Exemplos de uso de Expositive discourse em Inglês e suas traduções para o Português
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The structure of the expositive discourse was entirely created by us.
How is the pedagogic recontextualizing field characterized in the expositive discourse?
Production of the expositive discourse in five science museum exhibits.
In Mu4, one can perceive the dialogue andconflicts in the construction process of the expositive discourse.
The power groups in the production process of the expositive discourse can control this power distribution during the preparation of the exhibits.
In the recontextualization process, these discourses are related andproduce a new one, the expositive discourse.
It also presents a good example of the stages needed to prepare the expositive discourse, in experiments in which the central discourse is museology and not scientific.
The recontextualization andthe workings of the pedagogical recontextualizing field to structure the expositive discourse.
These questions will be addressedin this work in order to analyze the production of the expositive discourse understood as a pedagogical discourse according to Bernstein's perspective.
In addition, the public andcommunication discourse was taken into account in the preparation of the expositive discourse.
The rooms host Jorge Rando's artistic production, with an expositive discourse on the move, characterized by the interchange of the artist's different themed cycles, in order to accompany the artwork of the invited artists.
The actors andknowledge areas that participate in the production of the expositive discourse will be analyzed in this work.
Studies on museum education in its sociological dimension provide key elements to understand the dynamics of selection andpower distribution during the preparation of the expositive discourse.
We emphasize that the different actors that comprise the PRFmuseums have relative autonomy in the production of the expositive discourse and that this varies according to the institutional context.
These coordinators closely followed the activities of the artists involved in the production of the display panels, controlling both the accuracy andthe potential communication of the expositive discourse.
However, although the museologist often has control over the expositive discourse, certain areas and subjects ended up determining what and how to expose based on the knowledge structure of his/her disciplinary field.
The objective was to characterize the dynamics of recontextualization andthe recontextualizing pedagogical field of the expositive discourse.
In the production of the expositive discourse in museums, professionals from different fields of knowledge, with their own discourses, participate in determining what will be selected as ultimate knowledge to be presented to the public.
The background of the team professionals shows that many are experienced in the construction of the expositive discourse of Mu5.
These data lead us to think about the production process of the expositive discourse, and more specifically about the working dynamics of the pedagogical recontextualizing field of museums, characterizing the actors and institutions involved and the relationships between them.
The interviews were recorded, transcribed and analyzed in order to identify the subjects andgroups producing the expositive discourse and the relationship between them.
The initial project was constrained due to the exhibition space, the target audience, the aesthetic, educational and communication demands andchanged the production of the final expositive discourse.
In the case of museums, as observed, depending on the historical context, the institutional policy and conceptual proposal of the exhibition,other actors can also be part of such recontextualizing field of the expositive discourse, such as the administrative, scientific staff and museum technicians, in addition to teachers and the general public that visit it.
It can be said, from the data presented on Mu2, that the public discourse, especially the school discourse, is also at play in the organization process of the expositive discourse.
Regarding the production of museum exhibitions, the distributive rules also define who has access to the place of power,controlling the expositive discourse-considered here as a type of pedagogical discourse. .
This paper presents the data of the interviews, which enabled to characterize with greater emphasis the aspect highlighted in this article, that is, the groups andactors involved in the production of the expositive discourse.
The role of the school public in the production of the exhibit was also evidenced in Mu2 andMu4,demonstrating not only the role of the school discourse in the recontextualization of the expositive discourses, but also the conceptual complexity levels assumed by the exhibits analyzed.
To reach that, the museums teams prepare their exposure so that it is not only understandable, but also attractive, so that the visitor may be interested in the exhibition,interact with its objects and consequently with the expositive discourse.
Data will be presented from a study that investigated the actors and groups involved in the production of five museum exhibitions of Brazilian science,discussing how the production of the expositive discourse was carried out in these venues.
In Mu4, the negotiation space extended among the team members- here, the pedagogical subjects of this exhibition- according to their areas of expertise,since they had more or less structured proposals about the expositive discourse.