A educação e a sustentabilidade: o desafio de um paradigma e a década da educação para o desenvolvimento sustentável da UNESCO (2005-2014)

This paper aims at proposing a discussion on the role of education in a pragmatic plot. It intends to offer some contributions to the consolidation in the essence of sustainable development and of a contextualized sustainability as well as its respective dimensions. Therefore, some conceptual evolutions of such expressions and the implications for when they are being used, especially parallel to the UN Decade of Education for Sustainable Development, UNESCO (2005-2014) are presented. This paper also intends to promote some reflection on how much environmental and general education are important with regard to the challenge of multidimensional balance proposed, as seen from the perspective of a paradigm that has been constantly shaped since the Stockholm Conference of 1972, going through the given contributions in 1992 by The Earth Summit in Rio de Janeiro – Eco 92 / Rio 92; and from there to the United Nations Conference on Sustainable Development, of Rio+20, in 2012.

A igualdade como paradigma para efetivação de um direito processual coletivo no Brasil

Pós-graduação em Direito - FCHS

O comportamento diante do paradigma behaviorista radical

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

O paradigma dualista da hanseníase controle ou eliminação: o período crítico de 2000 a 2005

One of the main tendencies of leprosy worldwide is the simultaneous action of non governmental organizations and official agencies operating eventual different strategies. This paper aims to contribute to such question focusing on some outstanding aspects of respective contemporary evolution. METHODS Application of bibliographic review and contents analysis techniques to primary data from a circumstancial set of open circulation specific publications. RESULTS Successive disagreements registered between both parts refer to the objective to be attained by the fight against the disease, if control or elimination. CONCLUSIONS New perspectives of jointed actions are being searched for now when priority on endemics control is more realistically assumed and social determination is been really considered.

O paradigma ambiental na globalização neoliberal: da condição crítica ao protagonismo de mercado

Este trabalho busca circunscrever os elementos que caracterizam o paradigma ambiental a fim de realçar a condição e a função exercida pelo discurso ambiental sob a égide da globalização neoliberal. Convém mencionar que este paradigma ambiental, ao ser incorporado pelas instituições neoliberais, se fragmenta e passa a comportar duas interpretações divergentes a respeito das perspectivas de desenvolvimento. Acredita-se que o teor desta ruptura preserva o movimento ambiental enquanto movimento social, crítico à economia da superprodução e do superconsumo, mas crente que um desenvolvimento sustentável somente pode ser atingido quando superadas às lógicas do capitalismo. Por outro lado, este paradigma ambiental adquire novo significado, ao ser utilizado como mecanismo de transformação do mercado em vários setores da economia, cuja ideia essencial reside na apropriação do paradigma como meio para sobrevivência das empresas. Em outras palavras, as instituições neoliberais incorporam o discurso ambiental e o conteúdo crítico direcionado às contradições sócio-ambientais trazidas pelo desenvolvimento econômico, e o transformam em ideologia na dispersão de conceitos que gravitam em torno do que denominam de sustentabilidade.

Ingegneria di sistemi auto‐organizzanti con il paradigma multiagente

Self-organisation is increasingly being regarded as an effective approach to tackle modern systems complexity. The self-organisation approach allows the development of systems exhibiting complex dynamics and adapting to environmental perturbations without requiring a complete knowledge of the future surrounding conditions. However, the development of self-organising systems (SOS) is driven by different principles with respect to traditional software engineering. For instance, engineers typically design systems combining smaller elements where the composition rules depend on the reference paradigm, but typically produce predictable results. Conversely, SOS display non-linear dynamics, which can hardly be captured by deterministic models, and, although robust with respect to external perturbations, are quite sensitive to changes on inner working parameters. In this thesis, we describe methodological aspects concerning the early-design stage of SOS built relying on the Multiagent paradigm: in particular, we refer to the A&A metamodel, where MAS are composed by agents and artefacts, i.e. environmental resources. Then, we describe an architectural pattern that has been extracted from a recurrent solution in designing self-organising systems: this pattern is based on a MAS environment formed by artefacts, modelling non-proactive resources, and environmental agents acting on artefacts so as to enable self-organising mechanisms. In this context, we propose a scientific approach for the early design stage of the engineering of self-organising systems: the process is an iterative one and each cycle is articulated in four stages, modelling, simulation, formal verification, and tuning. During the modelling phase we mainly rely on the existence of a self-organising strategy observed in Nature and, hopefully encoded as a design pattern. Simulations of an abstract system model are used to drive design choices until the required quality properties are obtained, thus providing guarantees that the subsequent design steps would lead to a correct implementation. However, system analysis exclusively based on simulation results does not provide sound guarantees for the engineering of complex systems: to this purpose, we envision the application of formal verification techniques, specifically model checking, in order to exactly characterise the system behaviours. During the tuning stage parameters are tweaked in order to meet the target global dynamics and feasibility constraints. In order to evaluate the methodology, we analysed several systems: in this thesis, we only describe three of them, i.e. the most representative ones for each of the three years of PhD course. We analyse each case study using the presented method, and describe the exploited formal tools and techniques.

