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Journal articles on the topic 'Decroux'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Oliveira Jr, Antonio Carlos, and José Ronaldo Faleiro. "O SISMÓGRAFO SOCIAL DE DECROUX." O Teatro Transcende 20, no. 1 (October 1, 2015): 03. http://dx.doi.org/10.7867/2236-6644.2015v20n1p03-21.

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Este artigo descreve alguns desequilíbrios nas relações entre tendência política e textualidade corporal na representação da figura histórica do trabalhador na obra l’usine de étienne decroux (1898-1991), a fim de elaborar uma reflexão sobre o papel político da arte. Apropriando-se dos conceitos benjaminianos de tendência política e qualidade literária, tomados aqui por seus correlatos – conteúdo político e textualidade corporal – é defendida a ideia de que a relação dialética entre espanto e encanto frente às novas coreografias da modernidade, especificamente àquelas determinadas pelas novas relações de produção industrial, distendem formalmente o potencial crítico da obra. Considerando o contexto histórico dos dois “personagens” deste artigo – a frança de decroux e a alemanha de walter benjamin (1892-1940) no período do entre-guerras – estes desencaixes formais são compreendidos como registros sismográficos de alguns tremores sociais da modernidade.

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2

Leabhart, Thomas. "Pérolas de Sabedoria nas Noites de Sexta-Feira." Revista Brasileira de Estudos da Presença 2, no. 1 (June 2012): 205–17. http://dx.doi.org/10.1590/2237-266022922.

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RESUMO Este texto testemunha a pedagogia de Etienne Decroux e, em especial, as aulas dadas no início da década de 1970 no porão azul de sua casa na periferia de Paris. Apresentam-se as peculiaridades dos ensinamentos de mímica com ênfase nas lições de improvisação teatral dadas às sextas-feiras à noite. Discutem-se as incongruências e a potência do pensamento e do legado de Decroux para o teatro contemporâneo, sobretudo para a pedagogia do ator.

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3

Leabhart, Sally, and Thomas Leabhart. "Etienne Decroux and His Theatre Laboratory." TDR/The Drama Review 61, no. 2 (June 2017): 186–88. http://dx.doi.org/10.1162/dram_r_00661.

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4

Lebreton, Yves. "Decroux, in Poverty at 91, Needs Your Help." TDR (1988-) 34, no. 1 (1990): 35. http://dx.doi.org/10.2307/1146004.

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5

De Marinis, Marco. "Pesquisa, experimentação e criação em teatro no século XX." ARJ – Art Research Journal / Revista de Pesquisa em Artes 1, no. 2 (May 1, 2014): 21–38. http://dx.doi.org/10.36025/arj.v1i2.5261.

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O surgimento das vanguardas artísticas no século XIX afetou as velhas convenções e transformou os artistas em experimentadores e também em pesquisadores, no sentido científico do termo. Porém, o fato de ser um experimentador não torna o artista necessariamente um pesquisador. No domínio teatral podemos estabelecer uma distinção entre os dois: 1) Artistas experimentadores testando novos meios de expressão (Jarry, Artaud, Kantor, Carmelo Bene e Brook); 2) Artistas pesquisadores buscando novos princípios, formas, linguagens e conhecimentos (Appia, Puchs, Craig, Stanislavski, Meyerhold, Copeau, Osterwa, Decroux, entre outros). No último caso a pesquisa ocupa lugar privilegiado, onde encenadores-pedagogos dedicam a ela um tempo antes não concedido, transformando, assim, a escola num espaço também dedicado à experimentação e à pesquisa, num processo capaz de modificar os próprios pesquisadores. A análise dos exemplos de laboratório teatral de Decroux, Grotowski e Barba esclarecem noções de progresso, desenvolvimento, descoberta e demonstração na pesquisa em arte, particularmente no teatro.Palavras-chave: artista experimentador; artista pesquisador; laboratório teatral

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6

Alaniz, Leela (Sirlei). "O MIMO CORPÓREO DE ÉTIENNE DECROUX E A BUSCA DA EXPRESSIVIDADE SEGUNDO A PERSPECTIVA DE ARTIFICIALIDADE GROTOWSKIANA." Cena, no. 23 (November 23, 2017): 194. http://dx.doi.org/10.22456/2236-3254.72761.

