Relações públicas e o Brand Management: storytelling 2.0 na construção de relacionamentos

According to the Informational Society of the twentieth century, man develops society of the spectacle, where life becomes virtual and the individual ceases to be a spectator becoming the protagonist of wikiciberepopéia and organizations seeking to gain the attention and time of its consumers through new communication strategies. If the great epics of mankind brought mythical heroes, divine, with powers (mostly above the mortals), in the era of new technologies, the common man is in the hands the opportunity to become the hero of his own ciberepopéia. Increasingly resistant to traditional advertising, the new model of media consumer, the prosumer, the storytelling is transforming into one of the main communication tools of contemporary organizations. Offer your audience a creative and relevant content across several media platforms is a major brand positioning strategies currently used, in addition to providing the transmission of values and organizational principles in a subjective manner. Storytelling where objects are extensions of the human body (eg, the cell can be treated as an extension of the ears) is a strong indication of a technocratic society, because we can consider the new technologies as extensions of the human brain (as new store technologies, create meanings, share information through a specific language) and the individual who is on the edge of new technology ends up being excluded from certain social events. This new world tends to put an end to separation between seemingly contrary ideas, such as reality/fiction, natural/cultural and the man who emerges from this medium is not the creator, but rather, transforming what already exists. The current human evolution takes place from about half the human mind and tell stories that go beyond the media saturation that really emocionem and who have a real meaning for those who listen, to be interconnected with the socio-environmental reality of this new consumer, is a major chall...

Cecília Meireles e a Índia: das provisórias arquiteturas ao êxtase longo de ilusão nenhuma

Pós-graduação em Letras - FCLAS

Trajetória social de alunos de um curso pré-vestibular popular

The aim of the research that originated this article was the analysis of the social trajectory of students from a public preparatory course and the verification of their expectations about higher education. Data collection was based on a questionnaire with open and closed-ended questions and a semi-structured interview, based on the models used by Muzzetti (1997). Data were analyzed by the elaboration of thematic charts. Based on the researches conducted by Pierre Bourdieu (1997, 2007), this research concluded that the students understand that schooling is, besides being a viable alternative in the search for social ascension, the redeeming of social ills. Profession choice based on natural talent or divine gift generate expectations which attest the lack of knowledge about the school system by students and their parents, which is reinforced by the belief in opportunity equality.

Variação nômade: Henry Miller, filosofia e o combate contra o juízo

We discuss Henry Miller's novel Tropic of Cancer based on the concept of nomadism, as coined by Deleuze and Guattari. The relation between philosophy and literature is very productive for both. A phenomenon of dual capture between these two areas that is characteristic of a nomadic thinking: literature that engenders philosophy which, in turn, engenders literature, establishing connections, new relations between terms in a distinct nomad variation that dismisses the classical image of thought of its eminence: a perspective between philosophy and literature as form of discussing the nomadism in Miller's novel. Thus, the linkage between philosophy and literature aims to capture the Millerian paths on this new space of thought, which is achieved by giving up any origin, human or divine, and stands as productive thought that affirms the real in a combat waged against the faculty of judgment, or simply of Judgment, in all its forms.

Conflito, resistência e philía no Héracles furioso de Eurípides

In Heracles Mainomenos, by Euripides, the hero is submited to the ultimate test: win himself, accepting stay alive after committing an irremediable error. The dramatic action has dual motivation, human and divine. The human conflict requires resilience of families and friends of Heracles and the opposition of Lico is a key element to the action. In the subsequent clash between Heracles and the goddess Hera, victory lies with the deity, motivating the disaster, but confirms the heroics of Heracles, that resists the urge to annihilation after the murder of children. His friend, King Theseus, provides him the support needed to dissuade him from his purpose of annihilation and strengthens him for endurance. The valuation of philia is an important element in shaping the sense of this euripidean text.

