Herdeiros do idealismo Alemão

Acompanha-se, aqui, a pertinência do lema de Engels, que concebe o marxismo como herdeiro do idealismo alemão nas teorias de Lukács, Horkheimer e Adorno. Enquanto Lukács assenta o método marxista na vertente da filosofia hegeliana e Horkheimer assume explicitamente o legado kantiano, Adorno não se propõe a ser herdeiro, mas sim crítico do idealismo alemão.

Adesão a um Programa de Triagem Auditiva Neonatal

A Triagem Auditiva Neonatal tem se efetivado mundialmente como meio para detecção precoce da surdez. Na Unicamp, desde 2002, os recém-nascidos na maternidade do Centro de Atenção Integral à Saúde da Mulher são agendados para a triagem auditiva no Centro de Estudos e Pesquisas em Reabilitação Prof. Dr. Gabriel Porto. No entanto, nem todos vêm para a triagem e alguns abandonam o processo de avaliação antes do diagnóstico. O objetivo desta pesquisa foi caracterizar as taxas de adesão de lactentes ao Programa de Triagem Auditiva Neonatal. Tratou-se de pesquisa que utilizou dados contidos nos prontuários dos lactentes que efetuaram a triagem no período de fevereiro a novembro de 2007. Permaneceram no alojamento conjunto do CAISM 2107 lactentes e vieram para a triagem 1310. Dentre aqueles que não passaram na triagem (92 lactentes), realizaram o exame de PEATE-A 73 lactentes. A adesão na primeira etapa da triagem foi de 62,17%, e na segunda, 79,34%. As taxas de adesão são inferiores às preconizadas pelo Joint Comittee on Infant Hearing e encontradas em alguns países desenvolvidos. No entanto, aproximam-se de outras experiências brasileiras de programas de triagem auditiva neonatal. O acompanhamento sistemático às famílias dos lactentes que não passaram na primeira avaliação e a conscientização destas sobre a detecção precoce da perda auditiva e suas consequências podem ter contribuído para o aumento da taxa de adesão na segunda etapa da triagem.

Um estudo genealófico das críticas proferidas à razão versus a esfera pública em Habermas

Pós-graduação em Filosofia - FFC

Legítimos vassalos: pardos livres e forros na Vila Rica colonial (1750-1803)

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Apontamentos genealógicos a respeito da noção de deficiência mental e de suas instituições de cuidado no Brasil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

AIDS x vida: a doença como uma possibilidade de transformação para o sujeito

Pós-graduação em Psicologia - FCLAS

Um estudo do benefício de prestação continuada no município de Altinópolis/SP: o impacto na vida de seus beneficiários

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Avaliação pré-clínica de extratos vegetais de plantas do cerrado brasileiro com atividade antimicobacteriana

Pós-graduação em Ciências Farmacêuticas - FCFAR

Type-II defects in integrable classical field theories

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Um tempo para a literatura ou a vida entre o labirinto e a bússola

Since the priors, man has been trying to understand the concept of time. From myth to quantum physics, time is something that inspires reflections on our own lives. Do we exist in time or for time? Literature, a peculiar form of knowledge, deals with the experience of time in many ways. By avoiding categorizations, literature converges time and space in a dimension in which labyrinth and compass converge: at the reading time, in the reader’s space, in the universe of the book, where Cronos, Kairos, and their heir, by excellence, the literary word, constellate. In this way, in this essay, I discuss some aspects of the relationship between literature and time, or still, what literature can teach us about the time.

Memoria se deseja, o resto se ouça ou veja: considerações sobre um poema de Frederico Barbosa .(2010)

In Frederico Barbosa’s poem “Memoria se”, the memory experience is marked in the body, which means that the memory is not only recorded on the lyrical person unconsciousness, but it is also something that, as an insignia, presents itself and becomes dense as permanence in this lyrical person body. The poet is heir of what may be called “tradition of rigour,” consequently, a discussion of his poetics aspects must consider the inventiveness and the dialogue with other texts, not only those from the canon but also those from the popular repertory that Frederico Barbosa assimilates and recreates.

A luta em defesa da Sociologia no Ensino Médio: 1996-2007 : um estudo sobre a invenção das tradições

Pós-graduação em Educação Escolar - FCLAR

A política como incômodo

This article holds that the dominant scene of the “crisis of politics” in modern societies reflects a complex process of reconfiguration of social life and way of living. Through critical dialogue with some representatives of political sociology of radicalized modernity, it suggests that current failure of politics is the failure of one way of doing and thinking about politics, direct heir of “historical capitalism”. It is not the failure of politics as such, but of a mode of politics, political system, political practice. It must be associated with a sort of fatigue of the material which composed modern politics, which has always been based on strong national and constitutional states, on mass parties and active parliaments, as well as on the efficient functioning of representative democracies.

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.

Sobre O tronco, romance de Bernardo Élis

The conception of O tronco was influenced by Hegel´s ideas. The genesis of this novel is in Bernardo Élis’ purpose of writing a monograph on land ownership conflicts in Goiás, later transformed into a new project, the novel O tronco. The same ideological position of the author gives the argumentative direction of the novel; his ideological background determines the choice of the theme, associated with images expanded by the procedures of argumentation that permeate the literary discourse. Thus, in face of the undeniable aesthetic value of Élis´work, we analyzed O tronco, specifically the argumentation that guides the literary narrative, enhanced by the artistic treatment of violence, its theme, as the result of the struggle for power. The novel was published in 1956; the author, heir to the literary regionalism of the 30s, through an artistic and calculated combination of the story of a local government and literature, accuses, judges the exacerbated domination of a particular social group in a region in Goiás.