Der Kaiser hat geweint: Die gegenwärtige Stellung der politischen Partheien: Dem Vernehmen nach, soll Se. Majestät unser allgeliebter Kaiser, als er die betrübende, ergreifende Nachricht von den unseligen Ereignissen des verhängnißvollen 23. August erfuhr ...

Welsch (Projektbearbeiter): Kaiser Ferdinand soll über die Niederschlagung des Arbeiteraufstandes am 23. August 1848 tief erschüttert gewesen sein. Aufruf an die "Partheigänger des demokratischen Elements" zur Mäßigung: "Politische Demonstrationen jeder Art sind das todtbringende Gift für unsere schwächliche Freiheit."

Sodom Appel, sehr giftig

Louise von Panhuys

A study of nutrition promotion in and consumer nutrition environments of hospitals

Dietary intake is a complex, health-related behavior, and although individual-level theoretical models explain some variation in dietary intake, comprehensive theoretical models such as the ecological framework describe the multiple levels which influence diet-related behaviors. Thus, the ecological framework is a preferred model for designing comprehensive nutrition interventions. While ecological-based nutrition interventions have been described, little work has focused on interventions in the hospital setting. Because hospitals are considered the hallmarks of health, it might seem that hospitals would regularly engage in worksite nutrition promotion; however, recent publications and other anecdotal evidence have indicated otherwise. The first paper of this dissertation systematically reviewed the scientific literature between 1996 and 2012 and identified 13 outcome evaluation trials for hospital-based worksite nutrition interventions. Of these 13 interventions, only one intervention targeted three of the four levels of the ecological framework and no intervention targeted all four levels. Only half of the interventions targeted the physical environment of hospitals, thus warranting more investigation into this specific level of the ecological framework in this setting. ^ A critical type of nutrition-related physical environments is the consumer nutrition environment. Although other tools measure the consumer nutrition environments of stores and restaurants, no tool specifically measured the consumer nutrition environments of hospitals until the CDC developed the Healthy Hospital Environment Scan for Cafeterias, Vending Machines, and Gift Shops (HHES-CVG). The HHES-CVG, a tool which measures the consumer nutrition environments of hospital cafeterias, vending machines, and gifts shops, was released in November 2011, and in the second paper of this dissertation, the reliability of this tool was investigated. Two trained raters visited 39 hospitals across Southern California between February and May 2012, and based on analyses of the raters' findings, the HHES-CVG exhibited strong reliability metrics (inter-observer agreement between 74 and 100%, and an intraclass correlation coefficient of 0.961 for the overall nutrition composite score). Because the HHES-CVG was found to be a reliable tool, the third paper of this dissertation presented HHES-CVG results from the 39 hospitals. Overall, hospitals only scored about one-fourth of the total possible points for the nutrition composite score, indicating that most facilities do not have acceptable consumer nutrition environments. Some of the best practices observed in cafeterias were significantly associated with having a large facility and with having a contracted foodservice operation, but overall nutrition composite score was not associated with any specific facility or operation type. ^ The dissertation concluded that much work is needed in order to improve the consumer nutrition environments of hospitals. Practitioners and healthcare administrators should consider starting with ecological-based interventions addressing all levels including the physical environment.^

La poesía religiosa de Edelweis Serra

La obra crítica y la poesía de Edelweis Serra poseen un particular sentido en el contexto cultural argentino en el que se desarrollan. En una época de manifiesta secularización, su tentativa se orienta hacia el rescate de la dimensión sagrada de la realidad. El estudio ofrece un examen panorámico sobre la labor de Edelweis Serra. Dicho examen atiende especialmente a los principales temas y los rasgos estilísticos dominantes en su lírica. En lo que se refiere a este último punto, el interés se centra en los aspectos que resaltan la singularidad de su poesía: el arraigo de símbolos y figuras retóricas propias del lenguaje bíblico. Tales características guardan relación con su concepción de la poesía como don divino. Se propone, de este modo, la difusión de una labor importante, tanto crítica como de creación literaria, y el señalamiento de las claves interpretativas que favorecen su lectura.

