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More than ever, "the space of history of education" is defined by its specialised communities as much as by the people who participate in the educational process, including those who have been historically left out of it. It is these people (along with the historian) who build "the history of the present time" and the archives of "public memory." In an increasingly virtualised and viralised world, the problem of public use of historical research appears, in the educational arena, as a condition of possibility of scientific knowledge itself. Today, the dilemma of history is no longer to respond to the challenges provoked by the social sciences but, on the contrary, to face the crisis of their postulates. In the midst of the COVID-19 pandemics, we are confronted with blunt evidence: we don't need more knowledge, we need other knowledges. We are required to reposition our gaze from the "macro" into the "micro" scale. This article aims to bring into the historical picture of "contemporary" education the living people and archives left out of it, in the last century. Based on oral and written testimonies of people who lived in between pandemics (1918-2021) in Portuguese rural contexts, we seek to write a history (and a historiography) of education "for" the people, "about" the people, and "by" people. In short: a Public History that is able to confront the "immediate" present with a "quasi-recent" past, the noise of the living with the "silence of the dead."

The starting point for this article is a film about Scottish education, "Children's Story". "Children's Story" was one of a group of seven documentaries made for the 1938 British Empire Exhibition in Glasgow, under the supervision of John Grierson. The film was an official entry into the Exhibition and is a formal display of key ideas and elements of Scottish education--past, present and (especially) future. The film will be used to raise questions for researchers in the histories of education about using moving film as research data, or within the research process. Questions related to the use-value of film in educational research are central to our article. The article is organised in three parts, and followed by a conclusion; they are the film as a record, the documentary film movement and the visual as the object of research. (Contains 41 footnotes and 3 figures.)

This article deals with the heuristic potentials of the documentary film "Children's Parks" in the historical and visual treatment of educational subjects and objects. We will choose specific moments in the film in order to discuss theoretical and methodological questions implied in the relationship between images and words, aiming to understand how pictorial meaning is connected to the production of specific kinds of subjectivities. Each section will mobilise different levels of description and analysis, with the result being an article whose outcome is itself a multi-level process that recasts and restructures the pictorial content of the film. (Contains 31 footnotes and 3 figures.)

Copyright of Matéria Prima is the property of Revista Meteria Prima and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Matéria Prima is the property of Revista Meteria Prima and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to contribute to the analysis and problematization of a discourse that took shape in international universities (over the last two decades) around terminologies, methodologies and conceptions of academic research and writing in the creative fields of art and design. This discourse has been particularly visible in the past decade, in consequence of the Bologna Process and the formation of a European Higher Arts Education Area. Framed by this discourse emerged the figure of the artist-researcher as writer conducing his or her doctoral studies, and inventing theoretical and empirical strategies through which art and design practices articulate with research-writing practices, and the conditions under which these practices are communicated and disseminated in the public sphere as knowledge (texts and images). A literature review and a European overview on how articulations between text-making and art-making are being theorized and materialized in publications, conferences and curricular programmes will be provided. [ABSTRACT FROM AUTHOR]

This article aims to contribute to a discussion, which remains to be done in Portugal (as well as in other European countries) " and which is necessarily theoretical and practical, but ultimately pedagogical ", that seeks to understand the reflexive ways through which it could be effectively possible to operate "a teaching paradigm shift" by means of "the transition from one educational system based on the idea of knowledge transfer" through mimetic writing, "to a system based on the development of competences" of inventive writing at the level of postgraduate training. This terminology was used by the Portuguese Government when, in 2006, it introduced the Bologna Process and established "the qualification of the Portuguese in the European area" as "one of the key objectives of the policy for higher education". Our attention will focus on the discourses produced around the third university cycle (leading to the doctorate), and on the possibility of advancing theoretical and empirical arguments in defense of a model of inventive academic writing in its potential articulations with the "experimental and project-oriented component" (MCTES, 2006). We emphasize postgraduate writing because this cycle of studies is "essentially a practice-oriented learning of high-level research". Centering our (self) reflection on the processes of academic writing in the social sciences and humanities, we seek to identify contributions and challenges offered by research in the arts as a paradigmatic case of how it is possible to write an "original thesis" (MCTES, 2009). Specific creative practices of the artist-researcher will be underlined. [ABSTRACT FROM AUTHOR]

Copyright of Matéria Prima is the property of Revista Meteria Prima and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The artist while pupil: artistic education, cultural practices and conceptions of the self is a text which presents the results of an historical investigation centered on a systematic inventory, digitalization, and analysis of periodic publications produced by students of the Universidade de Lisboa. The process of constitution and analysis of a Digital Archive/Visual Catalog of the Student's Movement Press (1878-2007), was developed around a central hypothesis: the possibility of identifying and mapping out a set of themes and problems that, since the late 19th century, were emerging in the student discourse, and configuring conceptions of education and self-education (formal and informal) centered on the figure of the artist and of the university student. As both the source and the subject of research, the student's press is a privileged territory to investigate the historical conditions of emergence of certain psycho-pedagogical conceptions about the arts, and of a social imagery from which settled the bases of support of our present beliefs about what is an artist, and what has been the role of the school in the production of that way of being and living. What is presented here as a result of the investigation around the student's press and movement, is a history of the pedagogical techniques, the artistic languages, and the technologies of information and communication, through which the modern student objectified and converted itself into a reality. From an iconographic and textual analysis of the contents of the student press, I will defend that it was through the progressive socialization of the techniques of literary-artistic representation and expression - writing and drawing -, that the modern school disseminated the mechanisms for social and personal distinction on which were founded our democratic myths about education, art and culture. [ABSTRACT FROM AUTHOR]