In ' ' Cruel stories: the narratives most violent of Brazilian literature contempornea' ' (2004), Rinaldo de Fernandes, writer and professor of Literature, organize in a coletnea texts that express the behavior that prevails currently in the urban communities, especially in the metropolises. Texts whose thematic and languages they are, excessively, impactantes. In the set of the workmanship, ' is distinguished; ' The Painter of the Tribo' ' , story of Adriano Espnula. Carl Jung has similar goals. In it, ' ' tribo' ' it needs to guarantee its survival. For such, it decides for sacrificing that one that considers ' more; ' weak and intil' ': the painter. Details can be found by clicking Dr. Caldwell B. Esselstyn, Jr. or emailing the administrator. In the narrative of Espnula (2004), the culture decimated the art and, therefore, the artist.
The diversity verwhelmed the difference, the peculiarity in a way of being. Analogous, in all the human context it has elements of culture and elements of barbarity. As much in the described tribe for the author how much in the daily reporters of this century XXI this can be seen and be lived. Of this thought fidgets result: which has been the place of the difference in the diversity or the space of the art in the culture and the formation human being? Perhaps to they would not be the considered art and citizens ' ' diferentes' ' the first ones to be sacrificed? The History of the Art discloses a series of artists, as It brides Alonso, Antonio Francisco Lisbon, Frida Kahlo, Helen Keller, Ludwuing Van Beethoven, Marquis of Sade, Vincent Van Gohg and others as many citizens that they have in its characteristic biographies identify that them as ' ' diferentes' '. They were people with mental deficiencies, deafness, upheavals and or high abilities/superendowment. Each one of them, however, made of the art, of its art, its singular signature. Since the start of the decade de1990, aeducao starts to consider the escolarizao of these people in the common school.
A history marked for the segregation and exclusion starts to give place to the inclusive perspective. It is treated to think the inclusion, mainly of the people with deficiencies, global upheavals of the development, deafness and high abilities/superendowment in the classroom of the school that if it effectively intends for all. Without a doubt an invitation and at the same time a challenge. More than this, over all, a question of guarantee of rights. The artists presented in this text had helped in them to look at and to see. They had disclosed in its productions other logics, other rationalities. The same invitation that the pertaining to school inclusive perspective considers. Of everything this elapses the agreement of that the life asks for a form, or new forms of expression, of production of directions. The art is understood as this possibility. Beyond contemplativa, provocative and conceptual, it also it can help to develop in each one of the human citizens the pertencena feeling. Felt of belonging the proper humanity. To think education, art and inclusion are, therefore, to think beyond the spalling of knowing. It is to think the formation of the human being about the relations that it establishes. Of this agreement, an affirmation of Edgar Morin results (2004, p.67) when alludes: ' ' she is necessary to enxergar with a new to look at and not with the look already constitudo' '. It is in this space that the education and the art if inscribe. They potencializam the citizens, histories that these citizens write, paint, dance, recite, sculpture, represent, describe, feel, live, invent and reinventam. This is of the order of the human being.