Suchergebnisse

O presente artigo apresenta uma pesquisa que tomou como hipótese uma interpretação crítica da história da educação não formal no Brasil, que aborda seu surgimento ligado a um projeto conservador para mitigar a força da educação popular no período da Ditadura Civil Militar. A investigação partiu de tais indícios e de uma proposta metodológica da sociologia política que se refere ao estudo das formas sociais hegemônicas para buscar elos de tal processo na história da educação não formal. A exposição que segue apresenta os resultados de uma investigação com base em pesquisa bibliográfica e documental. De um lado, tal processo é especificado pela substituição dos programas de educação de adultos desenvolvidos no início dos anos 1960, no bojo dos movimentos de cultura popular, que tinham Paulo Freire como referência, pela instituição do Mobral (Movimento Brasileiro de Alfabetização). De outro lado, o exame dos documentos da UNESCO, sobretudo a partir dos textos de Philip Coombs, considerado o pioneiro no uso do termo educação não formal, como recomendação para superação da crise na educação. Em ambos os movimentos, o nacional e internacional, é possível identificar a gênese dessa forma social que se configura pela associação entre Estado, entidades privadas e sociedade civil. Essa forma altera os agentes e as finalidades de uma educação voltada às classes populares. A prevalência dessa forma social apresenta-se em outros momentos-chave da história da educação não formal, sobretudo na década de 1990, com o crescimento do terceiro setor, das ONGs e das fundações e institutos empresariais. ; This article presents a research that considered as a hypothesis a critical interpretation of the history of non-formal education in Brazil. Here we address its emergence linked to a conservative project to mitigate the strength of popular education during the period of the military dictatorship. The investigation started from such indications and from a methodological proposal of political sociology that refers to the study of hegemonic social forms to search for links of such process in the history of non-formal education. The following presentation discusses the results of an investigation based on bibliographic and documental research. On the one hand, this process is specified by the replacement of adult education programs developed in the early 1960s, amid popular culture movements, which had Paulo Freire as a reference, by the institution of Mobral (Brazilian Movement of Literation). On the other hand, the examination of UNESCO's documents, especially from the texts of Philip Coombs, considered the pioneer in the use of the term non-formal education, as a recommendation to overcoming a crisis in education. In both movements, national and international, it is possible to identify the genesis of this social form configured by the association between the State, private entities, and civil society. This form changes the agents and purposes of an education aimed at the popular classes. The prevalence of this social form appears at other key moments in the history of non-formal education, especially in the 1990s, with the growth of the third sector, NGOs and business foundations and institutes.

"Roger Freitas firmly situates his book, Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani, as biography, yet the text aspires to something more: both the blurb and the introduction promise to clarify 'what music at this time actually was.' More properly, Freitas offers an articulate analysis of the social valence of musical performance within the elite circles of the seventeenth-century Italian courts; he focuses on music as a skill with material benefits. The subject of Freitas's book, Atto Melani (1626-1714), was a castrato, trained as a singer, although eventually he moved away from performance, spending the latter years of his life as a diplomat. According to Freitas, Atto - referred to by his first name, as per contemporary convention - was the 'most highly documented' musician of the seventeenth century. With few exceptions, the documents that survive are letters written by Atto, and addressed to a cross-section of the most important political figures in Italy. In his relationship to courtly culture and as a court musician, Atto participated in an increasingly anachronistic model of 'musical performance,' one which persisted in contrast with newer, recognizably modern patterns of professionalization associated with the public operatic stage. This is, perhaps, one of the most valuable aspects of this study: Freitas has ably and coherently mapped out the way in which the intricate and asymmetrical obligations of patron and client functioned in seventeenth-century Italy, situating Atto's musical skills within a broad range of courtly services and deftly portraying the castrato's gradual shift from court musician to courtier."--page 87

In diesem Artikel wird Gesellschaftskritik im Bereich der Sozialen Arbeit aus der subjektiven Sicht des Autors reflektiert. Gesellschaftskritik wird als eine 'Bewegung' in Zeit (1960-2002) und Raum (alte Bundesrepublik - West-Berlin - neue Bundesrepublik - Soziale Arbeit) sichtbar. In der Zusammenschau der 'sich wandelnden Verhältnisse' und der sich in Korrespondenz damit ebenfalls ändernden Sichtweisen der KritikerInnen wird diese Bewegung - vielleicht - nachvollziehbar. Der Autor betont besonders die Zusammengehörigkeit von Kritik und Selbst-Reflexion.

Considers how 1920s-1930s Marxist critics dealt with three central literary problems: (1) the relation of form to content; (2) the relation of literature to history; & (3) the relation of an author's ideology to his or her creative work. It is observed that early Marxists took a number of diverse approaches to the issue of form & content, contradicting the conventional criticism that Marxism of the period was inappropriately economistic. However, it is shown that, despite these varied approaches, nearly all saw that a deep understanding of history was essential for any great literature. It is found that these Marxists were able to uncover oppositional beliefs in the literature they examined, although authors experienced difficulty in discerning their own ideological positioning. It is concluded that contemporary Marxist literary critics may take from these earlier scholars the necessity of a deep understanding of history & their consciousness of social forces in the making of art & its significance. D. M. Smith