Paradigmas diversos no campo da assistência social e seus estabelecimentos assistenciais típicos

In order to understand what is the situation of entities that serve children and adolescents today, as well as the institutional plot that comprises these institutions, we aimed to formulate a set of paradigmatic possibilities that would allow us to understand the configuration of the dialectical field of various pulses, in which these entities are located. We detected the subjects we associate with counterparts paradigms of Charity, of Human Promotion, of Philanthropy, of assistentialist government patronage, of Social Work as a State Policy, and finally, another set of events that we propose to designate as the paradigm of Citizen Subjects we associate with the ethical perspective of People Education. These paradigmatic possibilities range from the simply various and contrasting ones, including the similar and competing ones, to the dialectically contradictory ones. Its spectrum oscillates between tutelage and citizenship. The characterization of these didactic paradigms can provide us a compass that is required in a highly complex social field, allowing us to understand the variety of ethical effects promoted by these paradigms in the social field.

Diagnóstico da cadeia produtiva de rochas ornamentais e de revestimento do Estado do Ceará: mineração, serrarias, marmorarias e desafios do setor

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Arte sem fronteiras. Londres, Berlim, São Paulo e Rio de Janeiro: olhares estéticos e capitalistas sobre as células do poder lícito e ilícito (séculos XVIII e XX)

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

Governos de gabinete e coalizões cíclicas no ultrapresidencialismo estadual: a experiência no Amazonas

OBJETIVO – O propósito de minha pesquisa é analisar os mecanismos que estruturam os governos de gabinete e as coalizões cíclicas no ultrapresidencialismo estadual do Amazonas. Em outras palavras, tenho como foco explicar a lógica do sucesso do governador, de sua coalizão legislativa e de seu gabinete na constituição de uma rede de superdominância nas arenas eleitoral, parlamentar e executiva. PERÍODO – Neste estudo de caso, analiso quatro administrações de três governadores do Amazonas: Gilberto Mestrinho (1991-1994), Amazonino Mendes (1995-1998 e 1999-2002) e Eduardo Braga (2003-2006); e quatro legislaturas da Assembleia Legislativa (ALEAM). TEORIA – Como orientação teórica, uso as contribuições da teoria da escolha pública e da análise institucional. Parto da premissa de que o governador joga tentando maximizar sua renda de utilidade dentro de uma dada estrutura institucional (permeada pela lógica do gubernatorial coattails) que incentiva a interação estratégica cooperativa e durável entre os principais jogadores (governador, deputados estaduais, secretários e cidadãos-eleitores) em múltiplas arenas decisórias. METODOLOGIA – Primeiramente, utilizo o banco de dados do Laboratório de Estudos Experimentais (LEEX) para montar um mapa da dinâmica eleitoral, partidária e parlamentar recente. Depois, trabalho com o banco de dados da Assembleia Legislativa do Amazonas para verificar a organização da produção legislativa (os projetos de lei ordinária aprovados) e a eficácia da coalizão partidário-parlamentar do governador. Finalmente, manuseio o meu próprio banco de dados sobre a rotatividade do secretariado e, por conseguinte, aplico e calculo o índice de coalescência para estimar os níveis de proporcionalidade dos governos de gabinetes ultrapresidenciais. CONCLUSÃO E RESULTADOS – Os governadores acumulam o monopólio do poder de agenda decisória do Executivo e controlam com muita eficiência a agenda do Legislativo; além do mais distribuem recursos de patronagem como incentivos seletivos para os seus aliados nos jogos em múltiplas arenas. Como consequência, cheguei à conclusão de que a formação de maiorias no contexto do ultrapresidencialismo estadual se realiza, por um lado, pelo surgimento de coalizões cíclicas de amplo apoio partidário na arena legislativa; e, por outro, pela edificação de governos de gabinete com a participação pendular de parlamentares, partidários e especialistas.

O processo de gestão de políticas públicas na perspectiva de ruptura social no município de Alterosa - experiência política gestão 1992 a 2005

Pós-graduação em Serviço Social - FCHS

Gestão escolar no estado de São Paulo: perspectiva democrática ou modelo gerencial? uma análise a partir do relatório dos estudos do SARESP (2010 a 2012)

Pós-graduação em Educação - FFC

O projeto de modernidade nas crônicas da seção De Palanque de Artur Azevedo

Pós-graduação em Letras - FCLAS

El gobierno de las megalópolis, el caso de Brasil, São Paulo: gestión metropolitana, descentralización y participación como desafíos simultáneos