Le politiche giudiziarie inglesi degli anni 2000: mutamento di paradigma e rafforzamento dell'incisività politica dei giudici

The Ph.D. dissertation analyses the reasons for which political actors (governments, legislatures and political parties) decide consciously to give away a source of power by increasing the political significance of the courts. It focuses on a single case of particular significance: the passage of the Constitutional Reform Act 2005 in the United Kingdom. This Act has deeply changed the governance and the organization of the English judicial system, has provided a much clearer separation of powers and a stronger independence of the judiciary from the executive and the legislative. What’s more, this strengthening of the judicial independence has been decided in a period in which the political role of the English judges was evidently increasing. I argue that the reform can be interpreted as a «paradigm shift» (Hall 1993), that has changed the way in which the judicial power is considered. The most diffused conceptions in the sub-system of the English judicial policies are shifted, and a new paradigm has become dominant. The new paradigm includes: (i) stronger separation of powers, (ii) collective (as well as individual) conception of the independence of the judiciary, (iii) reduction of the political accountability of the judges, (iv) formalization of the guarantees of judicial independence, (v) principle-driven (instead of pragmatic) approach to the reforms, and (vi) transformation of a non-codified constitution in a codified one. Judicialization through political decisions represent an important, but not fully explored, field of research. The literature, in particular, has focused on factors unable to explain the English case: the competitiveness of the party system (Ramseyer 1994), the political uncertainty at the time of constitutional design (Ginsburg 2003), the cultural divisions within the polity (Hirschl 2004), federal institutions and division of powers (Shapiro 2002). All these contributes link the decision to enhance the political relevance of the judges to some kind of diffusion of political power. In the contemporary England, characterized by a relative high concentration of power in the government, the reasons for such a reform should be located elsewhere. I argue that the Constitutional Reform Act 2005 can be interpreted as a result of three different kinds of reasons: (i) the social and demographical transformations of the English judiciary, which have made inefficient most of the precedent mechanism of governance, (ii) the role played by the judges in the policy process and (iii) the cognitive and normative influences originated from the European context, as a consequence of the membership of the United Kingdom to the European Union and the Council of Europe. My thesis is that only a full analysis of all these three aspects can explain the decision to reform the judicial system and the content of the Constitutional Reform Act 2005. Only the cultural influences come from the European legal complex, above all, can explain the paradigm shift previously described.

Il museo Wilhelm Lehmbruck: paradigma della nuova modernità nella Germania del secondo dopoguerra

Oggetto della ricerca è il museo Wilhelm Lehmbruck di Duisburg, un'opera dell'architetto Manfred Lehmbruck, progettata e realizzata tra il 1957 e il 1964. Questa architettura, che ospita la produzione artistica del noto scultore Wilhelm Lehmbruck, padre di Manfred, è tra i primi musei edificati ex novo nella Repubblica Federale Tedesca dopo la seconda guerra mondiale. Il mito di Wilhelm Lehmbruck, costruito negli anni per donare una identità culturale alla città industriale di Duisburg, si rinvigorì nel secondo dopoguerra in seno ad una più generale tendenza sorta nella Repubblica di Bonn verso la rivalutazione dell'arte moderna, dichiarata “degenerata” dal nazionalsocialismo. Ricollegarsi all'arte e all'architettura moderna degli anni venti era in quel momento funzionale al ridisegno di un volto nuovo e democratico del giovane stato tedesco, che cercava legittimazione proclamandosi erede della mitica e gloriosa Repubblica di Weimar. Dopo anni di dibattiti sulla ricostruzione, l'architettura del neues Bauen sembrava l'unico modo in cui la Repubblica Federale potesse presentarsi al mondo, anche se la realtà del paese era assai più complessa e svelava il “doppio volto” che connotò questo stato a partire dal 1945. Le numerose dicotomie che popolarono presto la tabula rasa nata dalle ceneri del conflitto (memoria/oblio, tradizione/modernità, continuità/discontinuità con il recente e infausto passato) trovano espressione nella storia e nella particolare architettura del museo di Duisburg, che può essere quindi interpretato come un'opera paradigmatica per comprendere la nuova identità della Repubblica Federale, un'identità che la rese capace di risorgere dopo l' “anno zero”, ricercando nel miracolo economico uno strumento di redenzione da un passato vergognoso, che doveva essere taciuto, dimenticato, lasciato alle spalle.

