Maestro de nós mesmos: uma perspectiva comparativa entre as figuras do maestro e do professor

• Ano de defesa: 2013
• Autor(a) principal: Campos, Tamara de Souza
• Orientador(a): Cunha, Neiva Vieira da
• Banca de defesa: Leroux, Liliane , Pinto, Diana de Souza
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade do Estado do Rio de Janeiro
• Programa de Pós-Graduação: Programa de Pós-Graduação em Educação, Cultura e Comunicação
• Departamento: Centro de Educação e Humanidades::Faculdade de Educação da Baixada Fluminense
• País: BR
• Palavras-chave em Português: Maestro; Professor; Papel Social; Análise de Discurso; Cinema
• Palavras-chave em Inglês: Conductor; Teacher; Social Role; Discourse Analysis
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::EDUCACAO
• Link de acesso: http://www.bdtd.uerj.br/handle/1/10137

This study aims to determine if there are similar aspects in the relationship between teacher and orchestra conductor. The hypothesis is that the practice of these social actors, within the institutional environment of school and orchestra, limits the actions of individuals who were subordinate to them in case, musicians and students - resulting in students who always depend on explanations and can not move forward without the tutelage of master and musicians who are restricted to the function of the sound technicians, mere executors, not helping, for example, to compose the show, choosing repertoire, among other acts considered the purview of the conductor, that would be the true artist inside the orchestra`s microuniverse. Likewise, the teacher would be the only holder of true knowledge, scientific knowledge. To investigate whether such a comparative perspective was possible, was adopted sóciointeracional discourse analysis to study four scenes from two movies: Orchestra Rehearsal, to investigate the social role of conductor and musician, and To sir with Love, for the roles of teacher and student were analyzed. Besides the analysis of sociointeracional discourse, that was explored as a perspective, we used the Hymes s SPEAKING grid, from the ethnography of communication, applied as a methodological tool to understand the scenes of the movies in a deeper way: who are the social actors involved, what are the communicative purposes, what are the tone of the communication and the rules governing the interaction. To make more clear how in the course of the dramatic interaction actors cooperate to define the situation, understand their roles, negotiate, stand, break the rules or submit to them, we used the dynamics of framings and footings, enabling see how the positions of the actors change in the course of meeting face to face