Da compreensão novas viagens de Gulliver

Ayant comme opérateur cognitif le livre Les Voyages de Gulliver, de Jonathan Swift, la thése, écrite au format d'un journal de bord, suit dévoilant des indices pour une archéologie de la compréhension, au-delà de problématiser les interconexions entre communication et compréhension à l'actuel procés de planétarism. En suite, réalise quelques essais qui problématisent l'éthique, la science, et la condition humaine, sous l'inspiration du Parlément des Choses, suggéreé par Bruno Latour, où sont présents, symétriquement, les sciences, les scientists, les politiques, les natures, les cultures, et les sociétés. Pour une telle aventure, sont agencées des ideas de penseurs de diverses domaines de la connaissance, comme Edgar Morin, Henri Atlan, Hans-Georg Gadamer, Isabelle Stengers, David Bohm, Maria da Conceição de Almeida, Cremilda Medina, María Zambrano, Michel Serres, Boris Cyrulnik, dentre autres. Lettres de musique, registres littéraires et cinématographiques servent de points d'appuy pour la contextualization du récit de ce voyage qui ne comporte pas seulement la compréhension de la compléxité de l'être-humain, mais aussi, la compréhension des conditions dans lequelles sont forgées les mentalités et pratiques les actions. Ainsi, toule compréhension est un voyage sans fin: arrive à quelques ports, se ré-approvisionne et part à nouveau. Toute compréhension est ponctuelle, parcielle, provisoire, lacunaire et inachevée.

Das palavras à vida: o prazer em Max Weber

The thesis has as its goal the discussion over the pleasure as an intellectual and personal subject for Max Weber. The main references are The Sociology of Religion, Science as a Vocation and Politics as a Vocation, Bureaucracy, The sense of "Axiological Neutrality" in Social and Economic Sciences. Many authors were researched for information about his life, with a highlight to the biography written by his wife Marianne Weber, for its great number of excerpts from letters and informal conversations. The subject "pleasure" was developed by taking into consideration the complexity of this phenomenon which happens in an ambivalent and multiple ways. In order to do that, we started from the paradigm of the complexity according to Edgar Morin's view, Georges Bataille's discussions on erotism and the antinomic comprehension of Lepegneur and Onfray, who define pleasure as a phenomenon with ambiguities, and the historical references of Peter Gay, Nobert Elias, Wolf Lepenies. In Max Weber, pleasure presents, also, this ambiguity, as his scientific approach is registering the absence of pleasure for the rise of a protestant ethic and, besides that, to support with a process of disenchantment of the world which leads us to a meaningless life. Weber goes through great changes in the last years of his life. In this period he includes in his comments the subjects "erotism" and "arts" with the possibility of escaping from modem everyday routine that affects the individual's existential freedom. However, his ambiguous position about these possibilities take him to consider that a situation o f personal confrontation, considered heroical, once, in his opinion, each one accepts the consequences o f their acts and builds their values to give a meaning to their own existence. The pleasure in Weber is, above ali aspects, intellectual and existential: side by side with the routine, bureaucracy and disenchantment ofthe world was the possibility of charisma, vocation and passion. However, always he related these characteristics to the discomfort that the modem world presented to men, he, as a scientist, was ethical. This is the main argument ofthis thesis

A democracia em rede: um estudo das manifestações recentes e o uso das redes sociais on-line

This thesis analyzes the global and Brazilian manifestations occurred since 2011, taking as a unifying and organizational element the social networks Facebook. The study was conducted through a literature survey about the protests in the streets and the Internet, in books, magazines, articles and academic papers, as well as comments on Facebook during the protests in Brazil.

A atuação dos núcleos de apoio às pessoas com necessidades educacionais especiais no IFRN

The aim of this study was to evaluate the reality of the Service Centers for People with Special Educational Needs (NAPNEs) implanted at Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Norte (IFRN) through a Professional Education Program in Technology for People with Special Educational Needs (TEC NEP Program). To reach the proposal we opted for an exploratory research with a qualitative approach characterized as a field of study. Data were obtained from questionnaires answered by thirteen (13) NAPNEs coordinators of different IFRN campuses and examined using content analysis. The survey results show that the creation of the TEC NEP program was an important step for inclusion policies in IFRN. However, difficulties were also identified by participants as coordinators: lack of physical infrastructure, human and material resources and financial matters, among others, as barriers to implementation and performance of NAPNEs. Keywords: TEC NEP Program, Professional Education, Inclusion, People with disabilities.