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De acordo com Jerzy Grotowski: “Nós podemos realmente analisar cada fenômeno ritual ou teatral, observando em cada um a predominância daquilo que é orgânico e daquilo que é artificial.” Grotowski define sua própria pesquisa do trabalho do ator como uma pesquisa orgânica. Paralelamente ele define o teatro oriental, sobretudo a Ópera de Pequim, o Teatro Nô japonês e o Kathakali do sul da Índia como abordagens artificiais, considerando que cada uma dessas formas nasce de um modelo estruturado, e não da busca dos impulsos internos do ator.O Mimo Corpóreo de Étienne Decroux parece se encaixar na linhagem artificial, além de outras características, tanto pela exigência de um longo período de treinamento técnico junto a um mestre ou professor, como pela ausência de engajamento emocional que o ator deve manter em relação à ação.É possível que o trabalho desenvolvido por Decroux seja classificado como parte da linhagem artificial, tal como definida por Grotowski, à qual ele inclui as formas de teatro tradicional asiático?

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7

Leabhart, Thomas. "Jacques Copeau, Etienne Decroux, and the ‘Flower of Noh’." New Theatre Quarterly 20, no. 4 (October 25, 2004): 315–30. http://dx.doi.org/10.1017/s0266464x04000211.

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Many of Copeau's students and colleagues in the first half of the twentieth century used a specific vocabulary to describe successful performance. The performer was ‘in a trance’, or ‘possessed’, or in an ‘altered state of being’. Decroux spoke of ‘evicting the tenant from the apartment so that God could come to live there’. For Copeau and others, the mask was an important tool in the discovery of this optimum state. In this article, Thomas Leabhart suggests that the ideas of the American theatre theoretician David Cole might help us to explore what this language means in terms of shamanic voyages. Thomas Leabhart is Resident Artist and Professor of Theatre at Pomona College in California, editor of Mime Journal, and author of Modern and Post-Modern Mime (Macmillan, 1999). He is also a member of the artistic staff of the International School of Theatre Anthropology (ISTA) and teaches workshops and performs internationally. Leabhart studied with Etienne Decroux from 1968 to 1972, and served as his teaching assistant and translator.

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8

Alaniz, Leela. "Front Matter, Contents - The Dynamo-Rhythm of Etienne Decroux." Mime Journal 24, no. 1 (2014): i—iv. http://dx.doi.org/10.5642/mimejournal.20132401.01.

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9

Alaniz, Leela. "The Dynamo-Rhythm of Etienne Decroux and His Successors." Mime Journal 24, no. 1 (2014): 1–50. http://dx.doi.org/10.5642/mimejournal.20132401.02.

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10

Baylis, Nicola. "Making Visible the Invisible: Corporeal Mime in the Twenty-First Century." New Theatre Quarterly 25, no. 3 (August 2009): 274–88. http://dx.doi.org/10.1017/s0266464x0900044x.

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Corporeal mime and the work of Etienne Decroux are well known in the world of physical theatre, remaining inspirational to those who have studied and explored this complex art form. In the following article Nicola Baylis examines the prevailing misunderstandings that surround corporeal mime, briefly addressing its historical context, and moving on to discuss contemporary applications of Decroux's training system. With the increasing advent of innovative theatre produced by a new wave of actors trained in corporeal mime, she focuses on the current work of artists in Naples, and concludes with reflections on corporeal mime's relevance to present-day experimental performance and on the potential future role of the form within modern theatre. Nicola Baylis is an actor, director, and teacher who has trained in corporeal mime and commedia dell'arte. Before moving to Naples, she worked as a Lecturer in Drama on degree programmes at Bournemouth and Poole College, in conjunction with Bournemouth University. She is currently working on an adaptation of Macbeth which will be performed in London in the autumn.

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11

Grossman, Harvey. "Edward Gordon Craig, Étienne Decroux, and the Rediscovery of Mime." Mime Journal 26, no. 1 (February 28, 2017): 26–33. http://dx.doi.org/10.5642/mimejournal.20172601.05.

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12

Mascarenhas, George. "O espírito travesso na mímica corporal dramática de Etienne Decroux." Urdimento 2, no. 11 (December 11, 2018): 79–88. http://dx.doi.org/10.5965/1414573102112008079.

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13

Braga, Bya. "A proposta criativa de Étienne Decroux e a passagem de fronteiras: a interculturalidade como procedimento artístico." Conceição/Conception 4, no. 1 (August 3, 2015): 55. http://dx.doi.org/10.20396/conce.v4i1.8647674.

