A pedagogia de Rui Barbosa versus a filosofia positivista: uma contribuição à discussão sobre o ensino do desenho no Brasil
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2016-08-04
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Universidade Estadual Paulista (Unesp)
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A expansão econômica internacional gerada pela Revolução Industrial em países da Europa no século XIX apelava para uma mão de obra cada vez mais qualificada, gerando a necessidade de escolas e de um sistema educacional que atendessem aos interesses sociais nesse período. Os europeus realizavam experiências em educação utilizando como ponto de partida o ensino do desenho como forma de qualificação profissional para o desenvolvimento industrial de seus países. O Brasil, por sua vez, não era um país industrial, servia apenas aos interesses internacionais e como mercado consumidor de produtos industriais fabricados na Europa. Pensavam que o ponto de partida para superar essa realidade seria incentivar a educação industrial popular e romper com a crença de que as atividades manuais eram destinadas aos escravos, o que afastava os homens livres do trabalho manual. Desta forma, serão apresentadas nesta dissertação as primeiras iniciativas do ensino profissional criadas no século XIX com a finalidade de desenvolver uma política economicamente industrial por meio da instrução popular qualificada e igualitária, sendo o ensino do desenho o núcleo dessa instrução. Nesta perspectiva, serão expostas as iniciativas inovadoras do ilustre Rui Barbosa (jurista, político, diplomata, escritor, filólogo, tradutor e orador), que apontava, por meio de sua proposta da reforma do ensino primário, as vantagens que o conhecimento do desenho traria à nossa indústria, entre elas, a valorização das profissões industriais. E por fim, a pesquisa procura resgatar as iniciativas do ensino do desenho no Brasil no século XIX, a partir da hipótese de que houve duas correntes: uma baseada na filosofia do positivismo, encampada pelo Liceu de Artes e Ofícios de São Paulo, e a outra, no ensino intuitivo, seguida pela reforma do ensino primário de Rui Barbosa e pelo Liceu de Artes e Ofícios do Rio de Janeiro. Por meio de uma pesquisa bibliográfica sobre o Liceu de Artes e Ofícios do Rio de Janeiro e dos pareceres de Rui Barbosa, será possível investigar e analisar o conteúdo até então perdido em nossa história referente ao ensino do desenho, possibilitando um olhar mais crítico sobre as práticas pedagógicas de contraposição à filosofia positivista proposta pelo Liceu de Artes e Ofícios de São Paulo.
The international economic expansion prompted by the Industrial Revolution in European countries during the 19th century demanded an increasingly qualified workforce, generating the need for schools and an educational system that met the social interests of that period. Europeans carried out experiments in education using as a starting point the teaching of drawing as a form of professional qualification for the industrial development of their countries. Brazil, in turn, was not an industrial country. It only served to international interests and as a consumer market for industrial products made in Europe. They thought that the starting point to overcome this reality would encourage popular industrial education and deconstruct the belief that manual activities were for the slaves, which drove free men away from manual work. Hence, this study will present the first professional education initiatives created in the 19th century with the purpose of developing an economically industrial policy through qualified and egalitarian popular education, being the teaching of drawing the center of that education. From this perspective, this study will present the innovative initiatives of the notable Rui Barbosa (lawyer, politician, diplomat, writer, philologist, translator and speaker), who indicated, through his proposal of the Educational Reform in Elementary Schools, the advantages that the drawing knowledge would bring to our industry, among them, the valorization of industrial professions. And finally, the study aims to recover the origin of the teaching of drawing in Brazil from the hypothesis that there were two schools of thought: one based on positivism, followed by the School of Arts and Crafts of São Paulo, and the other, on the intuitive teaching, followed by the Educational Reform in Elementary Schools of Rui Barbosa and the School of Arts and Crafts of Rio de Janeiro. Through bibliographical research about the School of Arts and Crafts of Rio de Janeiro and the reasoned opinions of Rui Barbosa, it was possible to investigate and analyze the content once lost in time in our history up to now in relation to the teaching of drawing, enabling a more critical look at the pedagogical practices of opposition to the positivist philosophy proposed by the School of Arts and Crafts of São Paulo.
The international economic expansion prompted by the Industrial Revolution in European countries during the 19th century demanded an increasingly qualified workforce, generating the need for schools and an educational system that met the social interests of that period. Europeans carried out experiments in education using as a starting point the teaching of drawing as a form of professional qualification for the industrial development of their countries. Brazil, in turn, was not an industrial country. It only served to international interests and as a consumer market for industrial products made in Europe. They thought that the starting point to overcome this reality would encourage popular industrial education and deconstruct the belief that manual activities were for the slaves, which drove free men away from manual work. Hence, this study will present the first professional education initiatives created in the 19th century with the purpose of developing an economically industrial policy through qualified and egalitarian popular education, being the teaching of drawing the center of that education. From this perspective, this study will present the innovative initiatives of the notable Rui Barbosa (lawyer, politician, diplomat, writer, philologist, translator and speaker), who indicated, through his proposal of the Educational Reform in Elementary Schools, the advantages that the drawing knowledge would bring to our industry, among them, the valorization of industrial professions. And finally, the study aims to recover the origin of the teaching of drawing in Brazil from the hypothesis that there were two schools of thought: one based on positivism, followed by the School of Arts and Crafts of São Paulo, and the other, on the intuitive teaching, followed by the Educational Reform in Elementary Schools of Rui Barbosa and the School of Arts and Crafts of Rio de Janeiro. Through bibliographical research about the School of Arts and Crafts of Rio de Janeiro and the reasoned opinions of Rui Barbosa, it was possible to investigate and analyze the content once lost in time in our history up to now in relation to the teaching of drawing, enabling a more critical look at the pedagogical practices of opposition to the positivist philosophy proposed by the School of Arts and Crafts of São Paulo.
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A história do desenho do século XIX, Ensino do desenho no Brasil no século XIX, Pareceres de ensino de Rui Barbosa, Liceus de Artes e Ofícios, The history of drawing, The teaching of drawing in Brazil, Reasoned Opinions of Education Reform in Elementary Schools of Rui Barbosa, Schools of Arts and Crafts