Os dias são maus : o ensino religioso cristão em dias pós-modernos o desafio de fazer crer perante a cultura da incredulidade

This paper adopts the assumption that religion continues to be a major highlight in the dimension of the contemporary world - characterized by pluralism, the ideas of tolerance and freedom. But for certain streams of Christianity, the postmodern culture seems to be characterized as a highly damaging to their doctrines and principles, since this religious matrix carries a truth claim that would support all its significance, its definition values and their dissemination effort ( evangelism ). This is not to say that Christianity is the only religion that claims to the truth, which would be a gross mistake. Now, religion has been reputed as a phenomenon doomed to disappear, according to the " ideology " of Modernity, given the idea that scientific development would lead us inevitably to the statement that religion was merely a social institution based in the superstition, in fantasy, the imaginary and therefore had nothing "real " unless its existence as an institution capable of aggregating society (give it cohesion), provide values and meaning to different ontological anxieties and doubts of humankind. In the contemporary scenario - seeded by modernity - as Christian ideas, doctrines and principles are in harmony or conflict with postmodernity? These are our starting questions and issues that we intend to stop and reflect. From the assumption that the religious phenomenon has great force in the present day, this research aims to perform central analysis of how religious education, a Protestant denomination specific, harmonizes or clashes with the ideology or ideas more general and emphatic that we can observe in the western world is presented to us from the diagnoses made by the contemporary authors who debate about postmodernism and postmodernity, notably David Harvey, Jean - François Lyotard, Bauman Zygmunt and Fredric Jameson

Cidade e identidade: discursividades imagético-espaciais e a construção da identidade espacial do Recife, Veneza Brasileira

This treatise analyzes the identitary setting called Veneza Brasileira (Brazilian Venice) which is subscribed to the discoursive materialization related to the imagetic setting (literary and mediatic) produced about the city of Recife. The main investigation of this research is to examine the way how the identitary setting called Veneza Brasileira has been constructed in the imagetic setting practices about the city of Recife in the nineteenth and twentieth centuries. This study is subscribed to the Applied Linguistics and considers the theoretical perspectives that come from the Cultural Studies which investigation basis is focused on authors such as: Hall (2006); Bauman (1999; 2001;2005); Silva (2000); and Castells (2000) related to the discussion over identity, as well as the discussion over Urban Studies presented in Santos (1997; 1999); Ferrara (1998); and Pesavento (2001). Moreover it is also based on the theoretical basis found in Foucault (2004; 2006; 2007). Furthermore theoretical-methodological approaches rely on the French Discourse Analysis (DA) found in Orlandi (2001); Gregolin (2007); and Courtine (2006). On being so, this treatise aims to: analyze the meaning effects over the production of the identitary setting, especially the so-called Veneza Brasileira, in the imagetic setting discoursive practices (Poems, Post Cards and Touristic Guides) which are produced over the urban setting of the city of Recife. This research is characterized by being qualitative and interpretative and the theoretical analytical approaches contributed to the reading of both poetic and iconic images presented in the excerpts of poems from the nineteenth century and early twentieth century in: Manuel Bandeira s poems, Carlos Pena Filho s poems, and João Cabral de Melo Neto s poems which were produced in the early and late twentieth century. Moreover, this study observed some photographic images in Post Cards and Touristic Guides related to the visiting of historical sites in Recife. One could conclude that the imagetic setting discourse about Recife produced different identitary effects over the so-called Veneza Brasileira along these three centuries: in the nineteenth century, the poetry constructed the utopia city along with the meaning effect of identitary unit; as for the twentieth century, one observed an oscillation between a utopia/heteroutopia city meaning effect of both united and fragmented identity, the latter one is prevalent. As for the twenty-first century, the media reconstructed over again the utopia city, and consequently, produced meaning effect of identitary unit. These same meaning effects of identity either corroborate or contradict to/with the concepts of the postmodernism over identity along these three centuries. In other words, considering the imagetic setting, this oscillation occurs in the proportion of one finds an (ex) inclusion of social agents that construct these same identities.

O teatro de Elias Canetti em diálogo com a pós-modernidade

The purpose of this dissertation is to analyse the dramaturgic work of the Bulgarian author Elias Canetti, composed by the plays The Wedding, Comedy of Vanity and Their Days are Numbered, seeking to comprehend how the contemporary critic theories act on his trilogy, making a dialogue with theoretical references which may justify its approaching to the postmodernism. In this perspective, the theories by Jean-François Lyotard, Fredric Jameson and Jürgen Habermas contribute for a better comprehension of the postmodernity phenomenon. Undertaking Canetti’s notes and theatre with the philosophical concepts of Adorno’s negative aesthetics, we realise there is a space to reflect upon the theories which befell, like Foucault’s power relations in Micro-physics of Power and the discourses of resistance and deterritorialisation developed by Deleuze and Guattari in A Thousand Plateau and Anti-Oedipus. Even though Canetti’s plays were written between 1932 and 1956, all of them show a strong critic against modernism, and their characteristics did not help their recognition by the critics, which resulted in a rediscovery of Canetti’s plays after the author won the Nobel Prize in 1981.