Navegando por Palavras-chave "História Da Arte"
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- ItemSomente MetadadadosAplicabilidade De Uma Escala Qualitativa De Sondagem Do Desenvolvimento Acadêmico E Neuropsicomotor Para Alunos Nos Três Primeiros Anos Do Ensino Fundamental Na Percepção Do Professor(Universidade Federal de São Paulo (UNIFESP), 2017-08-28) Juliao, Bruna De Oliveira [UNIFESP]; Mello, Claudia Berlim De [UNIFESP]; Universidade Federal de São Paulo (UNIFESP)The Evaluation Of Learning, With Emphasis On Monitoring The Progressive Acquisition Of Reading, Writing And Mathematical Skills, As Well As The Development Of Neuropsychomotor Skills, Can Be A Process Of Extreme Importance In The Detection Of Children At Risk For Learning Problems, As Well As In The Identification Of Individual Needs That Subsidize Appropriate Educational Interventions That Promote A Satisfactory Learning. However, In Brazil, There Are Still Few Instruments, Destined For Teachers In A Classroom Context, That Specifically Consider Neuropsychomotor Milestones Of Students In Elementary Grades. Thus, The Development Of Instruments That Help Teachers In Their Pedagogical Practice, By Guiding And Monitoring The Progress Of Pupils' Academic And Neuropsychomotor Development Throughout The School Year Is Necessary. This Study Aimed To Analyze How Teachers Evaluated The Adequacy And Applicability Of A Qualitative Scale Of Academic And Neuropsychomotor Development For Students In The First Three Years O
- ItemAcesso aberto (Open Access)A Arte Na Vida : Johan Huizinga E As Imagens Na História Da Cultura(Universidade Federal de São Paulo (UNIFESP), 2018-07-31) Lopes, Renato Ferreira [UNIFESP]; Fernandes, Cassio Da Silva [UNIFESP]; Universidade Federal de São Paulo (UNIFESP)In Johan Huizinga's View, The Study Of The Past From The Images Accesses Realities That The Official Documents And The Statistics Do Not Reach. His Attempt To "See" History Is The Proposal Of An Immersion On The Most Sensitive Side Of Historical Accounts And The Recognition That The Uses And Functions Of Images Are Not Restricted To The Artistic Universe, But That Arise Constantly In Everyday Life And In The Dreams Of People Of The Past And Present - Not Excluding Historians Whose Work Is, According To Huizinga, After Extensive Research To "Shape" Or Create An Image Of A Past Reality. In This Work We Will Follow His Idea About The Images In The History Of Culture In The First Decades Of The Twentieth Century From Lectures, Essays And The Work Of Which He Consecrated It In The Historical Studies: The Wanning Of The Middle Ages (1919). Our Purpose Is To Approximate The Author To The Field Of The Art History, Presenting How Much His Vision On The Modes Of Apprehension Of The Past Arises Closely Linked To The Art
- ItemAcesso aberto (Open Access)As diversas representações de Rogério e Angélica, de Ingres, a partir do estudo da obra Angélica acorrentada do MASP(Universidade Federal de São Paulo (UNIFESP), 2019-06-13) Rosa, Camila De Mello Carnelos [UNIFESP]; Pereira, Andre Luiz Tavares [UNIFESP]; Universidade Federal de São Paulo (UNIFESP)Jean-Auguste Dominique Ingres has made, throughout his career, several pictorial versions of the same theme. These variations are constantly debated by researchers of the painter's work, as they raise questions about what motivated the artist to produce paintings from compositions already made. One of the main issues discussed in relation to these representations concerns the artistic procedures used by Ingres, such as the use of decals and engravings, techniques that allow the reproduction of images. The subject Roger and Angelica, object of this research, is analyzed from this perspective. This study starts from the work of the São Paulo Museum of Art, Angelica in Chains, considered the last version of this painting cycle. To understand these images, other issues are also debated, such as: Ingres' references to the execution of these works, the anatomical distortions present in the character and the various styles found in these representations.
- ItemAcesso aberto (Open Access)História Da Arte E Arte/Educação: Diálogos Possíveis Nos Educativos De Museus(Universidade Federal de São Paulo (UNIFESP), 2017-08-20) Carneiro, Fernanda Da Silva [UNIFESP]; Pereira, Andre Luiz Tavares [UNIFESP]; Universidade Federal de São Paulo (UNIFESP)This research deals with the presence of the History of Art in the teaching of art, focusing on the museological space. The study focuses on an initial investigation into its insertion in museum education, in order to think about issues such as aesthetics, image reading, history and formal comparisons are contextualized and addressed. The research seeks to show a circulation of ideas in the history of art during educational visits, because we believe that art / education travels through different fields of study. In order to analyze the ideas listed, we chose the following museums: the Pinacoteca do Estado de São Paulo, the Museu de Arte Moderna, the Museu de Arte Contemporânea da Universidade de São Paulo and the Museu Lasar Segall.
- ItemSomente MetadadadosTempo, imagem e montagem em The Clock, de Christian Marclay(Universidade Federal de São Paulo (UNIFESP), 2019-07-10) Bonita, Filipe Fernandes [UNIFESP]; Ferreira, Carolin Overhoff [UNIFESP]; Universidade Federal de São Paulo (UNIFESP)The present work seeks to investigate the relationships promoted by the work entitled The Clock (2010), by the Swiss-American artist Christian Marclay, and the reasons for time, image and montage, above all. In this process, we will also come across themes that concern memory and the viewer. As an artistic object, we think that The Clock promotes aesthetic relationships that make us feel - and why not think about - these reasons. To do so, we will approach some of the authors who stand out in the chosen themes, in addition to reflecting on our experiences and others who proposed to visit and write about the film and the installation of Christian Marclay. Authors such as Norbert Elias, Jacques Le Goff, Edward Palmer Thompson and Jonathan Crary, for example, occupy an extremely important space in the theoretical orientation and support over time; as for the reflections on montage, memory and image, the thoughts of Walter Benjamin, Georges Didi-Huberman, Gilles Deleuze and Jacques Rancière, among others, are highlighted and contribute by providing density to the suggested surveys and hypotheses. We think that such theoretical reflections are closely related to the art proposed by Marclay. Understanding the specificities that separate scientific knowledge and artistic language, we think that the crossing and the knowledge that comes from the intersection of these two pillars contributes to the dialogue, in the academic scope, about contemporary art and philosophy.