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O presente trabalho é uma reflexão acerca da proposta criativade Étienne Decroux, por meio da arte Mímica Corporal Dramática, na relação com o pensamento intercultural. Esta análise encontra apoio inicial na noção do teatro como um fenômeno de confluências. Ela busca reconhecer a interculturalidade como uma passagem de fronteira, a começar no exercício do ator/performer sobre si mesmo e sua identidade cultural, abrindo-se para um comportamento cênico dialógico que possa criar gestualidades expressando híbridos performativos.

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14

Camilleri, Frank. "Collective Improvisation: The Practice and Vision of Ingemar Lindh." TDR/The Drama Review 52, no. 4 (December 2008): 82–97. http://dx.doi.org/10.1162/dram.2008.52.4.82.

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Ingemar Lindh's research on the principles of collective improvisation and performance conceived as process announce an important development in the 20th-century tradition of the actor's work. After early studies with Étienne Decroux and working collaborations with Jerzy Grotowski, Eugenio Barba, and Yves Lebreton, Lindh founded the first laboratory theatre in Sweden in 1971, the Institutet för Scenkonst. His practice of collective improvisation is viewed in light of postdramatic concerns such as its resistance to fixed scores, directorial montage, and choreography as an organizing principle.

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15

Nye, Edward. "The Eighteenth-Century Ballet-Pantomime and Modern Mime." New Theatre Quarterly 25, no. 1 (February 2009): 22–43. http://dx.doi.org/10.1017/s0266464x09000037.

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Histories of mime largely overlook one of the most remarkable theatrical phenomena of the eighteenth and early nineteenth century: the ballet-pantomime. In contrast, it is widely discussed in dance history circles, as if there were a tacit understanding that only one half of this hyphenated art mattered: the ballet rather than the pantomime. This article explores the mime component of the ballet-pantomime in order to compare and contrast it with modern mime, especially Etienne Decroux's principles and practices. Through the works of Noverre particularly (since Decroux declares himself an admirer), but with reference also to other famous and less famous eighteenth-century choreographers and dancers, Edward Nye discusses five aspects of mime: use of the body, mime and dance, mime and language, objective and subjective mime, and pedagogy. He finds differences as well as similarities between modern and eighteenth-century mime, but overall argues that there is no reason to exclude the ballet-pantomime from histories of mime. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in A Bicyclette (Les Belles Lettres, 2000), and of dance, in Danse et littérature; sur quel pied danser? (ed., Rodopi, 2003).

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16

Camilleri, Frank. "Making Visible the Invisible: Ingemar Lindh's Practice of Collective Improvisation and Étienne Decroux." Contemporary Theatre Review 23, no. 3 (August 2013): 390–402. http://dx.doi.org/10.1080/10486801.2013.806314.

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17

Muscianisi, Véronique. "Une pédagogie du mouvement dramatique : la formation de l’acteur au sein de la compagnie du Théâtre du Mouvement." L’Annuaire théâtral, no. 55 (October 20, 2015): 101–13. http://dx.doi.org/10.7202/1033705ar.

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Cet article se propose d’aborder la formation des professionnels dans le domaine du théâtre gestuel à partir d’une étude centrée sur la pédagogie de la compagnie française du Théâtre du Mouvement, qui s’appuie sur les principes du mime corporel d’Étienne Decroux ainsi que sur des techniques somatiques. Nous nous demandons dans quelle mesure cette pédagogie, axée sur des connaissances anatomiques et physiologiques, apporte un vocabulaire de jeu pour un acteur conscient et autonome, tout en s’articulant à des principes de créativité pour le mouvement dramatique. Cette étude s’appuie sur un travail de terrain in situ que nous menons depuis 2009 auprès de la compagnie.

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18

Reid, Robert. "Traditions, conventions, croyances et magie." L’Annuaire théâtral, no. 52 (October 20, 2014): 9–23. http://dx.doi.org/10.7202/1027008ar.

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Les grandes traditions sont souvent présentées comme étant des formes théâtrales figées, archaïques, très codées et fortement inscrites dans le tissu d’une culture. À un point tel qu’on en vient parfois à confondre tradition théâtrale et folklore. Pourtant, ce que l’on nomme le « système » de Stanislavski peut aujourd’hui être considéré comme une tradition théâtrale, de même que la biomécanique de Meyerhold et le mime corporel de Decroux. Peut-on en dire autant du burlesque québécois et du théâtre expérimental de Jean-Pierre Ronfard et de Robert Gravel ? Ces pratiques représentent-elles des traditions propres à la culture québécoise ? Qu’est-ce qu’une tradition théâtrale ? Un point de vue sur le théâtre, une pensée artistique ou une manière de faire ? Cet article tente de répondre à certaine de ces questions.