The government of a megalopolis, such as São Paulo, shows singular challenges that do not exist in less complex urban contexts. Being a city of a country with a recent industrialized economy, with an income (functional and geographical) highly concentrated, that has resumed the democracy for only one quarter of a century, this megacity lives with its own political and organizational assignments, due to the contradictory character of the political behavior of its habitants/ voters and of the traditionalist nature of populism and patronage in the relationship between the rulers and the ruled and between the Executive and Legislative powers at the local level. In such context, the difficulties to prosecute the assignments of the metropolitan organization, the decentralization and the institutionalization of citizen participatory channels in the governance and administrative activities are huge. The centrifuge forces (of the decentralization of the local government, through subprefectures), the centripetal forces ( of the metropolitan organization process) and the diffuse forces (of the claiming popular participation) act simultaneously over the deciding processes, in São Paulo, receiving, still, state and national political influences, since the city is a very significant historically producer of political and electoral capital. The analysis of the recent experience of the creation of the subprefectures and the representative counsels (fixed in the Municipality Organic Law of 1990) and the attempt to implement the participatory budgeting, in two occasions (1989-1992 and 2001-2004), reveal some of the social and political reasons that make difficult the establishment of a solidly democratic governance and of a more efficient public administration in the metropolitan area of São Paulo.

A influência da raça nas relações de poder: uma análise sobre o município de Araraquara

Analyzing the Brazilian people's formation and its ethnic variety, the racial issue is marked by racism as a tendency of thought that gathers different human races. The miscegenation originated by the crossbreeding occurred widely among Brazil and carried with it a racial prejudice based on European theses about the population's whitening. Since the arrival of the black population to the country, in the condition of slave, their image is stuck to the stigma of inferiority in relation to white people, making it difficult to have a political influence and introduce themselves into the Brazilian dominant elite. We intent to bring the discussion about local power, coronelismo and patronage, trying to demonstrate how the dominant elite's power and resources allocation schemes, put aside the lower-class from the political scene which is even worse for the black population regarding the suffered racial prejudice. Assuming the matters described above, we argue around the insertion of the black people into the political scenario, taking the City of Araraquara -SP as target to analyze the conditions that prevents them from achieving high positions inside the public sector and develop the issue between representation, social inclusion and political participation

Measuring the Performance of Cooperative Equity Redemption Plans

Cooperatives differ from other businesses in that they are owned by their patrons and net margins are distributed to patrons on the basis of use instead of capital investment. For financing, cooperatives often rely on allocated equities from retained patronage refunds. Retained patronage refunds are noncash allocations of net margins reinvested in a cooperative by patrons. Under an ideal program of equity formation, equity is held by patrons in proportion to patronage. Each patron’s share of financing the cooperative is equal to the share of benefits received. Equities of former patrons are retired as active patrons take on more of the responsibility of financing the organization.

Dall'involucro all'invaso. Lo spazio a pianta centrale nell'opera architettonica di Adalberto Libera

