Na 1 Nachlass Max Horkheimer, 636 - "The Relation between Philosophy and Sociology in the Work of Wilhelm Dilthey" und "Autoritärer Staat" (p. IX 12.1-7-IX 13.1-7)

"The Relation between Psychology and Sociology in the Work of Wilhelm Dilthey" (GS 4, S. 352-370), veröffentlicht in Studies in Philosophy and Social Science VIII, 1939/40, S. 430-443, Vortragstext englische Fassung, Typoskript mit eigenhändigen Korrekturen, 18 Blatt, deutsche Fassung, Typoskript mit eigenhändigen Korrekturen, 20 Blatt; Vorlage zur Eröffnung der Vortragsveranstaltung, Typoskript, 1 Blatt; Über das Verhältnis Diltheys zu Max Weber; über die Widersprüche bei Dilthey; zur Logik geisteswissenschaftlichen Verstehens (= Vorarbeiten zum Vortrag? Vorbereitungen zu Diskussionsbeiträgen?), a) englische Fassung, Typoskript, 5 Blatt, b) deutsche Fassung, Typoskript, 6 Blatt; N.N.: handschriftliche Notiz für die Diskussion, 1 Blatt; Exzerpte zum Werk Wilhelm Diltheys, Typoskripte, 12 Blatt; Zitate aus Schriften Wilhelm Diltheys, Typoskripte, 12 Blatt; Deutsche Übersetzung des Aufsatzes von Kurt Jürgen Huch und Alfred Schmidt, mit dem Titel: "Der Zusammenhang zwischen Psychologie und Soziologie im Werk Wilhelm Diltheys", veröffentlicht in: Max Horkheimer, "Kritische Theorie", Bd. II, 1968, S.273-291, Typoskript mit handschriftlichen Korrekturen, 29 Blatt; "Autoritärer Staat" (GS 5, S. 293-319), Aufsatz, datiert: Frühjahr 1940, veröffentlicht als vervielfältigtes Typoskript in "Walter Benjamin zum Gedächtnis", herausgegeben vom Institut für Sozialforschung, Los Angeles 1942, S. 123-161;

PRÁXIS MISSIONÁRIA DO METODISMO EM BELO HORIZONTE (1892-1930) DESAFIOS E NOVOS CAMINHOS PASTORAIS PARA OS GRANDES CENTROS URBANOS

O presente trabalho teve como um de seus objetivos analisar a inserção e a expansão do metodismo em Belo Horizonte MG, na perspectiva da práxis pastoral da Igreja, no período de 1892 a 1930, a fim de demonstrar que esse grupo, que foi o primeiro de natureza protestante a chegar à capital de Minas Gerais, desenvolveu sua ação missionária, caracterizada pela educação e evangelização. Sua inserção se dá num contexto marcado pelos ideais de modernização, inspirados no liberalismo e positivismo, quando profundas transformações na esfera econômica, política, nas concepções urbanístico-arquitetônicas e nos aspectos socioculturais se processavam na sociedade brasileira, especialmente entre o rompimento com o passado colonial e o desejo de modernização identificado na mudança do Império para a República, alterando assim o jeito do Brasil ser nação e apontando novos caminhos de diversidade religiosa. Esse novo momento permitiu ao metodismo construir sua identidade missionária a partir da relação da Igreja com a cidade e a cultura. A pesquisa, ao realçar ênfases missionárias do metodismo histórico e brasileiro, objetiva também resgatar a identidade do metodismo à luz da realidade urbana, entendendo ser essencial para ressignificar a práxis missionária nos dias de hoje. As ênfases do metodismo nascente, tanto na Inglaterra como nos EUA, e brasileiro puderam ajudar a construir uma nova proposta de missão para as grandes metrópoles brasileiras como Belo Horizonte. A construção dessa nova proposta nos contextos urbanos passou pelo redimensionamento de ênfases do metodismo (santificação transformadora, espiritualidade relevante, vocação pública, comunidade solidária), contribuindo na construção de uma pastoral que seja relevante para o contexto urbano.

Benjamin, BitTorrent, Bootlegs: auratic piracy cultures?

Seventy-five years ago, Walter Benjamin showed us that the line between "production" and "reproduction" had begun to blur. Reproduction was no longer optional, consequential and degrading (the shredding of the original’s aura), but was instead being transformed into a principle of production itself: something was produced bearing in mind how it was to be reproduced. No longer did the original exist (in photography, film, music recordings), but instead diffusion, exhibition. The work existed precisely at the time and place of its enjoyment. Today, the cultural pirates of the new digital era take this principle to the extreme, with a certain characteristic also foreseen by Benjamin: a yearning to participate, to post-produce something captured in order to later return it to the Internet, modified in some way and made available to others. This postproduction is what is now often mixed up with reception, just as production and reproduction used to be in Benjamin’s day. Postproduction on the receiver’s side, which somehow augments and extends the received work, in other words creates an etymologically rigorous author-ization (auctor as the root of both author and augmentation). The cultural pirate only deserves redemption thanks to this creative augmentation.

Summary of major legislation, and of federal court decisions on its constitutionality, 1933-1940 : summary of major legislation, 1933-1940, with the various amendments to each basic act, and decisions of the federal courts as to the constitutionality of the basic and amending acts.

"This document was prepared by W. H. McClenon, in charge of the Federal Law Section."--p. iii.

Walter Snow Burges; memorial address given before the Rhode Island Veteran Citizens' Historical Association.

Mode of access: Internet.

Benjamin Franklin as a man of letters /

Mode of access: Internet.

The works of Benjamin Disraeli, Earl of Beaconsfield : embracing novels, romances, plays, poems, biography, short stories and great speeches /

Also issued in an Empire ed. of 1244 sets, and an Earls ed.