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19

Braga, Bya. "Ser Artista-Ator-Humano na Relação com o objeto Técnico: Possíveis Diálogos Entre É. Decroux e G. Simondon." Urdimento 02, no. 19 (January 28, 2019): 23–32. http://dx.doi.org/10.5965/1414573102192012023.

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20

Camilleri, Frank. "Hospitality and the Ethics of Improvisation in the Work of Ingemar Lindh." New Theatre Quarterly 24, no. 3 (August 2008): 246–59. http://dx.doi.org/10.1017/s0266464x08000304.

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Ingemar Lindh's work on the principles of collective improvisation has crucial implications for the history of twentieth-century laboratory theatre. His early work with Étienne Decroux and Jerzy Grotowski contributed to the development of a unique practice that resists directorial montage, fixed scores, and choreography; and the ethical dimension that accompanies Lindh's research on collective improvisation is illuminating for a more holistic understanding of the technical and aesthetic considerations in theatre. In this article, Frank Camilleri discusses some of the key aspects of this dimension, notably the dynamics of hospitality and encounter that inform Lindh's approach and the question of responsibility in the actor's work. Frank Camilleri is Lecturer in Drama and Theatre Studies at the University of Kent. From 2004 to 2008 he was Academic Coordinator of Theatre Studies at the University of Malta. He is also Artistic Director of Icarus Performance Project – an ongoing research laboratory that investigates the intermediary space between training and performance processes. Camilleri's work with Lindh in the mid-1990s was instrumental for the development of this research practice.

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21

Risum, Janne. "The Crystal of Acting." New Theatre Quarterly 12, no. 48 (November 1996): 340–55. http://dx.doi.org/10.1017/s0266464x00010538.

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‘An actor is seen as if through crystals’, wrote Artaud in 1925, and Janne Risum here uses the analogy of the prism within which to discuss the range of inter-reflecting and interpenetrating analogies the theatre has borrowed from the other arts and from life in its attempts to define itself – analyzing also why it seems impelled to do so through the use of metaphor. Drawing upon the work of major theatre practitioners including Decroux, Stanislavsky, Craig, Meyerhold, Lecoq, Mnouchkine, and Barba, she explores terms which have sometimes been sharply redefined, sometimes allowed to remain indeterminate but allusive. She concludes that ‘in acting, many crystals are possible. There is an infinite number of ways to cut your own crystal, and some pieces of basic advice. There is only one condition: you have to cut one.’ Janne Risum teaches in the Institut for Dramaturgi at Aarhus University, Denmark, and is also an active participant in the International School for Theatre Anthropology. She has published widely in the fields of acting, theatre history, and women in theatre, and contributed ‘The Voice of Ophelia’, a study of the performance of Julia Varley in The Castle of Holstebro, to NTQ38 (May 1994).

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22

Nye, Edward. "Jean-Gaspard Deburau: Romantic Pierrot." New Theatre Quarterly 30, no. 2 (May 2014): 107–19. http://dx.doi.org/10.1017/s0266464x14000232.

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Jean-Gaspard Deburau was the nineteenth-century mime artist who created a new model for subsequent performers to either imitate or reject, but hardly to ignore. Silent cinema benefited from the nineteenth-century vogue for the mime in general – and the Pierrot character that he did so much to popularize in particular. The most famous mime of the twentieth century, Marcel Marceau, derived his character ‘Bip’ in part from Deburau's Pierrot. And while two of the most influential French mime artists of the twentieth century, Jean-Louis Barrault and Étienne Decroux, sought a radical departure from his Pierrot tradition, they ironically found themselves in the now legendary French film Les Enfants du paradis acting the parts respectively of Deburau and Deburau's father. In this article Edward Nye explores the reasons for Deburau's success from two perspectives: first, by considering Deburau's reputation for clarity of expression, and the absence of critical or public debate over any obscurity; and second, the context of the Romantic movement which primed spectators to appreciate his style of performance. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Mime, Music, and Drama on the Eighteenth-Century Stage: the Ballet d'Action (CUP 2011), Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in À Bicyclette (Les Belles Lettres, 2000).