An archetype selected over the centuries Adalberto Libera wrote little, showing more inclination to use the project as the only means of verification. This study uses a survey of the project for purely compositional space in relation to the reason that most other returns with continuity and consistency throughout his work. "The fruit of a type selected over centuries", in the words of Libera, is one of the most widely used and repeated spatial archetypes present in the history of architecture, given its nature as defined by a few consolidated elements and precisely defined with characters of geometric precision and absoluteness, the central space is provided, over the course of evolution of architecture, and its construction aspects as well as symbolic, for various uses, from historical period in which it was to coincide with sacred space for excellence, to others in which it lends itself to many different expressive possibilities of a more "secular". The central space was created on assumptions of a constructive character, and the same exact reason has determined the structural changes over the centuries, calling from time to time with advances in technology, the maximum extent possible and the different applications, which almost always have coincided with the reason for the monumental space. But it’s in the Roman world that the reason for the central space is defined from the start of a series of achievements that fix the character in perpetuity. The Pantheon was seen maximum results and, simultaneously, the archetype indispensable, to the point that it becomes difficult to sustain a discussion of the central space that excludes. But the reason the space station has complied, in ancient Rome, just as exemplary, monuments, public spaces or buildings with very different implications. The same Renaissance, on which Wittkower's proving itself once and for all, the nature and interpretation of sacred space station, and thus the symbolic significance of that invaded underlying interpretations related to Humanism, fixing the space-themed drawing it with the study and direct observation by the four-sixteenth-century masters, the ruins that in those years of renewed interest in the classical world, the first big pieces of excavation of ancient Rome brought to light with great surprise of all. Not a case, the choice to investigate the architectural work of Libera through the grounds of the central space. Investigating its projects and achievements, it turns out as the reason invoked particularly evident from the earliest to latest work, crossing-free period of the war which for many authors in different ways, the distinction between one stage and another, or the final miss. The theme and the occasion for Libera always distinct, it is precisely the key through which to investigate her work, to come to discover that the first-in this case the central plan-is the constant underlying all his work, and the second reason that the quota with or at the same time, we will return different each time and always the same Libera, formed on the major works remained from ancient times, and on this building method, means consciously, that the characters of architectural works, if valid, pass the time, and survive the use and function contingent. As for the facts by which to formalize it, they themselves are purely contingent, and therefore available to be transferred from one work to another, from one project to another, using also the loan. Using the same two words-at-issue and it becomes clear now how the theme of this study is the method of Libera and opportunity to the study of the central space in his work. But there is one aspect that, with respect to space a central plan evolves with the progress of the work of Libera on the archetype, and it is the reason behind all the way, just because an area built entirely on reason centric. It 'just the "center" of space that, ultimately, tells us the real progression and the knowledge that over the years has matured and changed in Libera. In the first phase, heavily laden with symbolic superstructure, even if used in a "bribe" from Free-always ill-disposed to sacrifice the idea of architecture to a phantom-center space is just the figure that identifies the icon represents space itself: the cross, the flame or the statue are different representations of the same idea of center built around an icon. The second part of the work of clearing the space station, changed the size of the orders but the demands of patronage, grows and expands the image space centric, celebratory nature that takes and becomes, in a different way, this same symbol . You see, one in all, as the project of "Civiltà Italiana" or symbolic arch are examples of this different attitude. And at the same point of view, you will understand how the two projects formulated on the reuse of the Mausoleum of Augustus is the key to its passage from first to second phase: the Ara Pacis in the second project, making itself the center of the composition "breaks" the pattern of symbolic figure in the center, because it is itself an architecture. And, in doing so, the transition takes place where the building itself-the central space-to become the center of that space that itself creates and determines, by extending the potential and the expressiveness of the enclosure (or cover) that defines the basin centered. In this second series of projects, which will be the apex and the point of "crisis" in the Palazzo dei Congressi all'E42 received and is no longer so, the symbol at the very geometry of space, but space itself and 'action' will be determined within this; action leading a movement, in the case of the Arco simbolico and the "Civiltà Italiana" or, more frequently, or celebration, as in the great Sala dei Recevimenti all’E42, which, in the first project proposal, is represented as a large area populated by people in suits, at a reception, in fact. In other words, in this second phase, the architecture is no longer a mere container, but it represents the shape of space, representing that which "contains". In the next step-determining the knowledge from which mature in their transition to post-war-is one step that radically changes the way centric space, although formally and compositionally Libera continues the work on the same elements, compounds and relationships in a different way . In this last phase Freedom, center, puts the man in human beings, in the two previous phases, and in a latent, were already at the center of the composition, even if relegated to the role of spectators in the first period, or of supporting actors in the second, now the heart of space. And it’s, as we shall see, the very form of being together in the form of "assembly", in its different shades (up to that sacred) to determine the shape of space, and how to relate the parts that combine to form it. The reconstruction of the birth, evolution and development of the central space of the ground in Libera, was born on the study of the monuments of ancient Rome, intersected on fifty years of recent history, honed on the constancy of a method and practice of a lifetime, becomes itself, Therefore, a project, employing the same mechanisms adopted by Libera; the decomposition and recomposition, research synthesis and unity of form, are in fact the structure of this research work. The road taken by Libera is a lesson in clarity and rationality, above all, and this work would uncover at least a fragment.

I drammi per musica di Giacomo Antonio Perti per il teatro della Villa medicea di Pratolino (1700-01; 1707-10)

L’attività nel teatro della Villa medicea di Pratolino, presso Firenze, giunse al culmine nel primo decennio del ’700, quando il principe Ferdinando de’ Medici commissionò e vi fece rappresentare, una per anno, opere in musica di Alessandro Scarlatti e di Giacomo Antonio Perti. Benché le partiture siano perdute, sopravvive un’ingente quantità di materiale documentario, in massima parte inedito, il quale dà un eccezionale resoconto sul mecenatismo del Principe e sul funzionamento della macchina teatrale. La dissertazione si concentra sulle sei opere poste in musica da Perti ("Lucio Vero", 1700, in collaborazione con Martino Bitti; "Astianatte", 1701; "Dionisio re di Portogallo", 1707; "Ginevra principessa di Scozia", 1708; "Berenice regina d’Egitto", 1709; "Rodelinda regina de’ Longobardi", 1710), sui rapporti del compositore col Principe, col librettista Antonio Salvi, col rivale Scarlatti, coi cantanti e con la corte medicea, sullo stile da lui perseguito e – per quanto è dato sapere o lecito ipotizzare – sulla fisionomia dei suoi lavori (strutture e risorse letterarie, teatrali e musicali).

