Teatro classico italiano antico e moderno, overro, Il parnasso teatrale : con illustrazioni, biografiche, istoriche e critiche. Edizione giusta i testi i più accreditati. Ornata di venti quattro ritratti.

Mode of access: Internet.

Dizionario moderno, supplemento ai dizionari italiani; parole scientifiche, tecniche, mediche, filosofiche, etc., neologismi e parole straniere ... linguaggio della politica, curiale, giornalistico, etc.

Mode of access: Internet.

Pessimismo moderno /

Mode of access: Internet.

L'Apicoltore moderno.

Chemical abstracts

Catálogo da exposiçao districtal de Aveiro : promovida pelo gremio moderno em 1882.

Preface signed: Marques Gomes.

Mappa de Portugal antigo e moderno.

Accompanied by "Supplemento ao Mappa de Portugal, coordenado por Manuel Bernardes Branco." (398 p.) Published: Lisboa, Typ.do Panorama, 1870.

La universidad feminizada. Sobre el potencial igualador del modelo moderno de educación

En cuanto a las relaciones de género, la Sociología ha tendido a centrarse en los mecanismos sociales productores y reproductores de desigualdad. Como resultado de ello, se ha producido un crecimiento exponencial del conocimiento sobre el fenómeno, desde varias ramas de la disciplina, el cual ha alimentado debates públicos, ha inspirado una legislación progresista, y ha contribuido a evidenciar los obstáculos sociales en el camino hacia la igualdad. Pero esto ha tenido como contrapartida, una escasa preocupación por aquellos mecanismos que inciden favorablemente en el aprovechamiento de la estructura de oportunidades sociales que utilizan las mujeres, y que objetivamente redundan en un mejoramiento de sus condiciones de vida y en el desarrollo de sus capacidades. Esto es particularmente cierto en Sociología de la Educación, usualmente centrada en el estudio de la reproducción de los valores patriarcales y la subordinación femenina. Sin desconocer este aspecto, la ponencia enfoca el potencial transformador de la educación en tanto institución universalista y moderna. Se parte de una crítica a las visiones "reproductivistas", para aportar luego evidencia empírica generada en una investigación de corte cuanti cualitativo (estadísticas, entrevistas en profundidad, observación participante, grupos de discusión) sobre la feminización universitaria en Uruguay y en otros países del mundo. Se concluye subrayando el papel favorable de la escuela en las estrategias vitales de las mujeres, a partir de sus propias palabras

La universidad feminizada. Sobre el potencial igualador del modelo moderno de educación

En cuanto a las relaciones de género, la Sociología ha tendido a centrarse en los mecanismos sociales productores y reproductores de desigualdad. Como resultado de ello, se ha producido un crecimiento exponencial del conocimiento sobre el fenómeno, desde varias ramas de la disciplina, el cual ha alimentado debates públicos, ha inspirado una legislación progresista, y ha contribuido a evidenciar los obstáculos sociales en el camino hacia la igualdad. Pero esto ha tenido como contrapartida, una escasa preocupación por aquellos mecanismos que inciden favorablemente en el aprovechamiento de la estructura de oportunidades sociales que utilizan las mujeres, y que objetivamente redundan en un mejoramiento de sus condiciones de vida y en el desarrollo de sus capacidades. Esto es particularmente cierto en Sociología de la Educación, usualmente centrada en el estudio de la reproducción de los valores patriarcales y la subordinación femenina. Sin desconocer este aspecto, la ponencia enfoca el potencial transformador de la educación en tanto institución universalista y moderna. Se parte de una crítica a las visiones "reproductivistas", para aportar luego evidencia empírica generada en una investigación de corte cuanti cualitativo (estadísticas, entrevistas en profundidad, observación participante, grupos de discusión) sobre la feminización universitaria en Uruguay y en otros países del mundo. Se concluye subrayando el papel favorable de la escuela en las estrategias vitales de las mujeres, a partir de sus propias palabras

Crueldad, simulacion, absurdo y amenaza: Barbarie del drama moderno y tradicion hermetica en los esperpentos de Ramon del Valle-Inclan

