THE FORMATIVE POWER OF ART IN EDUCATION: A FOUCAULDIAN PERSPECTIVE

The Event of Difference in Art Education from the Perspective of Heraclitus, Nietzsche and Deleuze: A Theoretical-Philosophical Essay on Teaching Performance

Between astonishment and dust: archives in educational research

Abstract This article proposes a reflection on the notion of archives in the work of Michel Foucault, highlighting two complementary movements in its conceptual formulation. On the one hand, archives appear as a monument, the result of an archaeological gesture that destabilizes the linearity of history and interrogates regimes of knowledge through the conditions of emergence of discourse. In this sense, discontinuity, rarity, and the materiality of what is said are foregrounded as elements that challenge totalizing narratives and promote attentive listening to the forces that traverse and sustain knowledge. On the other hand, the poetic dimension of archives is emphasized, understood as an investigative operation driven by astonishment, curiosity, and openness to chance, an effect of the dust of time and of what is found in the interstices of documents. This perspective suggests attentive listening to deviations, traces, and to what escapes, resists, and insists on remaining. Finally, the idea of “prying,” as evoked by Foucault, is outlined as a possible methodological gesture for research in education, especially in the face of the recurrence of ready-made questions and answers and the urgency of interrogating the ways in which knowledge is produced, legitimized, and circulated. This is perhaps less a conclusion than a wager still in the making: to be struck by the dust of archives and their traces of lives, marks of time, and spaces of suspension, as a way of opening breaches in the hurried logic of the present.

O documentário como instrumento de educação crítica

 This theoretical and bibliographic essay proposes a reflection on the use of documentary film as a pedagogical tool for critical education in secondary school, with emphasis on the listening methodology developed by Brazilian filmmaker Eduardo Coutinho. The corpus brings together six films that mark distinct moments of the director’s career, Cabra Marcado para Morrer (1984), Santo Forte (1999), Edifício Master (2002), Peões (2004), Jogo de Cena (2007) and Últimas Conversas (2015), examined with attention to how the method repeats itself and changes in each work. It is argued that the principles of this practice, among them active listening, dialogism, openness to the unexpected and the refusal of single truths, offer relevant foundations for an emancipatory and collaborative audiovisual pedagogy. The text articulates these principles with the mafuá pedagogy proposed by César Migliorin, with Bakhtin’s dialogism and with Paulo Freire’s liberating education, and extends the discussion to the field of Geographic Education, in which concepts such as place, landscape and territory gain density in students’ audiovisual production. The contribution of the essay lies less in inaugurating the connection between Coutinho and education and more in bringing together, within a single framework, listening, mafuá, dialogism, critical education and geographic knowledge, suggesting paths for school practices committed to critical citizenship, especially in the face of phenomena such as the precarization of labor and spatial inequalities.

THE CONTENTS OF PHYSICAL EDUCATION IN THE FIELD OF LANGUAGES FROM A SEMIOTIC-PRAGMATICIST PERSPECTIVE

DIDACTIC-PEDAGOGICAL TRAINING OF ART TEACHERS IN BASIC EDUCATION: DISCOURSES, PRACTICES AND PEDAGOGICAL MEDIATIONS

This article analyzes the didactic-pedagogical training of art teachers in Basic Education, using Francisco Feitosa Chaves' dissertation as a reading guide and expanding the discussion through recent bibliographic production, normative documents and open research on art education. The study is based on the understanding that the art educator's performance is not limited to technical mastery of artistic languages, as it involves curricular choices, cultural mediations, critical reading of images, listening to student experience and construction of practices that relate art, school and social life. The discussion addresses the historical trajectory of the component, the shift from practices centered on copying to proposals focused on authorship, legal changes that consolidated art teaching as a mandatory area, the influence of BNCC, the impacts of digital technologies and current requirements of initial and continuing education. The research has a bibliographic and qualitative character, with authorial writing, without the use of direct quotation. The text argues that teaching in the arts must be understood as intellectual, cultural and pedagogical work, capable of articulating specific knowledge, planning, evaluation, aesthetic repertoire and commitment to the human formation of students.

Narrative story in ethically oriented teacher training – the optics of teacher candidates

Abstract The aim of this empirical study is to reflect on the possibilities for using a narrative approach in university teacher education. In a course called ‘Ethics in the Teaching Profession’, this approach was applied to a group of students of preschool and elementary education. The treatment of ethical issues was conducted through selected works of art. In an interactive lecture, students were presented with two Classical myth stories depicted in works of art. They were then asked to reflect on this approach to reveal their views on the method and its effects on their perspective as teachers. Methodologically, the research was based on a thematic analysis of 152 student documents totaling 93,000 words. A content analysis of this material yielded four main themes: from distrust to acceptance, didactic inspiration, the timelessness of art, and lessons learned. The results suggest that a narrative approach can enrich future teachers’ professional thinking, enhance their awareness of teaching ethics, and foster their capacity for ethical judgment. According to its percipients, the narrative form, supported by embodied artistic artifacts, has great potential to develop teachers’ ethical competences during their teacher training.