O grupo como produtor de singularidades: o processo subjetivo como forjador de singularidades frente às pessoas que vivem com as DSTs

The personal experience respective is a description of an psychosocial intervention effectuated in the year of 2007 in an institution not government, in the city of Taubaté, with a group of women infected with the virus HIV. We will present in the short form our work, which happened through a therapeutic group, that had as device, the production of new process of subjectivizing with these women in the conduction of them condition of life after the infection with the virus HIV. To determine our actions use the theoretical assumptions of genealogy, of psychology and the theory of institutional operating group with emphasis on aspects of group discussion. During approximately twelve meetings with the denser group work topics such as social violence (inequality of rights, prejudice and stigma), treatment of the condition of serum positive when marked by ambivalence to treatment and the use of defense mechanisms: denial, projection and omnipotence, the weak and intense physical and mental suffering resulting from this process.We end our exhibition while presenting the discursive constructions and, consequently, the multiforms singular potentialities of the group that appeared with our psychosocial interventions.

O movimento missionário e educacional protestante na segunda metade do século XIX: para cada igreja uma escola

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

Perception of brazilian citizens about Darwinism and the (Non) Influence of God in the evolutionary process

The current context is unique in relation to the teaching of evolution in Brazil and the population's perception of evolution. On the one hand, it is said often about Darwinism in various media, especially due to the relatively recent commemoration of the two hundred years of the birth of Charles Darwin and one hundred and fifty years of the launch of the book The Origin of Species. On the other hand, it is clear, in recent years, a timid movement, more worryingly, in favor of equitable approach of creationist and evolutionist theories in the classroom. This article is a part of a research whose goal is to raise the design that Brazilian respondents have about the Darwinian view (which disregards the divine influence in the evolution of the species). The instrument used for data collection is a questionnaire, type Likert scale, which consists of a series of statements in which respondents must express their degree of agreement or disagreement with each statement. In this study, we present the results of the statement. "The thought of Darwin, which does not consider God as a participant in the process of evolution, is...". Analysis correlated with data on religion and education of the respondents are also held. The results point to a tendency of respondents not to accept the Darwinian view that disregards God's interference in the evolutionary process. The data also show that respondents' choices are influenced by religion and education. The frequency of responses that tend to accept the Darwinian view (which disregards the divine participation in the evolution of the species) is higher among respondents with higher levels of education. Adherents to religions "evangelical" tend to deny this view more often than followers of other religions. Given the potential risks of inserting creationist approaches in school education, it is necessary a discussion of the possible impacts of this rejection of Darwin's thinking (which does not consider God as a participant in the evolutionary process), indicated here, in the teaching of evolution. This work was supported by FAPEMIG.

A oposição da Igreja Católica à ordem jurídica republicana: o pensamento teológico-político de D. Adauto Aurélio de Miranda Henriques (1894-1935)

Pós-graduação em História - FCHS

A "mão pronta" e a divina: manifestações da justiça em contos rosianos

Pós-graduação em Estudos Literários - FCLAR

Locus Amoenus vs. Locus Terribilis: The Spatial Dynamics of the Pastoral and the Urban in La Ceppède’s Théorèmes

The opening sonnets of Jean de La Ceppède’s Théorèmes (1613, 1622) present an urban vs. rural conflict that mirrors the dialectic between sin and salvation running throughout the work. La Ceppède’s focus for this struggle becomes the stark contrast between Jerusalem and the garden at the Mount of Olives. Jerusalem, as the place where Christ is persecuted and eventually tried, represents a Babylon-like enclave of transgression, while the garden is portrayed as a site of purity and tranquil reflection. From a literary standpoint, La Ceppède’s emphasis on the clash between dystopian and utopian settings comprises part of his adaptation of the pastoral, where this particular struggle becomes one of the genre’s principal motifs. In general, the contrast between Jerusalem and the Mount of Olives emerges as the point of departure for the poet’s figuration of nature, both human and physical. A human construct, the city of Jerusalem becomes a metaphor for human corruption. In view of humanity’s fall in paradise and the denaturation it symbolizes, the poet’s goal, on both intellectual and affective levels, is to place the reader/dévot in a position to lift her/himself from the depravity of human nature to the grace of divine nature.