O Professor José Botelho e a Escola Brasileira de Clarineta na segunda metade do século XX

Este trabalho busca compreender o que é a Escola Brasileira de Clarineta a partir da segunda metade do século XX, tomando como referência a experiência e a história de vida de um clarinetista que participou de seu processo de consolidação, a saber, o Professor José Cardoso Botelho. Através da ferramenta da memória social, foi possível se obter dados que coligissem traços característicos desta escola, assim como informações históricas a partir dos quais os aspectos observados parecem ter surgido. A análise demonstrou, ainda, a forte presença do paradigma Mestre-Aprendiz na construção desta escola e como este se relaciona com a pedagogia, formação profissional e concepção ideológica na área das Práticas Interpretativas. A abordagem utilizada confia que a história de vida do personagem investigado envolve-se com a história da própria escola, de sorte que a sua trajetória é permeada por elementos constitutivos da identidade de ambos, o mestre e a escola a que pertence.

Vida privada e mídias sociais: impressões da pós-modernidade

This thesis starts from the proposition that postmodernity is the very cultural manifestation of Late Capitalism. The research was concerned with the publication of privacy that gives us news feeds of Facebook online social network. We used netnography, which is considered a construction method in action that combines study skills to immersion of the researcher in the investigated field. Netnography is an alternative methodology for the study of communication threads in cyber environments. We note that there is an exhibition of themselves in a related environment that reproduces the properties of the spectacle society, with an emphasis on the fact that this exhibition be made and want to be made by the individual himself, allegorically, window dresser and with spectacle. The subject is revealed by itself, shown and is induced to show and display at the same time. It is a large-scale exhibition of the private life events; it is more than spectacle, surpassing debordian sense, approaching the exhibitionism in the Freudian sense. It is a subject in a new way of existence. At the time of posting in public, the person violates their privacy. It is the desecration of stardom intimacy. We found that these new behavioral forms sharing of human experiences, under the mediation of typical technologies informationalism era, appear as a major brand of sociability, meshing the ongoing technological revolution.

Dádiva e internet: os artífices dos tutoriais de software livre

The research proposes a reflection on tutorial videos from Youtube, seen as a form of gift in modern society. Our reflection parts form a perspective of mutual exchange, which avoids the patterns of trade with current economic purposes. We present these video producers as craftsmen of cyberculture due to the skill and competence which they transmit their knowledge. The research is consisted by the observation of video tutorials on YouTube over the Linux operating system and its distributions. Analyzing the interactions between video producers, users and the website. The analysis is based on the classic Mauss (2003) and his reinterpretations of Caille (1998, 2001, 2002, 2006), Godbout (1992, 1998) assisted by Aime Cossetta (2010) and Sennett (2009) to help understand the idea of the craftsmen. The Internet as an open territory in expansion ables us to understand that the relationship in this medium also constitutes the reciprocal links pointed out by Mauss in the early twentieth century. The circulation of intangible property, in this case the knowledge beyond the establishment of social links, promotes a collaborative extent to produce the common in cyberspace.

Práticas e características do jornalismo alternativo e contra hegemônico de agência de informação: uma visão a partir da rotina produtiva da Adital

The strong presence of the communication and information technologies (TICs) forced the productive routine of some media vehicles to go through significant changes. The same happened to the alternative agencies segment. Having a scarce literature and sources about this subject, this study’s objective is to understand how the Information Agency Frei Tito for Latin America (Adital) develops its proposal of alternative journalism, within the cyberspace, while aiming a Christian communication. For this finality, the study will describe and explain the practices of journalistic production, identifying the subjects involved and the relations maintained between them in this productive routine. Also, it will trace who and where these content replicators are and/or their online address. At first, it was presented a theoretical discussion about the concepts of “counter-hegemony”, alternative journalism and communicative citizenship, what brings us to the studies of Gramsci (2010), Peruzzo (2011), Moraes (2013), Paiva (2008), Coutinho (2008), Mata (2006), among other authors. Next, it will be approached briefly the historical path of the information agencies around the world and in Latin America, so that the study can focus on authors like Aguiar (2009), Pasti (2013) and Moraes (2010). This piece will draught a “methodologic route” for a qualitative approach with an exploratory and descriptive character. We gave up the etnometodological methods, what allow us to analyze the etnomethods or behavioral groups of action, procedures, activities and knowledge that constitutes these groups, giving them recognition and distinction. (COULON, 1995). To achieve the defined objectives, it was also used a bibliographical and documental research techniques, in addition to subject observation and semi-structured interviews. Finally, we analyze the collected data taking into consideration three pivots: the beginning of Adital; the practices, characteristics and subjects involved in the productive routine of the agency; and who are and where are these content replicators of content produced and transmitted by Adital. We can conclude that the production routine of an alternative agency and the counter-hegemonic of information is marked by some singularities regarding to the organization of the journalistic practice and to the obstacles found on the way. Our data allows us, even if there are still some doubts, to believe that Adital is a sort of independent information agency, alternative and counter-hegemonic, ergo, more close to a proposition of communicative citizenship.

