<\/p>\n
Esta pesquisa tem como objetivo central ampliar os saberes sobre a animalidade, implicando outras rela\u00e7\u00f5es de alteridade na educa\u00e7\u00e3o, a partir da emerg\u00eancia de uma no\u00e7\u00e3o de po\u00e9ticas da animalidade, movimentada pela cria\u00e7\u00e3o de um di\u00e1logo entre as provoca\u00e7\u00f5es \u00e9tico-est\u00e9ticas de certas obras das artistas visuais Ana Teresa Barboza e Nara Amelia e das escritoras Clarice Lispector, Veronica Stigger e Noemi Jaffe. Para tanto, a pesquisa estabelece tr\u00eas movimentos, sempre permeados pelas obras escolhidas, que nos provocam a olhar nosso objeto de outros modos. O primeiro movimento consiste em uma apresenta\u00e7\u00e3o do recente campo de estudos da animalidade, em que se inserem os te\u00f3ricos, escritoras e artistas parceiros desta investiga\u00e7\u00e3o. No segundo movimento, a partir de um di\u00e1logo entre literatura e artes visuais, percorremos algumas constru\u00e7\u00f5es filos\u00f3ficas e hist\u00f3ricas que aparentemente nos fizeram temer e negar nossa animalidade, como tamb\u00e9m buscamos outras vis\u00f5es que multiplicam o que entendemos por animalidade e suas rela\u00e7\u00f5es com outras formas de alteridade, a partir do pensamento de Eduardo Viveiros de Castro e de Jacques Derrida. O terceiro movimento se estabelece a partir de uma cria\u00e7\u00e3o po\u00e9tica da animalidade, no di\u00e1logo entre determinadas obras das artistas visuais e escritoras escolhidas. Assim, cria-se uma condi\u00e7\u00e3o de possibilidade para a emerg\u00eancia do conceito de po\u00e9ticas da animalidade enquanto pot\u00eancias que nos provocam, desestabilizam, educam mediante outras racionalidades. Esse conceito ser\u00e1 movimentado a partir de uma no\u00e7\u00e3o de experi\u00eancias de animalidade, experi\u00eancias de alteridade, em algumas mem\u00f3rias da animalidade que habita a escola, bem como da presen\u00e7a real dos animais nesse espa\u00e7o, com a contribui\u00e7\u00e3o do pensamento de Carlos Skliar. Esses exerc\u00edcios, entrela\u00e7ados ao conceito de po\u00e9ticas da animalidade, s\u00e3o entendidos como opera\u00e7\u00f5es pedag\u00f3gicas de resist\u00eancia, cria\u00e7\u00e3o po\u00e9tica e est\u00e9tica na escola, que buscam outras formas de pensar nossa animalidade e a conviv\u00eancia com os outros enquanto alteridades radicais, independentemente de sua forma, g\u00eanero, esp\u00e9cie e ra\u00e7a, provocando-nos a usar de outros modos a raz\u00e3o, a linguagem e nossa sensibilidade. Por fim, sugere-se que, para essas opera\u00e7\u00f5es acontecerem na escola, \u00e9 necess\u00e1rio pensarmos num outro tempo escolar: um tempo de animalidade na escola, um tempo de sentir e permitir-se ser outros, um tempo que suspende nossas certezas demasiadamente humanas de um saber puramente racional que n\u00e3o deu conta dos problemas que temos enfrentado na escola, na vida e no mundo, um tempo que nos leva a pensar na possibilidade de uma forma\u00e7\u00e3o \u2015humana\u2016 pela animalidade.<\/p>\n
This research aims mainly at broadening the knowledge on animality, implying other relations of alterity in education, starting from the emergence of a notion of the animality poetics, triggered by the creation of dialog between the ethical-aesthetical provocation in certain works from visual arts artists Ana Teresa Barboza and Nara Amelia, as well as in writers Clarice Lispector\u2018s, Veronica Stigger\u2018s, and Noemi Jaffe\u2018s works. For this purpose, three moves are established in the research, always permeated by the selected works, which lead us to look at our subject from a different perspective. The first move consists in a presentation of the recent field of studies of animality, which includes the theorists, writers, and partner artists of this investigation. In the second move, beginning from a dialog between literature and visual arts, we range over some philosophical and historical constructions, which, apparently, have made us fear and deny our animality. Likewise, we search for other views that multiply what we understand as animality and its relations with other forms of alterity, according to Eduardo Viveiros\u2018 and Jacques Derridas\u2018 way of thinking. The third move is based on a poetic creation of animality in the dialog among some specific works from the chosen visual arts artists and writers. Thus, a Condition of Possibility is created for the emergence of the concept of animality poetics as powers that provoke, destabilize, and educate us, in face of other rationale. This concept will be moved starting from a perception of experiences with animality and alterity, in some animality memories that inhabit the school, as well as the real presence of the animals in that area, according to Carlos Skliar\u2018s way of thinking. These exercises, interwoven with the concept of animality poetics, are acknowledged as pedagogical operations of resistance, poetic and aesthetic creation in the school, which seek other ways of thinking in relation to our animality and the interaction with others as radical alterity, apart from their shape, gender, species, and race, provoking us to use reasoning, language, as well as our sensibility, in different ways. Finally, for such operations to take place in the school, we need to think about another school time; a time with animality in the school, a time to feel and allow ourselves to be the others, a time that lays off our excessively human certainties from a purely rational knowledge, which has not taken control over the matters we have faced in school, in life, and in the world as well, a time that leads us to think of the possibility of a \u2015human\u2016 formation through the animality.<\/p>\n