ResumenLas aventuras de Pinocho es uno de esos pocos cuentos que no solo ha resistido al paso del tiempo, sino que se incorporó a la cultura y 139 años después, sigue recreándose en versiones ...literarias, cinematográficas, teatrales, plásticas, incluso pedagógicas. En este artículo tratamos de levantar algunos de los velos con los que Disney cubrió una parte importante de la historia dejando fuera, por ejemplo, el tema de la pobreza. Hoy nos preguntamos si un producto cultural como Las aventuras de Pinocho puede detonar conversaciones y reflexiones con niños de hoy, y si la escuela puede apropiarse de este material para filosofar con los alumnos e incluso con los adultos. ¿Por qué en un mundo de malhechores que roban, engañan, cocinan, venden o cuelgan a los niños, la mirada reprobatoria está fija en un niño que dice mentiras? ¿Qué experiencias tiene que vivir un niño para verse a sí mismo como “malo”? ¿Cuáles son los riesgos de la clasificación, por otro lado, tan necesaria en el conocimiento? Si bien partimos de una experiencia realizada en una escuela de la Ciudad de México, el análisis que se presenta se ocupa principalmente del vínculo entre la(s) lectura(s) y la reflexión filosófica en este cuento.Palabras claveFilosofia con niños Pinocho Educación no formal Pinocchio is one of those few stories that has not only stood the test of time, but continues to be recreated in literary, cinematographic and theatrical versions... Pinocchio is no longer just the story written by Carlo Collodi at the end of the 19th century; over the course of 130 years, the social imaginary has incorporated numerous interpretations. In this article we ask ourselves whether a cultural product such as The Adventures of Pinocchio can trigger conversations and reflections with today's children, and whether the school can appropriate this material to philosophize with students and even with adults. Although we start from an experience carried out in Mexico City, the analysis presented here is mainly concerned with the link between reading and philosophical reflection in this story.Key wordsPhilosophy with children Pinocchio Non-formal education Pinóquio é um dos poucos contos de fadas que não apenas resistiu ao teste do tempo, mas continua a ser recriado em versões literárias, cinematográficas e teatrais... Pinóquio não é mais apenas a história escrita por Carlo Collodi no final do século XIX; ao longo de 130 anos, o imaginário social incorporou inúmeras interpretações. Neste artigo, nos perguntamos se um produto cultural como As Aventuras de Pinóquio pode desencadear conversas e reflexões com as crianças de hoje, e se a escola pode se apropriar desse material para filosofar com os alunos e até mesmo com os adultos. Embora partamos de uma experiência realizada na Cidade do México, a análise apresentada aqui se preocupa principalmente com o vínculo entre a leitura e a reflexão filosófica nessa história.Palavras-chaveFilosofia com crianças Pinóquio Educação não formal
De Collodi à Collodi Obert, Judith
Cahiers d'études romanes,
09/2023, Letnik:
46
Journal Article
Recenzirano
Odprti dostop
Le tourisme littéraire est une branche du tourisme culturel et propose différentes ramifications : parcs littéraires, musées, maisons d’auteurs, itinéraires littéraires, cafés littéraires entre ...autres. La littérature appartient au patrimoine immatériel et participe souvent de l’identité culturelle et nationale d’un pays. Nous nous proposons d’étudier un cas particulier de patrimonialisation et de mise en tourisme d’un écrivain et de son œuvre, intimement liés à un territoire. Carlo Lorenzini, l’auteur des Avventure di Pinocchio a en effet pris comme nom de plume Collodi qui est le village natal de sa mère, il a donc délibérément ancré son identité d’écrivain dans un territoire précis lié à une culture et un patrimoine spécifique. Nous verrons comment le Parco Pinocchio, ouvert en 1956, et la Fondazione Collodi, née en 1962, se sont emparés de l’œuvre littéraire de Collodi en développant une offre touristique originale et une patrimonialisation dynamique qui réussit le tour de force de maintenir la spécificité toscane de l’écrivain et de son pantin ainsi que de franchir les frontières italiennes pour s’ouvrir à l’Europe, proposant par là-même une nouvelle vision de la notion de patrimoine.
Similar to the Greek god Hermes Pierrot keeps representing, with its well known tendency to theft, its innate laziness, its innocence and cruelty, the dark side of positive and productive society. In ...nineteenth century France Pierrot often represents the bad schoolboy, implicitly criticizing Republican values. We have defined Champfleury’s and Margueritte’s Pierrot as an “hypocritical sign” since it always betrays and bypasses representation, identity and ideology in a positive culture. We have identified three Pierrot figures: metaphorical; grammatical; political.