Caridad y persona : consecuencias antropológicas de una cuestión teológica

Algunos autores de la filosofía contemporánea ha criticado a la antropología medieval aduciendo que ella ha sustentando en una visión sustancialista que no da razón de la riqueza de la realidad personal (como es el caso de Zubiri que, con sus palabras, propone que la persona es sustantividad y supra-estante). Sin embargo, en la respuesta de Tomás de Aquino al problema planteado por Pedro Lombardo en las Sententiae de qué es y cómo está la caridad en el ser humano se plantea la posibilidad de que en el hombre haya una virtud o hábito, insertado en la estructura psicológica del hombre, que tenga por origen un don creado de carácter divino, que perfecciona el alma humana y haciéndole capaz de un fin sobrenatural, pero que responde a la dinámica de facultades, hábitos y actos que estructura la realidad del acto verdaderamente humano. La respuesta tomista que justifica la existencia de una virtud como la caridad revela un planteamiento antropológico con una noción de persona de gran riqueza.

A poetics of Marcel Proust's vocation

The view is upheld that it is possible to constitute a conception of artistic vocation from fiction itself with characteristics that may be extended to other vocational fields. "A la Recherche du Temps Perdu" by Marcel Proust is made use of to exemplify how this author reflects critically on his own work and on the artist's conditions. Thus he points out the importance of randomness, childhood, Materializing into a work an adequate conception of his own artistic work, involuntary memory, the life that has been lived, and his own comprehension of art, the force of conviction, Vocation is a call that overcomes the dichotomy between innate gift and social product as it is the result of a genesis of sensory impressions and involuntary memories that, although they are fugacious, they become fixed in the literary work. It is explained how "A la Recherche " both can and cannot be considered the history of a vocation, as literature had not played any role at all in the novelistic hero's life, but, however, it really was a history of a vocation since the work was a consequence of events that had been lived. Notwithstanding, even if vocation had never been deemed so important, he must win a battle against death. Genette sums up "A la Recherche " thus: "Marcel becomes a writer".

Entrelíneas para una introspección poética : Rubén Darío y Antonio Machado en 1903

Este trabajo intenta mostrar una actitud poética común coincidente entre Antonio Machado y Rubén Darío. Dicha actitud, que consiste en defender la introspección como fórmula adecuada para la expresión poética, es perceptible en un momento determinado de la trayectoria poética individual de cada uno. Sin embargo, es interesante ver cómo se muestra en el diálogo estético que ambos establecen a través de su creación como ofrenda al otro: aquellos poemas en los que el paratexto se dedica al otro pero el texto no se adecua (no utilizan el ritmo, el tono y el léxico) a quien va dirigida la dedicatoria. Obras que son parte de uno mismo, canto a sí mismo, y, sin embargo, se ofrecen al otro. Esta ofrenda puede apreciarse, desde nuestra perspectiva, en dos poemas concretos: "El canto de los niños", y "Caracol". Dedicados del uno al otro, son analizados en coincidencia estética entre Darío y Machado en torno a la fecha de 1903.

A poetics of Marcel Proust's vocation

The view is upheld that it is possible to constitute a conception of artistic vocation from fiction itself with characteristics that may be extended to other vocational fields. "A la Recherche du Temps Perdu" by Marcel Proust is made use of to exemplify how this author reflects critically on his own work and on the artist's conditions. Thus he points out the importance of randomness, childhood, Materializing into a work an adequate conception of his own artistic work, involuntary memory, the life that has been lived, and his own comprehension of art, the force of conviction, Vocation is a call that overcomes the dichotomy between innate gift and social product as it is the result of a genesis of sensory impressions and involuntary memories that, although they are fugacious, they become fixed in the literary work. It is explained how "A la Recherche " both can and cannot be considered the history of a vocation, as literature had not played any role at all in the novelistic hero's life, but, however, it really was a history of a vocation since the work was a consequence of events that had been lived. Notwithstanding, even if vocation had never been deemed so important, he must win a battle against death. Genette sums up "A la Recherche " thus: "Marcel becomes a writer".

