scholarly journals Memoria e educação: "O Espírito Victorioso", de Cecília Meireles

Author(s):  
Yolanda Lobo

Procura reconstituir a trajetória de Cecília Meireles, uma das pioneiras da Escola Nova, focalizando três estações por ela percorridas cujo eixo principal é sua tese O Espírito Victorioso, com a qual se submete ao concurso público para ocupar a cátedra de Literatura Vernácula da Escola Normal do Distrito Federal. O nome próprio Cecília Meireles representa a forma socialmente instituída que lhe assegura a constância através do tempo e a unidade através dos espaços sociais, que são a manifestação de sua individualidade nos mais diversos campos: educacional, jornalístico e literário, isto é, em todas as suas histórias possíveis. A moldura do movimento da Educação Nova que se desejava implantar foi, em parte, obra plástica de Cecília Meireles. Abstract This article is intended to reconstruct the trajectory of a pioneer of the Progressive Education Movement in Brazil, whose name is Cecília Meireles. It highlights the three seasons that she went through, which the main axis is her thesis on The Victorious Spirit. This thesis made it possible for her to go through the examination to occupy the chair of Vernacular Literature at Escola Normal do Distrito Tederai. The proper name Cecília Meireles portrays the institutionalized social form that assures her constancy through the years and the unity through the social spaces, which are the manifestation of her individuality in various fields: Educational, Journalistic and Literary; that is to say, in all her possible histories. The Progressive Education movement's molding, intended to be implanted, was, in part, Cecília Meireles ' plastic art. Résumé Le travail essaye de reconstituer la trajectoire de Cecilia Meireles, une des pionières de l'Ecole Nouvelle, en y détachant trois saisons par elle parcourues dont l'axe principal c'est sa thèse L'Esprit Vainqueur, avec laquelle elle se soumet au concours pour occuper le Cadre de Littérature Vernacule de l'Ecole Normale du Distrito Federal. Le nom propre Cecília Meireles représente la forme socialement instituée que lui assure la continuité dans le temps et l'unité à travers les espaces sociaux, qui sont les manifestations de son individualité dans plusieurs champs: l'éducatif le journalistique et le littéraire, c 'est-à-dire, dans toutes ses histoires possibles. L'encadrement de l'Ecole Nouvelle qu'on voulait implanter a été, en partie, une oeuvre plastique de Cecília Meireles. Resumen El trabajo busca reconstituir la trayectoria de Cecília Meireles, una de las pioneras de Ia Escuela Nueva, destacando tres estaciones recorridas por ella cuyo eje principal es su tesis "El Espíritu Victorioso ", con la cual se somete al concurso para ocupar la Cátedra de Literatura Vernácula de la Escuela Normal del Distrito Federai. El nombre propio Cecília Meireles representa la horma socialmente instituida que le asegura la constancia a través del tiempo y la unidad a través de los espacios sociales, que son la manifestación de su individualidad en los más diversos campos: educacional, periodístico y literario, es decir, en todas las sus historias posibles. La moldura del movimiento de la Escuela Nueva que se deseaba implantar fue, en parte, obra plástica de Cecília Meireles.

1980 ◽  
Vol 3 (1) ◽  
pp. 6-12 ◽  
Author(s):  
Theodore F. Wichmann

Is the Experiential Education Movement doomed to an early death like its predecessor the Progressive Education Movement? The author argues that heresies evident in the literature of the Experiential Education Movement militate against its survival.


Author(s):  
Hannah Lindsay Rudderham

Progressive educators who travelled to the Soviet Union in the 1920s were often enthusiastic about the schools they visited, despite the fact that early Soviet educational reform had been chaotic and largely unsuccessful. The accounts of five such visitors, John Dewey, Scott Nearing, Lucy L.W. Wilson, Carleton Washburne, and George S. Counts are examined here. They show that this discrepancy between perception and reality was not the result of naivety or even self-censorship. Rather, I argue that the progressive education movement’s utopian outlook was a key factor in these educators’ reception of Soviet schools, enabling them to recognize serious shortcomings, while maintaining they were among the most important schools in the world. In their orientation to the future, they viewed Soviet schools as a laboratory, whose findings could advance the cause of the broader progressive education movement. 


1971 ◽  
Vol 11 (1) ◽  
pp. 79 ◽  
Author(s):  
Helen L. Horowitz ◽  
Patricia Albjerg Graham ◽  
C. A. Bowers

Thesis Eleven ◽  
2018 ◽  
Vol 145 (1) ◽  
pp. 77-98 ◽  
Author(s):  
Jose Jowel Canuday

In popular imagery, the littorals of Sulu and Zamboanga conjure visions of pirates, terrorists, and bandits marauding its rough seas, open shores, and rugged mountains. These bleak accounts render the region nothing but a violent and peripheral southern Philippine backdoor inconspicuous to the sophisticated constituencies of the world’s metropolitan centres. Obscured from these imageries are the lasting cosmopolitan traits of openness, flexibility, and reception of local folk to trans-local cultural streams that marked Sulu and Zamboanga as a globalised space across the ages and oceans. The distinctive features of these cosmopolitan sensibilities are strikingly discernible in inter-generationally shared narratives, artefacts, and performances that were continually renewed from the days when Sulu and Zamboanga served as a borderless trading and cultural enclave nestled at the crossroads of the Pacific and the Indian Oceans. These enduring cosmopolitan sensibilities are embodied in the blending, among others, of the time-honoured dance of pangalay and the pop-musical dance genre celebrated on actual, analogue, and digitally-mediated spaces of the contemporary world. Furthermore, these embodied sensibilities are evident in song compositions that proclaim the humanistic themes of hope, peace, and prosperity to their place and the world in ways that exemplify the local people’s broader sense of connections beyond the narrow association of family, community, ethnicity, religion, and identity. This mixed bag of age-old and recent imaginaries and cultural traffic evoke a sociality that link the social spaces of the troubled but once and current globalised region to continuing acts of transcendence in history, memory, and visions of the future. In these marginalized places, we can see an unyielding tradition of cultural re-adaptation and creativity made up of myriad everyday acts that are down-to-earth, pragmatic, interstitial, and practical cosmopolitanism.


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