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23

Dubreucq, Francine. "Jean-Ovide Decroly." Prospects 23, no. 1-2 (March 1993): 249–75. http://dx.doi.org/10.1007/bf02195039.

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24

Sklar, Deidre. "Etienne Decroux's Promethean Mime." Drama Review: TDR 29, no. 4 (1985): 64. http://dx.doi.org/10.2307/1145692.

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25

Decobert, Laurence. "La collection Decroix, joyau du département de la Musique." Revue de la BNF 46, no. 1 (2014): 5. http://dx.doi.org/10.3917/rbnf.046.0005.

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26

Dufays, Jean-Michel. "Les pédagogies Decroly et Freinet." Cahiers Bruxellois Brusselse Cahiers XLVII, no. 1 (2015): 107. http://dx.doi.org/10.3917/brux.047.0107.

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27

Wagnon, Sylvain. "Les jeux Decroly, prototypes des jeux éducatifs ?" Carrefours de l'éducation 43, no. 1 (2017): 122. http://dx.doi.org/10.3917/cdle.043.0122.

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28

Vargha, Dora. "Charlotte DeCroes Jacobs,Jonas Salk: A Life." Social History of Medicine 29, no. 3 (May 3, 2016): 652–53. http://dx.doi.org/10.1093/shm/hkw037.

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29

Cramer, Franz Anton. "Writing to Vanish: Etienne Decroux's eclipse of corporeality." Performance Research 9, no. 2 (January 2004): 94–98. http://dx.doi.org/10.1080/13528165.2004.10872019.

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30

Michel, Ci. "Le Vétérinaire Principal Emile Decroix (1821-1901) Pionnier de la lutte contre le tabagisme." Bulletin de l'Académie Vétérinaire de France, no. 4-sup (1988): 15. http://dx.doi.org/10.4267/2042/64593.

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31

Pastore, Federico. "Dermatitis atópica. Comorbilidades." Dermatología Argentina 26, no. 2 (June 1, 2020): 92. http://dx.doi.org/10.47196/da.v26i2.2090.

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Los pacientes con dermatitis atópica pueden desarrollar otras comorbilidades alérgicas, así como infecciones bacterianas y virosis cutáneas y extracutáneas, en ocasiones, severas. Con menor frecuencia, se señalan otras patologías que deben investigarse, como afecciones neuropsiquiátricas: ansiedad, depresión; obesidad, diabetes tipo 2; cardiopatías: infarto de miocardio, coronariopatías; neoplasias, en especial linfomas; enfermedades autoinmunes: gastroenteritis inmunes, enfermedad deCrohn, colitis ulcerosa, celiaquía; alopeciaareata.

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32

Montandon, Christiane, and Floriane Buvat. "Bien vivre ensemble à l’école/collège Decroly : pratiques et témoignages." La nouvelle revue de l'adaptation et de la scolarisation 79-80, no. 3 (2017): 261. http://dx.doi.org/10.3917/nras.079.0261.

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33

Wagnon, Sylvain. "Amélie Hamaïde (1888-1970) l’illustre inconnue de la pédagogie Decroly." Cahiers Bruxellois Brusselse Cahiers XLVII, no. 1 (2015): 132. http://dx.doi.org/10.3917/brux.047.0132.

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34

Depaepe, Marc, Frank Simon, and Angelo Van Gorp. "The Canonization of Ovide Decroly as a “Saint” of the New Education." History of Education Quarterly 43, no. 2 (2003): 224–49. http://dx.doi.org/10.1111/j.1748-5959.2003.tb00121.x.

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If any Belgian educator belongs to the canon of the New Education, it is certainly Ovide Decroly (1871–1932). Particularly in southern Europe and in many Latin American countries, the ideas and the work of this French-speaking Brussels doctor have been inspirational for a movement that projected itself worldwide—albeit in different modes—as the “child-oriented,” “progressive” alternative to the rigid, traditional school. As recent research has shown, this movement manifested itself primarily by means of the development of its own language and discourse in which the “new school” was projected into a “new” society. However, ultimately, it turned out that the “new” did not involve a radical break with the modernizing trends from which it emerged and that it wanted to combat. Without going further into the discussion of its success or failure, about continuity and discontinuity of discourse and movement, we want to show that the construction of the self-discourse of the New Education was largely determined by the extolling of its own merits. We will do this via the example of Ovide Decroly. This extolling was generally done by epigones who, from the immediate circle of often charismatic school reformers, gazed in wonder on the work of the Master (or Mistress) and ascribed to his or her “method” an authenticity that it did not actually have.