Penggunaan cerita pendek di dalam pembelajaran nilai-nilai antikorupsi di Indonesia masih sangat kurang. Selama ini pembelajaran nilai-nilai antikorupsi lebih banyak menggunakan buku berseri atau ...buku cerita dalam proses pembelajaran. Artikel ini bertujuan menyingkap potensi cerita pendek “The Pinocchio Disease” karya Seno Gumira Ajidarma sebagai bahan pembelajaran sastra yang terkait dengan pendidikan nilai-nilai antikorupsi. Penelitian ini adalah penelitian kualitatif dengan menggunakan metode analisis hermeneutika. Prosedur yang digunakan dalam pengumpulan data dan analisis meliputi (1) pembacaan teks di dalam mencari bagian tertentu yang relevan dengan fokus kajian; (2) penautan bagian tertentu di dalam teks dengan konteksnya serta relevansinya sebagai cara komunikasi dialogis antara teks dengan konteks; (3) pemberian makna atas interaksi teks dengan konteks. Berdasarkan hasil penelitian, cerpen “The Pinocchio Disease” mengandung sarkasme terhadap nilai-nilai antikorupsi seperti (1) kejujuran, (2) kepedulian, (3) kedisiplinan, (4) tanggung-jawab, (5) kerja keras, (6) sederhana, dan (7) keadilan. Ini berarti bahwa cerita pendek ini cocok untuk dipergunakan di dalam pembelajaran nilai-nilai antikorupsi. Selain itu, penelitian ini juga menemukan bahwa cerpen “The Pinocchio Disease” dapat dipergunakan untuk mengembangkan Higher-Order Thinking Skills (HOTS) dan sebagai materi bacaan sastra dalam pendidikan karakter siswa.
Pinocchio without ears Simone di Biasio
Ricerche di pedagogia e didattica,
12/2020, Letnik:
15, Številka:
2
Journal Article
Recenzirano
Odprti dostop
Everybody knows that the main feature of Pinocchio is not listening to advice (even less of the “father”), lying, “doing one’s own thing”, following senses and instinct, constantly chasing, like ...every child, the wonder, which is also the “discovery” of the distraction and, face to face with the same medal, of the lie. But there is one detail of Collodi’s original story that could explain this stubborn tendency of the puppet not to “listen” to adults and their world: Geppetto in Pinocchio did not carve his ears. A non-text that recalls interdisciplinary readings of the story, between art and pedagogy, psychology and anthropology. How can a child listen without ears? Yet Pinocchio hears, he hears loud: then there is a difference between hearing and listening. The article intends to shed light, keeping faith with Collodi’s original text, on the puppet's anatomical-craftsmanlike shortcomings, but above all conceptual, therefore physical and metaphysical, shortcomings that have made this universal history of listening education possible: the ears, but also the "maternal" home and, precisely, the absent motherhood like the ears.
The study of the shape variation in geometric morphometrics has an important limitation known as the Pinocchio effect. The Pinocchio effect produces artifactual variances of the landmarks and implies ...that it is not possible to know the morphological change structure of an object, other than by dividing the landmark sets and then comparing them. This, however, involves making prior assumptions about the pattern of variation of an object. In this study, we provide a code in R to iterate over a complete set of landmarks and test all possible combinations of landmarks until deliver those landmarks associated with the largest to the smallest morphological changes. We tested this on a sample of 28 landmarks in 143 3D models of human skulls. The results indicated that this process can result in a pooled variance of a subset of landmarks that is an order of magnitude larger than that of several other regions of the skull. This method makes it possible to describe the pattern of variation of any 2D or 3D object represented by fixed landmarks, to distinguish the shape features that have more morphological dispersion, and to avoid any aprioristic assumptions about how the morphological changes of an object behave.
Figure qui domine Les aventures de Pinocchio, la Fée Bleue ne dispense pas seulement des leçons de bonne conduite : elle dispense la vie et la mort. Ses représentations sont multiples à l’intérieur ...du livre de Collodi : petite fille, femme très belle, petite chèvre, etc., elle semble par essence polymorphe. Elle passe ensuite sur les écrans où ses représentations changent au gré de l’imagination des réalisateurs : de la Gina Lollobrigida de Comencini à la Nicoletta Braschi de Benigni, sans oublier la fée blonde platinée de Disney, elles sont associées au merveilleux et à la séduction, tout en étant sévères et inflexibles. De vraies maîtresses femmes, auprès de qui le rêveur et indulgent Geppetto ne fait pas le poids. Ce personnage plein de vertu est en fait fort inquiétant, ce que reprend bien le film récent de Matteo Garrone : associée à la mort et porteuse de culpabilité, rien de moins éthéré que la Fée bleue. On cherche ici quelles valeurs sont véhiculées par quelques représentations cinématographiques de la Fée.
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