A vingança é criar: o excesso como desconstrução dos modelos femininos no ensino da arte

• Autor(a) principal: Hennig, Isabel Regina de Souza Lobo
• Data de Publicação: 2018
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/5967
• topic: Art learning; Feminine; Feminism; Woman of arts; Woman artist; Arte Estudo e ensino; Mulheres na arte; Arte na educação; Mulheres artistas; Ensino da arte; Feminino; Feminismo; Mulher da arte; Artista; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::EDUCACAO ARTISTICA

This thesis is the result of a research dedicated to the theaching about the work of woman artists to elementary students on public schools, with children and teenagers ages 4 to 16, conducted in the Leblon Arts Center on Education for the teaching of Arts and Sports, in Rio de Janeiro Municipal Secretariat of Education. This research introduces the hypothesis that it is crucial to study the work of woman artists in order to understand the different and multiple aspects of the female, affirming the woman learn as important in the knowledge sphere, in the elements created, specifically by gender. The study in the aesthetic overflows of woman artists CeleidaTostes, Louise Bourgeois and the collective feminine OCírculo enables the possibility to highlight and tension the excess of stereotype that links the woman to an essential female model, as well as motivating the empirical field. The connection between the excess and the deconstruction covers the study of these artists, in dialogue with Derrida's philosophy. For this purpose, the research on the feminist movement and on identifying revenge as a strong creative act, to conduct the recovery of woman's importance in the history of art. In this context, the learning in Judy Chicago enables to activate the mentioned artists and to address the empirical field. It begins by rescuing the work process of the ceramist CeleidaTostes's relation between the mentioned artists and the learn defended by ceramist bringing together sensorial experience and cognitive knowledge. The poetic license of the experience of self to know the feminine guides the didactic lyricism of the artistic process, in which, the aesthetic overflows are part of this learning. The work allows the support to the hypothesis that it is possible, through sensible knowledge connections, meeting the woman artists work, the self - experience through the feminine in art