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35

Leabhart, Thomas, and Sally Leabhart. "Edward Gordon Craig's Übermarionette And Étienne Decroux's "Actor Made Of Wood"." Mime Journal 26, no. 1 (February 28, 2017): 26–33. http://dx.doi.org/10.5642/mimejournal.20172601.06.

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36

Wagnon, Sylvain. "Ovide Decroly : le cinéma au service de la psychologie de l'enfant ?" Le Télémaque 44, no. 2 (2013): 99. http://dx.doi.org/10.3917/tele.044.0099.

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37

Van Gorp, Angelo. "The Decroly School in documentaries (1930s–1950s): contextualising propaganda from within." Paedagogica Historica 47, no. 4 (August 2011): 507–23. http://dx.doi.org/10.1080/00309230.2011.588242.

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38

Sim, Xuan Ming, Chen-Gang Wang, Xu Liu, and Atsushi Goto. "Multistimuli Responsive Reversible Cross-Linking–Decross-Linking of Concentrated Polymer Brushes." ACS Applied Materials & Interfaces 12, no. 25 (June 9, 2020): 28711–19. http://dx.doi.org/10.1021/acsami.0c07508.

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39

Jasmis, Jamaluddin, Shamsul Jamel Elias, Azlan abdul Aziz, Mohd Zaki Zakaria, R. Badlishah Ahmad, Roshidi Din, and Rosmadi Bakar. "Verification and validation of IM-DeCRuD approach using DESMET for its applicability." Indonesian Journal of Electrical Engineering and Computer Science 13, no. 3 (March 1, 2019): 1311. http://dx.doi.org/10.11591/ijeecs.v13.i3.pp1311-1317.

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Requirements crosscutting in software development and maintenance have gradually become an important issue in software engineering with a growing need of traceability support to better understand the requirements crosscutting processes to comply with industrial standards. However, many recent works focusing on identification, modularization, composition and conflict dissolution of requirements crosscutting are mostly saturated at requirements level. Hence, these works fail to specify crosscutting properties for functional and non-functional requirements at other phases leading to insufficient support for software engineers. Recently, a new approach called the Identification, Modularization, Design Composition Rules and Conflict Dissolutions (IM-DeCRuD) was proposed to provide a special traceability to facilitate better understanding and reasoning towards requirements crosscutting implementation, along with a tool as a proof-of-concept. In this paper, the tool was evaluated and the results were verified by some experts in the industries. The feedbacks on applicability aspect were then gathered and analyzed using DESMET qualitative method. The outcome showed that the IM-DeCRuD was applicable to cope with the tedious engineering processes in handling crosscutting properties at requirements, analysis and design phases for system development and evolution.

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Besse, Jean-Marie. "¿Una psicología de la educación?" CPU-e, Revista de Investigación Educativa, no. 5 (November 8, 2012): 1–26. http://dx.doi.org/10.25009/cpue.v0i5.110.

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En este artículo se discute la pertinencia de los distintos esfuerzos por hacer intervenir a las disciplinas psicológicas en el ámbito de la educación, de lo cual han derivado denominaciones como “psicopedagogía”, “ciencia de la educación”, “investigación pedagógica”, “experimentación educativa”. Se cuestiona esta intención de establecer un acercamiento cientíico de la infancia y de la educación. Para ello, se analizan y confrontan las relexiones de Decroly donde se cruzan psicología y educación, ciencia y pedagogía, la obra “psicopedagógica” de A. Binet y algunas intervenciones “pedagógicas” de J. Piaget.

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41

Ślęczka, Ryszard. "Nowe kierunki w nauczaniu i wychowaniu prezentowane w „Ruchu Pedagogicznym” w dwudziestoleciu międzywojennym." Nauki o Wychowaniu. Studia Interdyscyplinarne 11, no. 2 (November 6, 2020): 166–77. http://dx.doi.org/10.18778/2450-4491.11.13.

