As condições de vida dos assentados da região de Andradina: a realidade e os indicadores de avaliação da política pública de reforma agrária

Pós-graduação em Serviço Social - FCHS

A política de responsabilidade social da empresa Furnas - São José da Barra

Pós-graduação em Serviço Social - FCHS

Das ideias de Roland Barthes à teoria do enquadramento: análise de uma cobertura política

Pós-graduação em Comunicação - FAAC

De uma cultura política à Teologia da Liberação: as cartas do cárcere de Frei Betto e a ditadura civil-militar no Brasil

Pós-graduação em História - FCLAS

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

Psicologia, política e direitos humanos: ambiguidades e contradições

From a brief description of four different epistemological perspectives on human rights this article seeks to highlight the importance of critically discuss the history and the contradictions between these perspectives and the field of psychology both as science and professional practice. It is noteworthy that an ethical psychologist’s practice depends on a critical attitude towards science and human rights in its various interfaces.

A memória biográfica de Januário da Cunha Barbosa: uma trajetória política na corte Imperial pelas páginas da Revista do IHGB (1821-1846)

Pós-graduação em História - FCLAS

O cardeal leme e a construção da ordem política católica (1930-1942)

Pós-graduação em História - FCHS

Itinerários, estruturas de sociabilidades e ação política: intelectuais de São Paulo na crise do Império (1875-1889)

Pós-graduação em História - FCHS

Das ondas do rádio ao papel dos jornais: desenvolvimento da radiodifusão e autonomia política da imprensa no Brasil, 1931-1937

Pós-graduação em História - FCLAS

A importância de Scotus na concepção de história de Arendt

The objective of this study is to discuss the notion of history in Arendt, from the importance that needs the thought of Duns Scotus, particularly with regard to the primacy of the will. For the author, Scotus was a medieval thinkers to emphasize the role of free will as power in the face of intellect attached to the natural activity. The freedom to get an act featuring a world ruled by contingency. Now, for Arendt, that freedom is consistent with your idea of authentic political, and base a public space, defined by word and action of individuals. The history, which takes place from political activity, received various treatments, from Greek antiquity to the modern conception of process. It joined the idealistic conceptions, establishing universal ways of defining the future. However, if freedom is to characterize the vita activa, the history must seek the meaning of the facts to scrutinize their singular aspects, which fell to the continuo of universal explanation of the official history. It is, therefore, to approach the history from the perspective of singular narrative, from the spectators, those who founded the public space. Hence the importance of bipolar concepts such as nature and freedom, necessity and contingency, will and intellect, as Scotus.

Vagueza e indeterminação na noção de história de Arendt

The purpose of this paper is to present the thought of Hannah Arendt on the historical narrativa, as the reading of theories of cognition and the sign of Peirce. It is not categorial parallelism, but to highlight some approximation in order to conceive the thought and language. For both, communication is important in the formation of your thoughts. While one has broader interests, the other directs its efforts to human society, politics and history. However, both authors agree on the fallible nature o four opinions, and reject the traditional philosophies, advocates of transcendental schemes, which are imposed, silencing the experience, the source o four opinions. The proposal, to seek the experience, the origino f opinions, ou interpretations, excluding transcental rules, but the community is what gives the character of the narrative indeterminacy. They do not escape from the temporal and social factors. Therefore, are subject to what gives them legitimacy, ie, freedom.

Para que serve o passado: cronache di poveri amanti e a crônica da história

Vasco Pratolini recreates the 1920’s and the assertion of fascism resorting to the medieval and historiographical tradition, to the social outlook and the childhood memoir. Under the effects of the intellectual movement of the Italian Resistance, within the democratic context of the parliamentary republic and pluripartyism (1946- 1948), the novel makes clear the equalitarian perspective betraying the represented moment, when hopelessness crowned the political and social life. Carlo Lizzani shoots his adaptation in the closure of horizons caused by the restoration of the conservative forces (1953), reducing the visionary focus of the narrative and representing the past from the disillusionments of the present.

A política de assistência social desenvolvida nos CRAS de Sertãozinho para a prevenção da violência doméstica contra crianças e adolescentes

Pós-graduação em Serviço Social - FCHS