Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Weiberg, Caroline
 |
| Orientador(a): |
Pereira, Marcos Villela
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica do Rio Grande do Sul
|
| Programa de Pós-Graduação: |
Programa de Pós-Graduação em Educação
|
| Departamento: |
Escola de Humanidades
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://tede2.pucrs.br/tede2/handle/tede/6749
|
Resumo: |
This dissertation has the objective of finding relations between experiences with contemporary art and openings to alterity. For that, it explores the aspects of the interpretative openness of contemporary art, connected to its lack of canons and to the loosening of rules, as it ties the experience with contemporary art to possible openings to the other. Brings, as an element to help think the articulations between experiences with contemporary art and openings to alterity, references to previous professional experiences and specifically to the empirical field of this research, accomplished with students of a second year of elementary school, of the public network of the Porto Alegre municipality, in the year 2015. With this class, during a period of four months, was worked the language of drawing, with greater focus to a kind of drawing that furthers itself from the drawing understood as standard in the school culture: the representative drawing, faithful to the model and, because of it, pretty. We analyzed, above all, the experimentations with drawings, activities that associate the drawing to the trace, to the course, giving it status of process and not final work. Explore other ways of drawing, proposing other possibilities of comprehending the drawing and, consequently, other possibilities of understanding itself and the world, was the way found to, who knows, provide openings to alterity. Takes as theoretical horizon the hermeneutics philosophy of Hans-Georg Gadamer, which does not applies as method, but as a theory of the understanding that explores the reflexive dynamic between the strange and the familiar, shifting the interpretative horizons of the subjects as it produces experiences. Goes along the path of understanding the art class as a laboratory of negotiation, providing situations that make possible for the subjects to operate from a work of art (or work made in class) and produce meaning over it. As the meaning of things are not given, but attributed in distinctive ways by each subject, the negotiated attitude comes to amplify the possibilities of connection between subjects and artworks. The negotiation is comprehended as encounters between artwork(s) and subject(s) which lead the subjects to review their positions, provoking a new thinking about what was taken as given, establishing new possibilities to what could already be fixed. |