Práticas e características do jornalismo alternativo e contra hegemônico de agência de informação: uma visão a partir da rotina produtiva da Adital

The strong presence of the communication and information technologies (TICs) forced the productive routine of some media vehicles to go through significant changes. The same happened to the alternative agencies segment. Having a scarce literature and sources about this subject, this study’s objective is to understand how the Information Agency Frei Tito for Latin America (Adital) develops its proposal of alternative journalism, within the cyberspace, while aiming a Christian communication. For this finality, the study will describe and explain the practices of journalistic production, identifying the subjects involved and the relations maintained between them in this productive routine. Also, it will trace who and where these content replicators are and/or their online address. At first, it was presented a theoretical discussion about the concepts of “counter-hegemony”, alternative journalism and communicative citizenship, what brings us to the studies of Gramsci (2010), Peruzzo (2011), Moraes (2013), Paiva (2008), Coutinho (2008), Mata (2006), among other authors. Next, it will be approached briefly the historical path of the information agencies around the world and in Latin America, so that the study can focus on authors like Aguiar (2009), Pasti (2013) and Moraes (2010). This piece will draught a “methodologic route” for a qualitative approach with an exploratory and descriptive character. We gave up the etnometodological methods, what allow us to analyze the etnomethods or behavioral groups of action, procedures, activities and knowledge that constitutes these groups, giving them recognition and distinction. (COULON, 1995). To achieve the defined objectives, it was also used a bibliographical and documental research techniques, in addition to subject observation and semi-structured interviews. Finally, we analyze the collected data taking into consideration three pivots: the beginning of Adital; the practices, characteristics and subjects involved in the productive routine of the agency; and who are and where are these content replicators of content produced and transmitted by Adital. We can conclude that the production routine of an alternative agency and the counter-hegemonic of information is marked by some singularities regarding to the organization of the journalistic practice and to the obstacles found on the way. Our data allows us, even if there are still some doubts, to believe that Adital is a sort of independent information agency, alternative and counter-hegemonic, ergo, more close to a proposition of communicative citizenship.

Um olhar sobre a música gospel: a lógica simbólica e de mercado do Ministério de Louvor Diante do Trono

This study aims to understand how the gospel music genre - based on the gospel band Ministério de Louvor Diante do Trono - articulates itself to the logic of the market by its insertion in the music industry and use of symbolic logic in the available songs of their Cds and DVDs. Our research is a case study, methodologically being the descriptive analysis of the production process, distribution and broadcasting of the band's CDs and functional analysis of the music that permeates the entire thesis. The following songs are presented as an analytical corpus: Preciso de Ti,Quero me Apaixonar, Tua Visão, Creio, Tu Reinas e Tetelestai. Our hypothesis is that religious institutions - as a field responsible for the structure which maintains gospel artists - experiences a new dynamic that consists of a superficial modernity, ratified in the ways the symbolic goods produced communicate, that is, simulate a religious modernity maintaining traditional values regarding the dogmas of religion , but incorporate business and advertising procedures in the dissemination of its products The results point to gospel music as mediation, part of the religious ritual sometimes as prayer and other as preaching, stimulating consumption and entertainment, and performing as a device in the making of symbolic goods.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Comunidade à mesa: a comensalidade no romance O pai Goriot

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Comunidade à mesa: a comensalidade no romance O pai Goriot

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O sujeito-colagem da estética contemporânea – antimoda jovem na UFRN

Assuming the body as a space of communication and production of subjectivity, we investigate, through the perspective of the contemporary youth at UFRN, the complexity surrounding the act of adorning the body as an act of communication, more precisely a visual communication, filled with symbolism and personality. Using the metaporic method, we seek to follow the communicational act, resulting from the relationship between these unique individuals at UFRN, their adornments and clothing, as an act that produces meaning. Through these narratives and singular expression, observed in these adorned / dressed bodys, we were able to identify seven categories that outlines the collage-individual that we present here: Aesthetic inconsistency and frequent change of style, gender X clothes, spaces regulated by a dominant aesthetic, symbolic connection with garments and / or accessories, the building an authorial image through various aesthetic references, moment of aesthetic rupture with socially established standards, and, parts of the body whose modification or acceptance reflects aesthetic ruptures.