Entrelíneas para una introspección poética : Rubén Darío y Antonio Machado en 1903

Este trabajo intenta mostrar una actitud poética común coincidente entre Antonio Machado y Rubén Darío. Dicha actitud, que consiste en defender la introspección como fórmula adecuada para la expresión poética, es perceptible en un momento determinado de la trayectoria poética individual de cada uno. Sin embargo, es interesante ver cómo se muestra en el diálogo estético que ambos establecen a través de su creación como ofrenda al otro: aquellos poemas en los que el paratexto se dedica al otro pero el texto no se adecua (no utilizan el ritmo, el tono y el léxico) a quien va dirigida la dedicatoria. Obras que son parte de uno mismo, canto a sí mismo, y, sin embargo, se ofrecen al otro. Esta ofrenda puede apreciarse, desde nuestra perspectiva, en dos poemas concretos: "El canto de los niños", y "Caracol". Dedicados del uno al otro, son analizados en coincidencia estética entre Darío y Machado en torno a la fecha de 1903.

A poetics of Marcel Proust's vocation

The view is upheld that it is possible to constitute a conception of artistic vocation from fiction itself with characteristics that may be extended to other vocational fields. "A la Recherche du Temps Perdu" by Marcel Proust is made use of to exemplify how this author reflects critically on his own work and on the artist's conditions. Thus he points out the importance of randomness, childhood, Materializing into a work an adequate conception of his own artistic work, involuntary memory, the life that has been lived, and his own comprehension of art, the force of conviction, Vocation is a call that overcomes the dichotomy between innate gift and social product as it is the result of a genesis of sensory impressions and involuntary memories that, although they are fugacious, they become fixed in the literary work. It is explained how "A la Recherche " both can and cannot be considered the history of a vocation, as literature had not played any role at all in the novelistic hero's life, but, however, it really was a history of a vocation since the work was a consequence of events that had been lived. Notwithstanding, even if vocation had never been deemed so important, he must win a battle against death. Genette sums up "A la Recherche " thus: "Marcel becomes a writer".

Entrelíneas para una introspección poética : Rubén Darío y Antonio Machado en 1903

Este trabajo intenta mostrar una actitud poética común coincidente entre Antonio Machado y Rubén Darío. Dicha actitud, que consiste en defender la introspección como fórmula adecuada para la expresión poética, es perceptible en un momento determinado de la trayectoria poética individual de cada uno. Sin embargo, es interesante ver cómo se muestra en el diálogo estético que ambos establecen a través de su creación como ofrenda al otro: aquellos poemas en los que el paratexto se dedica al otro pero el texto no se adecua (no utilizan el ritmo, el tono y el léxico) a quien va dirigida la dedicatoria. Obras que son parte de uno mismo, canto a sí mismo, y, sin embargo, se ofrecen al otro. Esta ofrenda puede apreciarse, desde nuestra perspectiva, en dos poemas concretos: "El canto de los niños", y "Caracol". Dedicados del uno al otro, son analizados en coincidencia estética entre Darío y Machado en torno a la fecha de 1903.

