Este texto tem como propósito pensar a atual crise pandémica como uma acontecimento. Como tal, começa por fazer um enquadramento histórico do confinamento da alma infantil no interior das instituições escolares para depois propor o que poderia ser uma oportunidade para pensar uma outra relação entre crianças, adultos e agenciamentos. Termina com a proposta de olhar para a pandemia como um acontecimento com a potência de fundar uma ética de inquirir a vida como forma de libertação do medo. Porque só livres do medo podemos verdadeiramente atender ao convite de Deleuze para escolher-escolher.

No transcurso da trajetória intelectual de Michel Foucault, o tema da escrita parece não apenas não ter deixado de absorver seus interesses, como também provocou, em variadas circunstâncias, manifestações de sua parte, sobretudo em textos esparsos e entrevistas. Trata-se, assim, de uma questão que pode ser atestada de modo transversal, sucessivo e contínuo na obra foucaultiana, cuja abordagem analítica constitui o objetivo geral do presente artigo. Partindo da hipótese da escrita não apenas como um núcleo temático, mas também como um vetor éticoestético que transpassa a obra de Foucault, apresentamos dois patamares argumentativos complementares: num primeiro momento, focalizase a escrita foucaultiana no seio de um possível marco autobiográfico; em seguida, oferece-se uma perspectiva do trabalho escritural como experiência voltada à intensificação de um tipo de pensamento de natureza essencialmente crítica e, igualmente, à produção de uma superfície fática para modos inéditos de existir. Palavras-chave: Foucault e a escrita. Experiência escritural. Escrita e crítica. Ética da existência.

The article aims to analyze the expression that higher education pedagogy has been assuming in research. For this purpose, the work done by Kuzhabekova, Hendel & Chapman (2015) was taken as a starting point and methodological inspiration. In this paper, the authors analyze the scientific production between 2002 and 2011, selecting publications that focus on the themes of higher education. In the study, the journals with the highest number of articles in this field are listed, the years with the most publications, the most prolix researchers, and a mapping of their countries of origin and institutional affiliation. In the work presented here, the topic was narrowed down, circumscribing the analysis to texts that deal with pedagogy of higher education, an area that requires a significant investment, both by the challenges that are currently posed at this level of education, and by the need to (re)think about the pedagogical formation of the teachers who work there. For this purpose, the analysis comprised an exhaustive survey of the articles published between 2012 and 2018, in the ten main publications identified in the previous study. The results show that the peak of publications occurred in 2014, having declined in recent years, with the most prominent magazine being Teaching in Higher Education. The highest percentage of articles comes from the United Kingdom, a country with a long tradition in the pedagogical training of its teachers, followed by Australia and the USA.

This discussion about Portuguese music education, between the end of the 19 th century and the beginning of the 20 th century, a time when the demand for musical learning was rarefied, seeks to introduce the hypothesis of a biopolitical understanding of the technology of genius. This concept crossed several branches of education, albeit through different modalities -which allows us to ask whether the artistic regulation of the populations was conducted by the same technology. The question arises from the identification of different educational settings, pedagogical practices and artistic incidences that seem to bifurcate the genius into national and individual. Music education (primary, secondary and normal) was encouraged by the State through choral singing practices, given its possibility of reaching the entire population. For the great mass, the incorporation of the national genius was enabled -with its public manifestations of musical, linguistic, emotional, and corporal repertoire. Conservatoire music education was directed, however, to a small part of the population, which would be qualified for musical execution and creation. The incentive of (individual) musical genius reflected a global productivity of rarefaction of opportunities, allowed for the identification of some of these techniques possible within the pedagogy of instruments of great demand, such as the piano. Thus, despite this differentiation, curricula and school practices refer to genius as a univocal technology, facilitated by different pedagogical techniques of subject regulation.