Poems, dialogues in verse, and epigrams by Walter Savage Landor;

v. 1. Dramatic scenes.--v. 2. Poems and epigrams.

Data compilation on the biological response to ocean acidification: environmental and experimental context of data sets and related literature

The exponential growth of studies on the biological response to ocean acidification over the last few decades has generated a large amount of data. To facilitate data comparison, a data compilation hosted at the data publisher PANGAEA was initiated in 2008 and is updated on a regular basis (doi:10.1594/PANGAEA.149999). By January 2015, a total of 581 data sets (over 4 000 000 data points) from 539 papers had been archived. Here we present the developments of this data compilation five years since its first description by Nisumaa et al. (2010). Most of study sites from which data archived are still in the Northern Hemisphere and the number of archived data from studies from the Southern Hemisphere and polar oceans are still relatively low. Data from 60 studies that investigated the response of a mix of organisms or natural communities were all added after 2010, indicating a welcomed shift from the study of individual organisms to communities and ecosystems. The initial imbalance of considerably more data archived on calcification and primary production than on other processes has improved. There is also a clear tendency towards more data archived from multifactorial studies after 2010. For easier and more effective access to ocean acidification data, the ocean acidification community is strongly encouraged to contribute to the data archiving effort, and help develop standard vocabularies describing the variables and define best practices for archiving ocean acidification data.

Centelhas de uma cidade turística nos cartões-postais de Jaeci Galvão (1940-1980)

The postcard is a medium that has gained popularity at the time that the picture was linked to its support. It circulated favoring mainly the views of the cities and composed a triad between landscape, photography and tourism. The visuality that loads is among signs of representations, relationships, forms of collective consciousness and ways of seeing the world. In Natal, the photographer Jaeci Emereciano Galvão registered urban and social transformations focusing on interventions that emphasized urban centres as social space and progress and nature as a space for contemplation and enjoyment. They are images with social and cultural issues very clear, since the picture is from a process of creation that is all about choices and decisions about what deserves to be photographed. Therefore, the aim of this research by investigating the role of photographs evidenced in Jaeci’s postcards, with a view to inclusion of tourism in the spaces of Natal and the visuality assumed in the context of their own identity. The theoretical framework that makes up the discussions about the landscape, the city's tourism and photographic representation in postcards emerged from the literature of Schama (1996), Corbin (1989), Cosgrove (1998), Benjamin (1987), Kossoy (2003; 2006; 2009) and Souza Martins (2009), which gave grants to interpret and understand the symbolic construction presented in the postcards. Methodologically the work was done through research in archives, newspapers, postcards of the survey, interviews, iconographic and iconological analyses proposed by Kossoy. At the end, it was concluded the Jaeci Galvão’s postcards established themselves as essential elements for symbolic landscapes of tourism in Natal.

Ensayo acerca del tiempo barroco en W. Benjamin

Nuestra exposición parte de la siguiente hipótesis: el barroco mantiene una relación particular con el tiempo que configura dimensiones de posibilidad y modos de producción específicos. Esta relación particular - que intentaremos asir a la manera de un "tiempo barroco"-, está marcada por los efectos del Racionalismo que, a la vez que deposita en el hombre la centralidad de su proyecto, también desplaza a los dioses de su cielo enfrentándolo a una fragilidad y una impotencia que no hacen sino confirmar la finitud que le es humana. El hombre, vuelto a un estado de criatura, pareciera no poder hacer con su tiempo más que la producción de una experiencia doliente. El hombre barroco llora su momento y dilata su tiempo presente con un sinfín de figuras como si quisiera de alguna manera nombrar, dibujar, el infinito que le falta. La producción alegórica recabada por Walter Benjamin en su Ursprung des deustchen Trauerspiels (1928), nos provee de pistas -la naturaleza, los cadáveres, las intrigas, los espectros, el Príncipe-, para esbozar la reconstrucción de este paisaje acechado por la desolación que trae consigo el racionalismo. En efecto, el tiempo se verá dislocado en la escena que la obra de Benjamin nos trae: la escatología ya no es más garantía de conocimiento de las cosas del mundo sino la fuerza propia de un momento de muerte que, al fin, produce un éxtasis último y redentor de todos los sufrimientos humanos. Las posibilidades para una producción cualitativa del tiempo, para la producción de otra experiencia, quedarán encerradas en esta suerte de espacio espiralado, donde las alegorías son los engranajes de un poder creativo capaz de producir una multiplicidad de desplazamientos simbólicos y reenvíos significantes ad infinitum aunque sin verdaderamente cambiar cosa alguna. Sin más, la catástrofe de las impotencias humanas deviene la fuerza y la visión del horizonte de nuestros posibles; una catástrofe ya incluida, que no puede dejar de tener lugar. Esta dilación de las posibilidades del 'cada vez' del tiempo presente, interpela, por la proximidad de sus desafíos, también nuestras dinámicas contemporáneas de aprovechamiento del tiempo

The redemption of the past. On a main motif in Walter Benjamin’s work

The following paper examines Walter Benjamin’s reflection on the category of “redemption”, mainly developed in the theses On the concept of History. To this end, we will try firstly to reconstruct Benjamin’s critique of “fate”, as it unfolds in the twenties on the field of right, economy and, especially, history. The critique of the expiatory logic of “fate” – developed in essays such as Fate and Character, Critique of violence or Capitalism as religion – will then allow us to disclose the “dialectical” structure of redemption, whereby Benjamin mobilizes his previous theory of knowledge against the doctrine of progress.

The works of Benjamin Disraeli, earl of Beaconsfield, embracing novels, romances, plays, poems, biography, short stories and great speeches : with a critical introduction /

Title within ornamental border in gold and colors.