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W artykule przedstawiono odniesienia do europejskich, czy światowych doświadczeń w obrębie pedagogiki nowego wychowania. Czyniono to najczęściej za pośrednictwem czasopism naukowych lub popularnonaukowych. Do jednego z nich należał „Ruch Pedagogiczny” redagowany przez Henryka Rowida, autora koncepcji szkoły pracy. Na jego łamach prezentowano aktualne poglądy takich pedagogów, jak: J. Deweya, G. Kerschensteinera, H. Parkhurst, Owidiusza J. Decroly᾽ego, Rudolfa Steinera i innych. Poprzez „Ruch Pedagogiczny” starano się zachęcać całe środowisko nauczycielskie do odejścia od tradycyjnych metod nauczania i wychowania (mających swoje oparcie w dziewiętnastowiecznym herbartyzmie) na rzecz nowatorstwa pedagogicznego.

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Decreus, Freddy. "Over Caligula en repertoiretheater. Freddy Decreus in gesprek met Ivo van Hove." Documenta 14, no. 3 (April 24, 2019): 187–97. http://dx.doi.org/10.21825/doc.v14i3.10895.

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43

Wagnon, Sylvain. "Ovide Decroly, un programme d'une « école dans la vie » aux accents leplaysiens ?" Le Télémaque 33, no. 1 (2008): 129. http://dx.doi.org/10.3917/tele.033.0129.

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Sekeres, Mikkael A. "‘Henry Kaplan and the Story of Hodgkinʼs Disease’ by Charlotte DeCroes Jacobsʼ." Oncology Times 32, no. 18 (September 2010): 21–22. http://dx.doi.org/10.1097/01.cot.0000389888.35108.5a.

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45

Teive, Gladys Mary Ghizoni, and Norberto Dallabrida. "O jornal A Escola e a construção da escola moderna e republicana (Laguna, década de 1910)." História da Educação 17, no. 40 (August 2013): 55–68. http://dx.doi.org/10.1590/s2236-34592013000200004.

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O presente estudo analisa dois exemplares do jornal A Escola, veiculado no Grupo Escolar Jerônimo Coelho, de Laguna, Sul de Santa Catarina, em 1916. O que este jornalzinho teria a ver com aqueles que anos mais tarde foram popularizados por Decroly e Freinet e incorporados às escolas primárias brasileiras como parte das associações auxiliares da escola? Esta questão constituiu-se no fio condutor desta reflexão histórica, buscando indícios que contribuam para a discussão acerca do ensino ativo, carro-chefe da pedagogia moderna, e da escola ativa, principal bandeira da Escola Nova. Para tanto, analisa principais temas pautados pela gazeta A Escola quais sejam: o patriotismo republicano e a civilidade burguesa.

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Amani, Omid, and Zohreh Ramin. "E. L. Doctorow's The Waterworks: A Polyphonic Novel." International Letters of Social and Humanistic Sciences 38 (August 2014): 64–69. http://dx.doi.org/10.18052/www.scipress.com/ilshs.38.64.

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The present article sets to examine the applicability of Mikhail Bakhtin's concepts of polyphony and heteroglossia to E. L. Doctorow's The Waterworks. Doctorow, by deploying postmodern historiography and blurring the line between the real and the marvelous, portrays nineteenth century New York revisionistically and likewise, depicts how the amalgamation of the monologic, authoritarian power of the imperious capitalism as Augustus Pemberton or the real historical figure William Magear Tweed with the 'excentrics' gives rise to a dialogic, polyphonic quality within the novel. Also, discussed is the centrality of the narrator, McIlvaine that boosts the dialogized ambience and stimulate the effort to decrown the 'regime of power.'

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Devoldere, Luc. "F. Decreus en A. Mottart, De klassieken in de klas. Het geval Antigone." Documenta 14, no. 1 (April 24, 2019): 47–49. http://dx.doi.org/10.21825/doc.v14i1.10879.

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Buvat, Floriane, and Christiane Montandon. "Le décrochage scolaire : une question qui ne se pose pas à l'école Decroly." La nouvelle revue de l'adaptation et de la scolarisation 56, no. 4 (2011): 127. http://dx.doi.org/10.3917/nras.056.0127.

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Arce Hai, Alessandra, Frank Simon, and Marc Depaepe. "From practice to theory, Ovide Decroly for Brazilian classrooms: a tale of appropriation." History of Education 45, no. 6 (May 6, 2016): 794–812. http://dx.doi.org/10.1080/0046760x.2016.1154191.

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Wagnon, Sylvain. "Le « dispositif Decroly », un levier éducatif pour réformer la société (Belgique 1900-1930)." Les Études Sociales 163, no. 1 (2016): 117. http://dx.doi.org/10.3917/etsoc.163.0117.

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