La committenza artistica dei Templari e degli Ospitalieri in Emilia Romagna

La tesi di dottorato La committenza artistica dei Templari e degli Ospitalieri in Emilia Romagna cerca attraverso un approccio metodologico multidisciplinare di ricostruire il patrimonio artistico delle commende dei due ordini religioso cavallereschi in regione. La tesi è stata concepita per riflettere anche a livello strutturale la metodologia d’indagine, così un primo capitolo è dedicato all’analisi storica dei due ordini, con particolare attenzione alla comprensione del rapporto tra gli ordini e il mondo dell’arte. Una secondo capitolo invece è incentrato sulla storiografia artistica relativa e sulle impegnative indagini d’archivio, che, soprattutto attraverso l’utilizzo di una vasta documentazione inedita, hanno permesso di fornire nuovi elementi alla definizione della rete degli insediamenti e della loro decorazione. Lo studio prosegue con la specifica ricostruzione storica e storico artistica delle commende attraverso l’indagine sui singoli insediamenti, dove si è cercato di dar conto delle vicende artistiche e della storia dei suoi protagonisti. Contestualmente alla redazione di questo capitolo, riconoscendo la storia, il senso e l’importanza della scuola stilistico-filologica, si procede alla redazione delle schede di catalogo delle opere superstiti, sia di quelle ancora nelle ex-commende sia di quelle che oggi hanno altre collocazioni. Successivamente, senza necessariamente trarre conclusioni definitive su un lavoro di ricerca che per sua natura è in divenire, si argomentano alcune riflessioni sulla natura, i limiti, i caratteri e l’evoluzione della committenza dei due ordini cavallereschi in regione. Si è così riscoperto un patrimonio artistico vasto e articolato che coniuga capolavori con opere di cultura assai più corsiva, ma comunque sempre capace di raccontare la storia dei suoi artefici (alcuni - come Aristotele Fioravanti, Girolamo da Treviso, Pietro Bembo o Ranuccio Farnese - veri e propri protagonisti del loro tempo), in continuo e sostanziale dialogo con le culture artistiche che hanno attraversato la regione, e non solo, tra Medioevo e Modernità.

Das moderne Buch: Harry Graf Kesslers Ästhetik der Lebenskunst im Spiegel der Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker

