Two history manuals for teachers: histories of their production

When he took up the direction of the National Institute for Pedagogical Studies (Instituto Nacional de Estudos Pedagógicos - INEP) in 1952, Anísio Teixeira started the Schoolbook and Teaching Manual Campaign (Campanha do Livro Didático e Manuais de Ensino - CALDEME) with the objective of producing schoolbooks and teaching manuals, among other didactic material. The Brazilian History and World History manuals for teachers were ordered in 1953 to Americo Jacobina Lacombe and Carlos Delgado de Carvalho, respectively. This article follows the production of those manuals presenting, as much as possible, the characters involved in it. The conflicts and debates are expressed at a particular moment of our educational history, and relate to the process of change of the historiographical production, allowing the identification of the relations between the different spheres of the didactic production. The decision to select university teachers for the composition of those works establishes the watershed between academic productions and those of a pedagogical character. The variations between different university projects to deal with the problem of teacher education are here seen under this perspective. It is hoped that the present analysis will elucidate aspects of a public educational policy at the federal level little investigated until now. Apart from that, by following the discussions that took place during the composition of those manuals, the text seeks to examine the conceptions of History, and of its teaching, that challenged each other at that time, as well as the approximations and separations between academic and school productions.A Campanha do Livro Didático e Manuais de Ensino (Caldeme), instituída por Anísio Teixeira quando este assumiu o Instituto Nacional de Estudos Pedagógicos (Inep), em 1952, buscou produzir livros didáticos e manuais para professores, entre outros materiais didáticos. Os manuais de História do Brasil e História Geral, para professores, foram encomendados a, respectivamente, Americo Jacobina Lacombe e Carlos Delgado de Carvalho, em 1953. Este artigo acompanha a produção desses manuais, apresentando, na medida do possível, os sujeitos nela envolvidos. Os conflitos e debates são expressos em um momento particular da história educacional e se articulam ao processo de mudanças também da produção historiográfica, podendo-se identificar as relações entre as diferentes esferas de produção didática. A escolha de professores universitários para a composição de obras didáticas situa as clivagens entre produções acadêmicas e as de caráter pedagógico. Nessa perspectiva situam-se as diferenças de projetos universitários perante o problema de formação de professores. Espera-se com isso elucidar aspectos de uma política pública educacional, de âmbito federal, até agora pouco investigada. Além disso, ao acompanhar as discussões suscitadas durante a elaboração desses manuais, procura examinar as concepções sobre história e ensino de história que então se confrontaram, assim como as aproximações e separações entre a produção acadêmica e a escolar

Educação e modernidade: sob as figuras do relógio e da tipografia

Comenius funda a escola moderna, numa cosmologia arcaizante, que concebe o universo como um sistema de espelhamentos sem fim. Mas é dessa concepção que emerge a valorização de dois artefatos da modernidade – o relógio e a tipografia –, que por sua vez constituirão o modelo da escola moderna, apresentando, entre outros aspectos, a seriação do tempo e o uso didático do livro

A legislaçao sobre livros didáticos no Brasil (1808-1889)

A comunicação proposta pretende discutir a legislação sobre livros didáticos no Brasil, no período entre 1808 e 1889, buscando contribuir na construção da história da legislação sobre livro didático, com o levantamento e análise das ações do Estado, no que se refere à questão. Faz parte do Projeto Temático “Educação e memória: organização de acervos de livros didáticos”, financiado pela Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), cujo um dos objetivos é a pesquisa sobre dispositivos legais que regulam a produção, a circulação e o consumo de livros didáticos.Trabajo presentado en el Panel 3: Producciones, encuentros y conflictos entre autoridades, políticas y escuelasFacultad de Humanidades y Ciencias de la EducaciónSociedad Argentina de Historia de la Educación (SAHE

コウトウ ガッコウ キョウユ ニオケル シンパイ ソセイホウ ジツギ コウシュウ ノ コウカ ニツイテ

国立情報学研究所『研究紀要公開支援事業』により電子化

ショウガッコウ タイイク ジュギョウ ニオケル ヒョウゲン ウンドウ ガクシュウ シエン デジタル キョウザイ ノ カイハツ ト ヒョウカ キョウショク ケイケン ノ オオイ シドウシャ ニオケル ソフト シゼン ノ チカラ ノ シヨウ コウカ ニツイテ