Arquifanía: la arquitectura como manifestación

Arquifanía: arquitectura y epifanía. La revelación que se da en el proyectar, en el construir y en el habitar. Desentrañar los protagonistas y el escenario de ese encuentro es el objetivo de esta tesis. Nace de una doble inquietud: la relación entre literatura y arquitectura y la constatación de algo inconmensurable en la arquitectura. A lo largo de los siglos la teoría de la arquitectura ha hecho un gran esfuerzo por racionalizar todos los aspectos de la disciplina. La sistematización del orden y jerarquía de los espacios, el uso de parámetros más rigurosos en los cálculos estructurales, el desarrollo de la técnica y el estudio de los esquemas funcionales han supuesto una fuente inagotable de manifestaciones arquitectónicas. Los paradigmas científicos, incluso, han resultado fundamentales en la creación de nuevos lenguajes. Sin embargo, en este camino de racionalización se han orillado aspectos de difícil cuantificación. Pese a que en la experiencia diaria del arquitecto se constata la presencia de parámetros inconmensurables, la teoría de la arquitectura no ha integrado de forma sistemática este conocimiento. De aquí nace la presente tesis doctoral. En ella se estudia, por analogía con el resto de artes, el concepto de manifestación. Se analiza de qué manera la obra arquitectónica se manifiesta, haciendo uso de su autonomía, y se convierte en la que dirige al arquitecto en todos los tiempos de la existencia de la obra: desde su génesis en el tiempo del proyecto hasta la experiencia de la obra terminada en el tiempo de la historia. Se considera que reflexionar en el concepto de manifestación puede aportar luces sobre la disciplina arquitectónica en un doble momento. Se estudia por una parte la actitud y el proceder del arquitecto ante la génesis del proyecto y por otra su posicionamiento ante la obra ya existente, sometida a su análisis (para la posterior síntesis) generando una espiral de conocimiento siempre abierta y en continuo enriquecimiento. Se analiza la obra de María Zambrano, filósofa, y José Ángel Valente, poeta, en busca de la definición del concepto de manifestación. El momento creativo, la naturaleza de la palabra poética, la actitud del poeta ante su obra, el conocimiento y la revelación de la belleza son temas recurrentes en sus obras y crean un corpus teórico que permite elaborar una teoría poética sólida y abierta, llena de sugerencias que se dirige con precisión al momento de la generación de la forma: su epifanía. A continuación se repasa el concepto de manifestación en la actividad de algunos artistas de la modernidad que, de manera implícita o explícita, han hablado del concepto de epifanía. A menudo de forma intuitiva, los artistas han detectado en su actividad la condición de ser depositarios de un don que se renueva en cada obra ejecutada. Entrelazado con su trabajo y con la disciplina diaria los artistas experimentan un diálogo con la obra, que se revela libre y con voluntad de manifestarse. Enunciado el problema y hecho el repaso por el mundo de la creación artística, nos enfrentamos con el núcleo de la tesis: ¿hasta qué punto y de qué manera el concepto de manifestación es válido en arquitectura? El discurso busca en la actividad de múltiples arquitectos la validez del concepto de manifestación. Se rastrean testimonios, textos, obras y análisis de obras. De esta investigación surge una topografía, un atlas de revelaciones de manifestaciones arquitectónicas: constataciones explícitas, testimonios implícitos o intuiciones. A través de este periplo entre el concepto de manifestación que la razón poética ofrece y la experiencia de muchos arquitectos se intenta responder, aunque sea parcialmente, a las preguntas que surgen al llevar a las últimas consecuencias la arquifanía: ¿En qué momento existe una voluntad de forma? ¿De qué manera encuentra el arquitecto la forma? ¿Cómo se le presenta? ¿Es el arquitecto el verdadero artífice de la obra? ¿O es en cambio un ser a la espera de la aparición? ABSTRACT Archiphany: architecture and epiphany. The revelation taking place in designing, building and living. The objective of the present dissertation is to unravel the protagonists and the scenario of this encounter. It stems from a double interest: the relationship between literature and architecture and the discovery of something incommensurable in architecture. Over the centuries, architectural theory has made a great effort in order to rationalise all aspects of this discipline. Thus, the systematization of the order and hierarchy of space, the use of more rigorous parameters on the structural analysis, the development of technical capacities and the study of functional schemes have been an inexhaustible source of architectural manifestations. Even scientific paradigms have been essential in the creation of new languages. However, aspects of difficult quantification have been relegated in this path of rationalisation. Whereas the presence of immeasurable parameters are encountered in the daily experience of the architect, architectural theory has failed to systematically integrate this knowledge. This is the driving force of this thesis. It explores, by analogy with the other arts, the concept of manifestation. It discusses how the architectural work manifests itself, making use of its autonomy, becoming the one leading the architect during the whole existence of the work: from its genesis in the designing time until the experience of the completed work in the historical time. In the present dissertation, it is assumed that reflecting on the concept of manifestation might shed light on two different moments on the way to project architecture. The architect approach to the project genesis is studied on the one hand, while in the other hand it is considered his positioning in front of the existing work, as well as his analysis (for a following synthesis) that generates an ever-open and ever-enriching spiral of knowledge. In the search for a definition of the concept of manifestation, the work of the philosopher María Zambrano and the poet José Ángel Valente are analysed. The creative moment, the nature of the poetic word, the attitude of the poet in front of his work, the knowledge and the revelation of beauty are persistent issues in their works. They create a theoretical corpus allowing to develop a sound and open poetical theory full of suggestions, accurately directed to the time of the form generation: its epiphany. The concept of manifestation is then reviewed in the activity of some modern artists that talked about the concept of epiphany –either implicitly or explicitly. Often in an intuitive way, artists have come to realize in their activity to be the depositories of a gift that is renewed in each work. Intertwined with their work and with their daily discipline, artists experience a dialogue with the work, which proves to be free and willing to manifest itself. Having stated the problem and having reviewed the world of artistic creation, we are confronted with the core of the thesis: Up to which extent and in which way is the concept of manifestation valid for architecture? Validity and evidence of this concept is sought in the activity of multiple architects. Texts, works, analysis, reviews and testimonies are investigated. From this research, a topography, an atlas of revelations of architectural manifestations arises: explicit findings, implicit witnesses or intuitions. By means of this journey going from the concept of manifestation hinted by the poetic reason to the experience of many architects, the ultimate questions risen by archiphany are meant to be answered (though partially): When does a will of form emerge? How does the architect find the form? How does it appear? Is the architect the true creator of the work? Or is he instead a being waiting for the vision?