Paradigma Babylon: Rezeption und Visualisierung des Alten Orients im Spielfilm

Die Dissertation erschließt einen bislang unberücksichtigten Teil der Filmgeschichte: die cinematische Adaption altorientalischer Sujets in Gestalt monumentalistischer Bild-Epen. Die Arbeit ist in drei Teile gegliedert: Die erste beleuchtet die Entwicklung des westlichen Orientalismus mit Augenmerk auf den Alten Orient anhand biblischer und antiker Quellen, orientalischer Märchen, Reiseberichte, Malerei, Operngeschichte und, schlaglichtartig, weiterer kulturhistorischer Gebiete. Hinzu kommen die neuen, Fachwelt wie Öffentlichkeit überwältigenden, Erkenntnisse durch die Archäologie im 19. und frühen 20. Jh. Teil II konzentriert sich auf die Analyse von Stummfilmen, die die altorientalische Antike oder alttestamentliche Quellen mit Bezug zum Alten Orient thematisieren. Diese stammen aus Frankreich, Italien, Österreich und den USA. Dabei konnte herausgearbeitet werden, dass bis zum Jahr 1914 die französischen Produktionen dem Selbstverständnis nach eher dem Genre Historienfilm unterstanden, die italienischen wiederum dem Genre des, zunehmend spektakulärer werdenden, Antikfilms. Der von beiden Filmstandorten seinerseits zwar beeinflusste frühe amerikanische Film basiert hingegen vor allem auf dem protestantischen Bibelverständnis der eigenen Landesgeschichte und Religiosität. Ein eigenes Kapitel widmet sich Griffiths Babylon(kon-)version in INTOLERANCE aus dem Jahr 1916, bei dessen Untersuchung nicht nur die archäologischen, sondern auch sämtliche historischen wie literarischen Bezüge erstmals auf ihre Quellen zurückverfolgt wurden und bis dahin vorhandene Widersprüche somit geklärt werden konnten. Griffiths Interpretation der Quellen trug dazu bei, dass Babylon bzw. sein Mythos zum ersten und letzten Mal eine positive Konnotation erfuhr. Ein weiterer Schwerpunkt bis zum Jahr 1928 liegt auf der gender-Thematik, speziell auf der femme fatale in Gestalt von historischen, legendären und fiktiven altorientalischen Frauenfiguren wie der Königin von Saba, Delilah, Judith oder Semiramis. Darüber hinaus spiegeln die Filme der 1920er Jahren auch das Bild vom Neuen Babylon. Bis zum Ende der Stummfilmzeit kann abschließend von einer direkten Traditionslinie zu den Klischees des Orientalismus sowie zum Assyrian revival des 19. Jh. gesprochen werden. Dies ändert sich im dritten Teil der Arbeit, der sich mit der zweiten Blütezeit des Monumentalfilms während der 1950er und 1960er Jahre befasst. Teil III enthält daher sämtliche, heute noch verfügbaren Tonfilme, die den Alten Orient rezipieren. Diese entstammen den Produktionsstätten Hollywood und Cinecittà. Was die US-Filme betrifft, so konnte erneut ein Fokus auf dem amerikanischen Bibelverständnis herausgearbeitet werden, diesmal jedoch speziell auf dem Antagonismus zwischen Babylon und Zion. Denn dieser diente seitens der Regisseure auch der Legitimation der zeitgenössischen Nahostpolitik aus der Geschichte heraus. Darüber hinaus spiegeln die antiken Frauenfiguren die Rolle der Frau in der amerikanischen Gesellschaft während dieser Zeit. Die italienischen Produktionen dieser Jahre hingegen zeigen, so konnte dargelegt werden, dass diese Filme die altorientalische Antike vielmehr dergestalt inszenieren, wie sie bereits seit Jahrhunderten vor allem durch die griechisch-römische Geschichtsschreibung, Literatur und Operntradition Italiens Teil einer, nicht auf Moral basierenden, landestypischen Motivgeschichte gewesen war, derer sich auch der Film lustvoll bedient. Bei allen Produktionen wurden, als spezifische Aspekte, stets alle recherchierbaren Informationen zum Film, seiner Entstehung und seiner Handlung, zu seinen Kulissen und Kostümen, zu sämtlichen Inspirationsquellen sowie zeitgenössische Kritiken berücksichtigt. Die abschließenden Bewertungen innerhalb der einzelnen Filmkapitel fließen in einem Fazit zur jeweiligen Epoche ihrer Entstehung zusammen.