The aim of this study is to devise a learning support software aiding primary school teachers to teach physically expressive movements in elementary P.E. class, which usually tends to be seen as difficult among P.E. teachers, and to investigate its effectiveness. An experimental class was held by using the pilot learning software, called "Power of Nature," which is designed to be suitable for teaching the higher graders of elementary school in P.E (expressive movements) class. In the experimental class, 30 children were divided into six groups, and asked to state their thoughts after each unit of teaching materials and after every class. Each group performed their works, which were recorded on VTR. The movement data were examined, firstly classified based on the components, either single or consecutive, and on the structures of the works. Then single movements were analyzed in terms of four elements: the physical parts, the basic movements and the physical level. The results can be summarized as follows: 1. 34.6% of children had experiences in creating expressive movements until the fourth graders whereas 65.4% of them had no experiences. They worked on the assignments positively and the significant differenceswere not found irrespective of their experiences. 2. The significant differences (ρ<.05) were found in such headings before and after the unit "Expressive Movement": "Hit on movements when given themes," "Hit on many scenes when given themes," "Find varieties of movements suitable for one\u27s own images," "Move well without feeling shy" and "Find good qualities of own movements and works." 3. In creating works, each group chose 4.8 single movements on average and 30 consecutive movements in total. As for spatial structures, even though every group thought out very well, circular, scattering and whirling formations were especially prominent. 4. As for the animated software used in the Expressive Movement class, up to the third class all (100%) children replied either "very useful" or "useful." In the fourth class, they replied either "not useful" (10.7%) or "not useful at all" (4.0%). The data indicate that as they became to create movement images by themselves without the support of the animated software as the classes proceeded. 5. As for the single movements that children chose, rotating and jumping movements were prominent. It shows that they judged such movements were the most appropriate to express transcendental power of Nature which was the theme in the Expressive Movement class.著者名表記「Omoto Saya」は「Omoto Aya」の誤植

ショウガッコウ タイイク ジュギョウ ニオケル ヒョウゲン ウンドウ ガクシュウ シエン デジタル キョウザイ ノ カイハツ ト ヒョウカ キョウショク ケイケン ノ オオイ シドウシャ ニオケル ソフト シゼン ノ チカラ ノ シヨウ コウカ ニツイテ

The aim of this study is to devise a learning support software aiding primary school teachers to teach physically expressive movements in elementary P.E. class, which usually tends to be seen as difficult among P.E. teachers, and to investigate its effectiveness. An experimental class was held by using the pilot learning software, called "Power of Nature," which is designed to be suitable for teaching the higher graders of elementary school in P.E (expressive movements) class. In the experimental class, 30 children were divided into six groups, and asked to state their thoughts after each unit of teaching materials and after every class. Each group performed their works, which were recorded on VTR. The movement data were examined, firstly classified based on the components, either single or consecutive, and on the structures of the works. Then single movements were analyzed in terms of four elements: the physical parts, the basic movements and the physical level. The results can be summarized as follows: 1. 34.6% of children had experiences in creating expressive movements until the fourth graders whereas 65.4% of them had no experiences. They worked on the assignments positively and the significant differenceswere not found irrespective of their experiences. 2. The significant differences (ρ<.05) were found in such headings before and after the unit "Expressive Movement": "Hit on movements when given themes," "Hit on many scenes when given themes," "Find varieties of movements suitable for one\u27s own images," "Move well without feeling shy" and "Find good qualities of own movements and works." 3. In creating works, each group chose 4.8 single movements on average and 30 consecutive movements in total. As for spatial structures, even though every group thought out very well, circular, scattering and whirling formations were especially prominent. 4. As for the animated software used in the Expressive Movement class, up to the third class all (100%) children replied either "very useful" or "useful." In the fourth class, they replied either "not useful" (10.7%) or "not useful at all" (4.0%). The data indicate that as they became to create movement images by themselves without the support of the animated software as the classes proceeded. 5. As for the single movements that children chose, rotating and jumping movements were prominent. It shows that they judged such movements were the most appropriate to express transcendental power of Nature which was the theme in the Expressive Movement class.著者名表記「Omoto Saya」は「Omoto Aya」の誤植

ショウガッコウ タイイク ジュギョウ ニオケル ヒョウゲン ウンドウ ガクシュウ シエン デジタル キョウザイ ノ カイハツ ト ヒョウカ : キョウショク ケイケン ノ スクナイ シドウシャ ニオケル ソフト シゼン ノ チカラ ノ シヨウ コウカ ニツイテ

国立情報学研究所『研究紀要公開支援事業』により電子化。著者名表記「OMOTO Saya」は「OMOTO Aya」の誤植