Marc Parayre's scientific contributions
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Publications (4)
"Rencontrer" une oeuvre d'art, cela s'apprend-il ? A l'école, au collège, au lycée, à l'université et tout au long de la formation professionnelle, cet apprentissage est "essayé", sans être interrogé. Les pratiques des acteurs permettent de s'interroger sur la réalité d'une démocratisation culturelle qui se fait trop attendre.
What do students say when looking at a piece of art? What role does the language play in the interactions between the students, the art piece and the teacher? What role can the teacher play to the smallest details to get verbal interactions when dealing with very young students? The article analyzes verbal exchanges from 4-to-6-year-old children wa...
Citations
... The pre-test interclass variability ( §3.2.) argues for extending our data to determine whether the rough notes can be related to the ensuing texts (see, Maire, Auriac-Slusarczyk, Pironom, & Slusarczyk, 2018; rough notes organized from conceptual items ( §3.5.) versus pictorial items ( §3.4.) does not necessarily guarantee a better quality text. Hence the Philo & Carto experimental program needs an advanced theoretical formalization (see below) so as to be able to measure its specific effects; as the instructions given the pupils in experimental classes versus controls from the same eight artworks produced different effects post-test ( §3.4./3.5.), we need to know the extent to which the artwork, as a reference support, induces a creative process of interest to 1) the teaching of art, and 2) fostering creative philosophical thought(Chabanne, Parayre, Villagordo, & Daquin, 2011;Leckey, 2017;Slusarczyk et al., 2017;Auriac-Slusarczyk, Daniel, Fiema, Pironom, & Belghiti, E. Auriac-Slusarczyk et al. 2017). Creative thinking is underpinned by certain intellectual capacities, among which divergent or exploratory thought (i.e., all-out search for as many ideas or solutions as possible from a single starting point, seeBesançon, Barbot, & Lubart, 2011) can be found here in rough notes of the spatialized or mind map types. ...
![[object Object]](https://i1.rgstatic.net/ii/profile.image/471763038543875-1489488481917_Q64/Chabanne-Jean-Charles.jpg)
![[object Object]](https://i1.rgstatic.net/ii/profile.image/620368289083392-1524918734092_Q64/Eric-Villagordo.jpg)
... La rencontre avec l'oeuvre peut sommairement être définie comme l'instant où l'oeuvre est présentée matériellement au récepteur. Mais elle ne s'y réduit pas (Chabanne et al., 2012) : l'évènement de la rencontre, de fait, se diffracte dans des processus de préparation, de diversification et de prolongement parfois fort éloignés de la rencontre comme évènement matériel attesté : on peut, comme le dit Bayard (2007), pouvoir parler avec sincérité de livres qu'on n'a jamais lus : d'une certaine manière paradoxale, l'oeuvre existe dans ses traductions… même quand il n'y a pas de texte original ! C'est que l'illusion d'une rencontre au sens d'un accès direct, immédiat, doit être elle aussi mise en doute, au profit de multiples phénomènes de médiation. ...