Die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker wurde seit 1904 bis in die Zwanziger Jahre hinein im Insel Verlag in Leipzig publiziert. Die Buchreihe hat nicht nur für den Verlag und die Druckerei Poeschel in der sie gedruckt wurde eine ganze Reihe von Neuerungen nach sich gezogen, auch für den deutschen Buchmarkt hat die Klassikerausgabe einen Meilenstein bedeutet. Sie hat einige Eigenschaften des Taschenbuches vorweggenommen. Sie orientierte sich an der Qualität bibliophiler Buchpublikationen, aber war dennoch preislich erschwinglich. Zeitgenössische Klassikerausgaben erschienen zumeist mit einem Kommentar. Nicht so die Großherzog Wilhelm Ernst Ausgabe. Der Text wurde zwar von führenden Wissenschaftlern editiert, aber sie war dennoch unkommentiert. Der Text war in einer Jenson-Antiqua gesetzt obwohl die Debatte um individuell gestaltete Künstlerschriften und die Diskussion um die als deutsche Schrift begriffene Fraktur unter den wichtigsten Protagonisten des deutschen Buchgewerbes ihren Höhepunkt noch nicht erreicht hatte. Ziel für die Klassikerausgabe war darüber hinaus, das zur Jahrhundertwende leicht angestaubte Image der Stadt Weimar aufzupolieren. Über das Patronat des Großherzogs hinaus hätte man die Gewinne aus dem Verkauf der Bücher der Permanenten Ausstellung für die Anschaffung von modernen Kunstobjekten zur Verfügung stellen wollen, die unter der Leitung von Harry Graf Kessler stand. Sieht man den Inhalt der Werke der in der Klassikerreihe erschienen Dichter Goethe, Schiller und Körner in einem ästhetischen Kontext mit dem der Philosophen Schopenhauer und Kant, wird im Spiegel der Formalästhetik der Klassikerausgabe Graf Kesslers Bildungs- und Kulturbegriff erkennbar, der sich in den Jahren nach der Jahrhundertwende zu seinem Lebenskunstideal verdichtete. Der zerrütteten Existenz der Zeitgenossen, wie Friedrich Nietzsche sie beschrieben hatte, sollte der Inhalt der Ausgabe in seiner modernen Form eine moderne Wertehaltung entgegensetzen. Die Lektüre der Klassiker sollte den deutschen Philister „entkrampfen“ und ihm ein Stück der verloren geglaubten Lebensfreude wieder zurück bringen, in dem dieser auch die Facetten des Lebensleids als normal hinnehmen und akzeptieren lernte. Die Klassikerausgabe repräsentierte aus diesem Grund auch den kulturellen und politischen Reformwillen und die gesellschaftlichen Vorstellungen die der Graf für ein modernes Deutschland als überfällig erachtete. Die Buchreihe war aus diesem Grund auch ein politisches Statement gegen die Beharrungskräfte im deutschen Kaiserreich. Die Klassikerreihe wurde in der buchhistorischen Forschung zwar als bedeutender Meilenstein charakterisiert und als „wichtiges“ oder gar „revolutionäres“ Werk der Zeit hervorgehoben, die Ergebnisse der Forschung kann man überspitzt aber in der Aussage zusammenfassen, dass es sich bei der Großherzog Wilhelm Ernst Ausgabe um einen „zufälligen Glückstreffer“ deutscher Buchgestaltung zu handeln scheint. Zumindest lassen die Aussagen, die bisher in dieser Hinsicht gemacht wurden, keine eindeutige Einordnung zu, außer vielleicht der, dass die Klassiker von der englischen Lebensreform inspiriert wurden und Henry van de Velde und William Morris einen Einfluss auf ihre äußere Form hatten. Gerade die Gedankenansätze dieser Beiden nutzte Graf Kessler aber für eigene Überlegungen, die ihn schließlich auch zu eigenen Vorstellungen von idealer Buchgestaltung brachten. Da für Kessler auch Gebrauchsgegenstände Kunst sein konnten, wird das Konzept der Klassikerausgabe bis zur Umsetzung in ihrer `bahnbrechenden´ Form in das ideengeschichtliche und ästhetische Denken des Grafen eingeordnet. Die Klassiker werden zwar in buchhistorischen Einzeluntersuchungen bezüglich ihrer Komponenten, dem Dünndruckpapier, ihrem Einband oder der Schrifttype exponiert. In buchwissenschaftlichen Überblicksdarstellungen wird ihr Einfluss hingegen weniger beachtet, denn verschiedene Kritiker bezogen sie seit ihrem ersten Erscheinen nicht als deutsches Kulturgut mit ein, denn sie lehnten sowohl die englischen Mitarbeiter Emery Walker, Edward Johnston, Eric Gill und Douglas Cockerell wie auch ihre Gestaltung als „welsche“ Buchausgabe ab. Richtig ist, die Großherzog Wilhelm Ernst Ausgabe hatte dieselbe Funktion wie die von Graf Kessler in Weimar konzipierten Kunstausstellungen und die dortige Kunstschule unter der Leitung seines Freundes Henry van de Velde. Auch das für Weimar geplante Theater, das unter der Leitung von Hugo von Hofmannsthal hätte stehen sollen und die Großherzog Wilhelm Ernst Schule, hätten dieselben Ideen der Moderne mit anderen Mitteln transportieren sollen, wie die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker.

La drammatizzazione della storia. Uno studio del secondo Novecento attraverso i racconti del teatro di narrazione.

Sorto alla fine degli anni ottanta del Novecento, il teatro di narrazione ha raggiunto un notevole successo di pubblico a partire dagli anni Novanta. I suoi legami con il giornalismo d'inchiesta hanno condotto questo genere teatrale verso la narrazione di alcuni tra gli eventi pi controversi della storia dell'Italia repubblicana; eventi non ancora risolti sul piano processuale o al centro di una memoria storica fortemente divisa. Marco Baliani, Marco Paolini e Ascanio Celestini sono i tre autori che abbiamo scelto per affrontare un'analisi delle loro narrazioni in merito, rispettivamente, all'omicidio di Aldo Moro, alla strage di Ustica e all'eccidio delle Fosse Ardeatine. Oggetto della ricerca l'analisi dell'utilizzo delle fonti da dichiarate o comunque utilizzate dai narratori per la costruzione delle loro performances la loro selezione, la loro interpretazione e la loro disposizione nel testo e la messa in evidenza del problema della verità e del suo rapporto con il verosimile nelle narrazioni teatrali di eventi storici. Particolare attenzione viene inoltre posta al grande dibattito internazionale tra storia e fiction, alle strategie di coinvolgimento dell'opinione pubblica su temi morali e politici nonché all'analisi dei fattori economici e delle committenze che sono alla base di tali narrazioni.