los futuros profesores construyen o se movilizan durante la práctica docente desarrollado en el escenario? Nuestro objetivo es entender el proceso de identidad de estudiantes Pedagogía UFRN e identificar el conocimiento construido sobre la práctica docente desarrollada durante el entrenamiento supervisado de dicho curso. Se trata de una investigación cualitativa, y tenía como instrumento de recolección de datos, entrevistas semi-estructuradas con diez (10) en 2014.1 académicos que habían ocupado la práctica docente en el entrenamiento supervisado. Las entrevistas fueron sometidas a análisis de contenido propuesto por Bardin (2011). Como marco teórico, los autores también apoyan en tan Tardif (2012), Pimenta (2012), Nóvoa (1995), Perrenoud (2002), entre otros, se trata de la enseñanza de conocimientos dentro de la profesionalización docente, estableciendo relación con el proceso de identidad. Los resultados indican que, en lo que respecta a la identidad profesional, estudios teóricos en el curso de formación inicial, junto con las experiencias vividas en su mayoría en el escenario, contribuyeron a cambiar lo que los estudiantes sabían acerca de ser un maestro. Por lo tanto, algunos han fortalecido la identidad con la profesión, mientras que otros han renunciado a invertir en la carrera docente. En cuanto a conocimiento construido, se puede decir que los alumnos se dan cuenta de la pluralidad de conocimientos necesarios para una profesión tan compleja como la enseñanza. Sin embargo, a modo de síntesis, este conocimiento a su vez a aprender a planificar lecciones considerando las necesidades de los estudiantes y su contexto social. Los participantes declaran saber cómo llevar a cabo la mediación del aprendizaje a través del diálogo y actividades bien estructuradas y afecto contribuye al aprendizaje. En este sentido, se entiende que las construcciones de conocimiento en el escenario se articularon a reflexionar sobre su propia práctica e indican lo que era más importante en términos de aprendizaje de la percepción de los estudiantes. Sobre la base de este entendimiento, creemos que los momentos de observación (primero paso en el escenario) y el muy regencia podrían considerarse en el proceso de formación, para que los estudiantes se registre el aprendizaje proporcionado por la práctica. Es necesario, por tanto, que los estudiantes investiguen su propia actividad pedagógica, convirtiendo sus conocimientos en una continua construcción y reconstrucción de sus identidades a partir de la importancia social que conceden a la enseñanza.

A construção da identidade profissional de licenciados em Música da UFRN: um estudo de narrativas autobiográficas

Aims to understand the construction of the professional identity of undergraduate in Music UFRN, through the study of autobiographical sources of these subjects, checking their formative dimensions and their (re) meanings established throughout life stories. To do so, shows a brief presentation of the study and the main motivations of the author to do it; expresses the life story of the researcher and their training courses in music career; analyzes the historical overview of the route Search (Auto) biography as research and training approach (JOSSO, 2010; NÓVOA; FINGER, 2010; SOUZA, 2007; PASSEGGI; SILVA (2010b) and DELORY-MOMBERGER, 2012); It presents some reflections and discussions about the construction of identity, beyond the concepts and perceptions of the training and professional representations of this building (DUBAR, 2005); discusses the historical background regarding teacher training in Brazil and Music Education; describes the ways and methodological resources used for data collection and implementation of this research, namely, a reflective open questionnaire and autobiographical essays; It presents the life stories of the undergraduate students of the Music course and its educational and musical dimensions; Lastly, it presents a reflection about the paths taken. The results indicated that the autobiographical essays make it possible to understand the ways and social relations in the various identified training dimensions, in addition to realize that the family contexts and the first musical social contacts in informal settings, enable the licensees, an identification with the possible career lecturer in Music, as well as the main reasons for this choice. We conclude, therefore, that the experiences and musical experiences throughout life favor the construction of professional identity and that in the course of training, such experiences make ways to (re) define the musical experiences, as well as the (re) thinking their professional career.

A construção da identidade profissional de licenciados em Música da UFRN: um estudo de narrativas autobiográficas

Aims to understand the construction of the professional identity of undergraduate in Music UFRN, through the study of autobiographical sources of these subjects, checking their formative dimensions and their (re) meanings established throughout life stories. To do so, shows a brief presentation of the study and the main motivations of the author to do it; expresses the life story of the researcher and their training courses in music career; analyzes the historical overview of the route Search (Auto) biography as research and training approach (JOSSO, 2010; NÓVOA; FINGER, 2010; SOUZA, 2007; PASSEGGI; SILVA (2010b) and DELORY-MOMBERGER, 2012); It presents some reflections and discussions about the construction of identity, beyond the concepts and perceptions of the training and professional representations of this building (DUBAR, 2005); discusses the historical background regarding teacher training in Brazil and Music Education; describes the ways and methodological resources used for data collection and implementation of this research, namely, a reflective open questionnaire and autobiographical essays; It presents the life stories of the undergraduate students of the Music course and its educational and musical dimensions; Lastly, it presents a reflection about the paths taken. The results indicated that the autobiographical essays make it possible to understand the ways and social relations in the various identified training dimensions, in addition to realize that the family contexts and the first musical social contacts in informal settings, enable the licensees, an identification with the possible career lecturer in Music, as well as the main reasons for this choice. We conclude, therefore, that the experiences and musical experiences throughout life favor the construction of professional identity and that in the course of training, such experiences make ways to (re) define the musical experiences, as well as the (re) thinking their professional career.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.