The purpose of this dissertation is to demonstrate that the esperpentos by the Spanish playwright Ramón del Valle-Inclán (1866–1936), represent a culminating moment of theatrical precepts of modern European drama, while perpetuating the ancient esoteric traditions of the Iberian Peninsula. Focusing on four plays—Los cuernos de Don Friolera (1920), Luces de Bohemia (1921), Las galas del difunto (1926) y La hija del Capitán (1927)—the research elucidates how this interpretation furthers understanding of the process that embraces the anti-realistic clamours during the initial decades of the XX century, up to the subsequent climax of the aesthetics of Cruelty, Absurdity, Simulation, and Menace. ^ In search for an ideal scenic language capable of reflecting the grotesque character and mystical essence of the esperpentos, this project examines the most significant works of philosophers from the hermetic tradition such as Plato, Pithagoras, Aquinas, and Flamel. Other important authors are Éliphas Lévy and H. P. Blavatsky, two personalities of great preponderance in the spiritual effervescence and occultist apotheosis at the turn of the 20th century. Finally, the mystical ideas of Spanish philosopher Roso de Luna and the psychological works on alchemy and magic by Jung find their conceptual correspondence in Valle-Inclán's aesthetic manifesto, La lámpara maravillosa. ^ The ultimate objective of this dissertation is to provide a proposal for a mise en scène of the esperpentos, aesthetically based on the simultaneous scenarios of the New Stagecraft and conceptually inspired by the mystical principles of the hermetic tradition. The comparative approach of this study establishes a dialogue between modernity and the esoteric tradition that results in a new Koncept for their representation, providing a simultaneous scenario, far from realistic theatre, and more coherent to house the magical substance of the esperpentos. ^

Escravo moderno em discurso: figuras de ação e ação em discurso nas representações do agir humano

This work has as object of study a social practice: modern slavery of workers in the sugar cane, and aims to present a reflection on maintenance, eradication or modification of this practice. This reflection bases itself upon the concepts of discourse advocated by Critical Discourse Analysis (Fairclough, 2001, 2003, 2006 and Chouliaraki; Fairclough, 1999) associated with Sociodiscursive Interactionism (Bronckart, 1999, 2006, 2008), and the concept of action figures, proposed by Bulea (2010). We follow the five steps outlined in Chouliaraki and Fairclough (1999): a) emphasis on a social problem, b) introduction and discussion of obstacles to tackle the problem, c) considerations concern the problem in practice d) identifying possible ways to past the obstacles, and e) reflection about the analyst role within the problem. In order to achieve step (b) in its discourse materiality axis, it has been identified the thematic content, discourse types, enunciative mechanisms and action figures of testimonials of sugar cane workers and other subjects involved with the problem in the documentaries Bagaço (2006, and Tabuleiro de Cana, Xadrez de Cativeiro (2006). These documentaries bring to the screen a little of sugar cane workers reality within an overexploitation, human rights disrespects and forced work. The analysis of textual/discursive aspects of testimonials has shown the ways in which the (de)construction of the representation of sugar cane action allows understanding of how the problem emerges and how it is rooted in the organization of social life. The general result of this reflection point to the internalization of social practices deep-rooted in evaluations of the sugar cane worker subjective world and from social world values, opinions and rules. The results also show that, in their discourse, workers assume their slavery sometimes consciously, sometimes unconsciously, but only suggest a reaction against the oppression imposed on them because they have internalized and naturalized their enslavement.

Escravo moderno em discurso: figuras de ação e ação em discurso nas representações do agir humano

This work has as object of study a social practice: modern slavery of workers in the sugar cane, and aims to present a reflection on maintenance, eradication or modification of this practice. This reflection bases itself upon the concepts of discourse advocated by Critical Discourse Analysis (Fairclough, 2001, 2003, 2006 and Chouliaraki; Fairclough, 1999) associated with Sociodiscursive Interactionism (Bronckart, 1999, 2006, 2008), and the concept of action figures, proposed by Bulea (2010). We follow the five steps outlined in Chouliaraki and Fairclough (1999): a) emphasis on a social problem, b) introduction and discussion of obstacles to tackle the problem, c) considerations concern the problem in practice d) identifying possible ways to past the obstacles, and e) reflection about the analyst role within the problem. In order to achieve step (b) in its discourse materiality axis, it has been identified the thematic content, discourse types, enunciative mechanisms and action figures of testimonials of sugar cane workers and other subjects involved with the problem in the documentaries Bagaço (2006, and Tabuleiro de Cana, Xadrez de Cativeiro (2006). These documentaries bring to the screen a little of sugar cane workers reality within an overexploitation, human rights disrespects and forced work. The analysis of textual/discursive aspects of testimonials has shown the ways in which the (de)construction of the representation of sugar cane action allows understanding of how the problem emerges and how it is rooted in the organization of social life. The general result of this reflection point to the internalization of social practices deep-rooted in evaluations of the sugar cane worker subjective world and from social world values, opinions and rules. The results also show that, in their discourse, workers assume their slavery sometimes consciously, sometimes unconsciously, but only suggest a reaction against the oppression imposed on them because they have internalized and naturalized their enslavement.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.

El proyecto moderno habermasiano. Una crítica incipiente a partir de su idea de sujeto

Fil: Escudero, María Carolina. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

El proyecto moderno habermasiano. Una crítica incipiente a partir de su idea de sujeto

Fil: Escudero, María Carolina. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.