Identidade pessoal em Hume e em Kant

The issue of this dissertation is the problem of personal identity. More specifically, the objective of this work is to investigate and compare how Hume and Kant construct, within their own philosophical systems, their theories of personal identity (of the self), so that these theories can set the grounds for the construction of theoretical knowledge. Hume’s theory of personal identity is closely connected to his empirical model of investigation, according to which no metaphysical conclusion can be accepted. This implies a very specific limitation to the humean description of personal identity. Because he can’t find a safe empirical reference for the self, Hume is obliged to describe it as a mere fiction, which the imagination creates to try to give unity to the set of perceptions that composes the mind. Kant, on the other hand, constructs his theory of the self with the aim of explaining the possibility of the a priori knowledge in Mathematics and in Physics. Kant tries to find which attributes must necessarily belong to the self so that this self can be, at the same time, the a priori transcendental condition of a subjectivity in general and the equally a priori transcendental condition for the construction of objective knowledge. Moreover, Kant shows the impossibility of objectively knowing, as intuition, the self, and limits himself to the description of the self as a mere subjective consciousness of the synthetic capacities of the understanding. Several disparities, thus, can be perceived between the theories of personal identity of these two authors. Based on these differences, the present work also examines the possibility of making an interpretation of the humean theory of the self by using elements of the kantian philosophy. The purpose of this kind of interpretation is to propose a solution to the difficulties faced by Hume in the description of his theory of personal identity.

Jogos de negócio : o que leva o docente de cursos da área de Ciências Sociais Aplicadas a adotar a ferramenta de ensino

The Business Games are a growing teaching strategy and alternative to the academic front through the new process of Teaching and Learning. Through literature review and semi-structured interviews, this work addresses the teachers considering their subjectivity in deciding JN as the three profiles suggested by Faria and Wellington (2004): those who use it, those who stopped using and those who do not. The research corpus is limited to contributions of 22 respondents between master and doctors teachers of Applied Social Sciences area courses in colleges of Brasília (DF), Goiânia (GO), Ribeirão Preto (SP) and Uberlandia (MG). The content analysis of the interviews allowed to infer that: (1) join the teaching strategy is a commitment to a complex planning, with constant training and proactivity related to student feedback; (2) abandons the practice is becoming less common, because managers tend to recommend it and there are more and more software available for specific disciplines. Its discussed also other contributions (motivations) given by respondents of the three groups that were not found in the literature. It is hoped that this work will serve (1) incentive to teachers on the use of Business Games as a teaching strategy (2) consultation by managers when they decide about purchasing simulation software. Finally, stands out that the educational success of JN depends not only on the various motivations of teachers, as well as the interest and commitment of the student.

O processo de subjetivação profissional durante os estágios supervisionados em psicologia

Internship is legally understood in Brazil as an overseen educational activity to be developed in a work setting aiming to prepare students to make productive work. According to the federal law number 11.788/08, its main aim is to provide students with competences directly related to the professional activity in a curricular context and to make students develop themselves to live as citizens and to work professionally. With a focus on the professionalizing internship, this research aimed at understanding the professional subjectiveness process of Psychology undergraduates at a public university in the state Minas Gerais during their internship and according to a critic perspective in schooling psychology. The importance of studying psychologist academic training above all the relationship between theory and practice is on the fact that the internship is his/her initial contact with the professional experience itself after four years of theoretical studies. Understood as a way of appropriating and internalizing theoretical and practical dimensions related to the psychologist profession and constructed by the individual, the concept of professional subjectiveness is viewed in the light of the cultural-historical theory, that is, as a result of the human being social constitution. Three Psychology s intern students and their respective overseers were interviewed during their internship period to talk about the process of professional constitution at this phase of the academic training. To do so, oral history proved to be an important methodological support, for it offers a means of giving voice to common people and letting them signify their multi-circumstantial experiences. Results reiterate the presence of subjectivity in the dynamics of an undergraduate training, but they showed that it is permeated by social relations established in his/her personal life story and professional trajectory, stemming from the professional choice, the relationship between intern and overseer, the professional activity properly considered, the psychotherapy, the rules, and from the institutionalization of knowledge, among others aspects that guide the professional subjectiveness during the internship. We verified that the training of a Psychology undergraduate includes multiple determinations that exceed the academic setting because it points out the breaking down of the professional dimensions and personal one dichotomy.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.