Pensar e filosofar a partir do problema da existência de Deus

Relatório da Prática de Ensino Supervisionada, Mestrado em Ensino de Filosofia, Universidade de Lisboa, 2010

A presença da metafísica na ciência

Tese de doutoramento, História e Filosofia das Ciências, Universidade de Lisboa, Faculdade de Ciências, 2014

A pureza perdida do desporto : futebol no Estado Novo

Tese de doutoramento, Sociologia (Teorias e Métodos de Sociologia), Universidade de Lisboa, Instituto de Ciências Sociais, 2014

Going for god : mobility, place and temporality among evangelical guineans in Lisbon

Tese de doutoramento, Antropologia (Antropologia da Religião e do Simbólico), Universidade de Lisboa, Instituto de Ciências Sociais, 2014

Monsenhor Airosa - pedagogo - empresário : história do colégio de regeneração de Braga : (1869-1931)

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2015

The transformation of landscape as as aesthetic idear

The present study seeks to thoroughly investigate and delineate the concept alongside the transformation of landscape as an aesthetic idea. On the one side it runs that nature perceived as landscape remains nothing else but granted, evident or 'natural'. On yet another side, and to some fairly significant extend, this thesis identifies landscape as a sheer idea and concept that is shaped and (re-)mediated in an ongoing process. The thesis examines the role of the observer and brings into agreement that every landscape is a produce of creative mental processes. In brief outline, this approach provides a framework for identifying landscape as being inextricably linked with media from the very beginning of their social and cultural inception. As glowing examples for the paradigmatic shift of the classical subjective vision model culminating in the emergence of a new prototype, the camera obscura, together with the panorama, fortify the prevailing argument that the mode of human sense perception is organised and determined by earlier acquainted recognitions. In this matter, as each and every medium strive after accomplishment, then this accomplishment is substantially determined by overwhelming historic, as well as thriving cultural circumstances. In conclusive terms, this study seeks to show how landscape counts as content of a representation, while simultaneously being a very own medium that specifically carries social, geological as well as historic knowledge. In fact, modern vision shall therefore never be bound to any single format or process, rather it will have to always undergo procedures aiming at reshaping the perceivable. Landscape is playing out its major characteristic, specifically that of being, in essence, a purely intellectual, virtual and synthetic product

Aphomoioo : existir entre o processo e a obra

Coming from the need to express an image – aphomoioo – is more than a dissertation trying to prove its argument. It is the result of an experimentation born from within an anguish felt through an image. An uncontrollable desire that transforms my need into an answer to my craft. Through a discursive organization of speech enmeshed by psychoanalytic, biological, philosophical and linguistic concepts, we are allowed to discover that existing is more than agreeing on a target with an end but, as the relationship that it is, it does not define us as beings, but as an active/interactive limit. And this identity which puts us face to face with the reality - constructed and constructive - seeking to describe the similarity of the existence of things, the images. These beings from the reality that sends us to the symbolic place of our existence, the mundanity. A restlessness that is embedded into every action of knowing that, through language, establishes as true everything which silences the symbolic through a rule of conduct - the principle of reason - a formal rule of all knowledge that establishes the contemplative way for all knowledge originally set up as one signification event. The nature of our organization as living beings, our structural coupling, is what enables us to conclude that all formalities established as knowledge are born into a delirium that is expressed in the conformity of an answer. That being the end of an aphomoioo. The purpose of a "doing" that expresses itself into an image that is projected into a representation. A "doing" made after an image through an ergo genesis – the "artwork" – an answer to my making that expresses the image of my separation from myself as an image of ego established in a represented projection of my hallucinatory image