EDUCAÇÃO E HISTÓRIA A Escola Estadual Maria Iracema Munhoz, em São Bernardo do Campo, desde 1890 a 1930

Esta dissertação focaliza a trajetória do surgimento da Escola Estadual Maria Iracema Munhoz, apresentando o seu percurso desde 1890 até 1930. Para isso foi necessário fazer uma retrospectiva da educação brasileira, lembrar como surgiu São Bernardo, município onde está localizada a escola e, o surgimento da educação na cidade. O objetivo de reflexão e de pesquisa da presente dissertação foi buscar entender, pela história do passado, os problemas do presente, reconstruindo os avanços e os insucessos no processo da escolarização e das políticas públicas educacionais assumidas nesse período. A hipótese apresentada é que, nosso atraso educativo não vem tanto do que deixamos de fazer nas últimas décadas, mas do que fizemos nos séculos anteriores, em se tratando da educação.(AU)

EDUCAÇÃO E HISTÓRIA A Escola Estadual Maria Iracema Munhoz, em São Bernardo do Campo, desde 1890 a 1930

Esta dissertação focaliza a trajetória do surgimento da Escola Estadual Maria Iracema Munhoz, apresentando o seu percurso desde 1890 até 1930. Para isso foi necessário fazer uma retrospectiva da educação brasileira, lembrar como surgiu São Bernardo, município onde está localizada a escola e, o surgimento da educação na cidade. O objetivo de reflexão e de pesquisa da presente dissertação foi buscar entender, pela história do passado, os problemas do presente, reconstruindo os avanços e os insucessos no processo da escolarização e das políticas públicas educacionais assumidas nesse período. A hipótese apresentada é que, nosso atraso educativo não vem tanto do que deixamos de fazer nas últimas décadas, mas do que fizemos nos séculos anteriores, em se tratando da educação.(AU)

COMENSALIDADE E ASCESE: CONFLITOS DE PROJETOS MESSIÂNICOS A PARTIR DE LC 7,31-35

Comer ou não comer? Beber ou não beber? O que, com quem, quando, onde e como? Estas são questões que acompanham a história da humanidade, inclusive foram muito significativas no contexto cultural dos povos do mediterrâneo do século I d. C. Dize-me o que comes e dir-te-ei quem és , somado a Dize-me com quem comes , sintetizam todo o conteúdo simbólico e cultural (social, econômico, político, religioso) ligado à alimentação e seu compartilhamento. Tem um demônio , enquanto acusação feita a João Batista; Veja! Um comilão e beberrão, amigo de cobradores de impostos e pecadores como pecha atribuída a Jesus: a comensalidade de Jesus, em divergência com a ascese de João Batista e com os modelos daquela geração evidenciam um conflito de concepções sociais e religiosas distintas. Para Jesus e seus seguidores, taumaturgos itinerantes, os binômios milagre/mesa e cura/refeição, são espaços propícios para fazer acontecer os mecanismos do dom: dar, receber e retribuir.(AU)