A "mão pronta" e a divina: manifestações da justiça em contos rosianos

Pós-graduação em Estudos Literários - FCLAR

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

L'interpretazione autentica nei suoi profili teorici ed applicativi

La trattazione cerca di delineare i confini teorici ed applicativi dell’istituto dell’interpretazione autentica, nella chiara consapevolezza che dietro tale tematica si celi il più complesso problema di una corretta delimitazione tra attività di legis-latio e attività di legis-executio. Il fenomeno delle leggi interpretative costituisce infatti nodo nevralgico e punto di intersezione di tre ambiti materiali distinti, ossia la teoria dell’interpretazione, la teoria delle fonti del diritto e la dottrina di matrice liberale della separazione dei poteri. All’interno del nostro ordinamento, nell’epoca più recente, si è assistito ad un aumento esponenziale di interventi legislativi interpretativi che, allo stato attuale, sono utilizzati per lo più come strumenti di legislazione ordinaria. Sotto questo profilo, il sempre più frequente ricorso alla fonte interpretativa può essere inquadrato nel più complesso fenomeno della “crisi della legge” i cui tradizionali requisiti di generalità, astrattezza ed irretroattività sono stati progressivamente abbandonati dal legislatore parallelamente con l’affermarsi dello Stato costituzionale. L’abuso dello strumento interpretativo da parte del legislatore, gravemente lesivo delle posizioni giuridiche soggettive, non è stato finora efficacemente contrastato all’interno dell’ordinamento nonostante l’elaborazione da parte della Corte costituzionale di una serie di limiti e requisiti di legittimità dell’esegesi legislativa. In tale prospettiva, diventano quindi di rilevanza fondamentale la ricerca e l’esame di strategie e rimedi, giurisdizionali ed istituzionali, tali da arginare l’“onnipotenza” del legislatore interprete. A seguito dell’analisi svolta, è maturata la consapevolezza delle potenzialità insite nella valorizzazione della giurisprudenza della Corte Edu, maggiormente incline a sanzionare l’abuso delle leggi interpretative.

Lexis paidike. L'infanzia in Origene

La tesi considera la trattazione del tema dell’infanzia nell’opera di Origene di Alessandria attraverso l’analisi dei testi trasmessi nell’originale greco e delle traduzioni latine di Rufino e Gerolamo. Il motivo dell’infanzia è considerato nei suoi molteplici significati, a più livelli: esegetico, antropologico, filosofico, teologico. La ricerca non si limita dunque ad un’analisi di taglio storico, ma ambisce a definire la concezione e la considerazione della prima età dal punto di vista di Origene e nel contesto più ampio della letteratura coeva. Attraverso una lettura estensiva del corpus dell’Alessandrino sono stati isolati tutti i passi che si riferiscono all’infanzia a livello letterale e metaforico. Ne emerge una trattazione complessa del tema: il bambino è per Origene, in linea con le contemporanee dottrine filosofiche, un essere eminentemente irrazionale. Il pieno sviluppo della facoltà razionale si colloca al termine di questa prima fase dell’esistenza. L’irrazionalità infantile previene nei più piccoli l’insorgere delle passioni. A questa dottrina, di matrice stoica, si ricollegano alcuni sviluppi di grande rilievo: la non-imputabilità dei minori ed il legame tra razionalità e responsabilità individuale; la riflessione sulla sofferenza dei bambini e la ricerca di una sua causa, che non intacchi il principio della giustizia divina; l’ipotesi della preesistenza delle anime. Sul piano teologico la ricerca si focalizza sulle nozioni di paternità e filiazione e sul tema, centrale nell’orizzonte origeniano, della pedagogia. Origene concepisce la pedagogia umana, sul modello di quella divina, come una rete dinamica di relazioni che ricalca i rapporti parentali. A fianco di questi ambiti d’interesse principali l’analisi considera aspetti ulteriori: risalto è concesso, in particolare, all’elemento biografico ed all’aspetto linguistico e letterario della prosa origeniana, quest'ultimo spesso trascurato dalla critica. Lo studio mostra inoltre la vitalità di alcuni modelli esegetici origeniani nella tradizione successiva.