"CRISE DE IDENTIDADE NO JORNALISMO" Pensamentos e posicionamentos de jornalistas em tempos difíceis

Esta pesquisa estuda o fenômeno crise de identidade do jornalista e do Jornalismo motivada pelas mudanças conjunturais oferecidas e impostas a esta área, em sua trajetória brasileira, de variadas formas e em diversos momentos. A evolução da sociedade e dos meios, as inovações técnicas e tecnológicas, a necessidade de formação, bem como os ataques à exigência do diploma e o cancelamento deste em nome do direito ao livre pensamento, entre outros. Por conta disso, busca-se a compreensão do indivíduo jornalista e da construção de sua identidade, bem como da sustentação de sua imagem, aspectos que ajudam a perceber sua importância na tessitura social. O esforço em localizar elementos da identidade e do status desse profissional considerou a análise de discursos de vários autores, no traçado que vai da década de 50 à contemporaneidade (ano de 2005). Para tanto recorreu-se às seguintes ferramentas: o aporte teórico relacionado à vontade de potência sugerida por Friedrich Nietzsche e a Ação Comunicativa de Jürgen Habermas. Do primeiro, adotou-se um modelo híbrido relacionando unidades-temáticas e sentidos de valor; do segundo procurou-se a interface do diálogo mantido por meio de parâmetros normativos, de vivência, e da memória armazenada pelos jornalistas no decorrer do tempo. Os resultados obtidos mostram, nas três fases adotadas, (décs. 50-60, 70-80, e 90-05) a recorrência aos valores ligados à liberdade e à ética, em variadas proporções e intensidades. A questão técnica foi praticamente deixada de lado, parecendo ter sido assimilada, ao passo que as relacionadas à formação foram acionadas esporadicamente. Também percebe-se em variados momentos e de variadas formas, os ataques ao jornalista, geralmente desqualificando-o ou colocando-o sob suspeita. Por outro lado, em todos, os casos os jornalistas procuram defender-se sempre mobilizando recursos, que na maioria das vezes deixam abertas as possibilidades ao diálogo, assim como tentam recuperar sua importância mostrando seus valores por meio da capacidade que possuem de representar a sociedade.(AU)

INTERDISCIPLINARIDADE: AS CAUSAS DAS DIFICULDADES DE IMPLEMENTAÇÃO DO NOVO ENSINO MÉDIO BRASILEIRO E DO TRABALHO DOCENTE

O objetivo principal desta dissertação foi o de pesquisar as causas; I) das dificuldades de implementação do Novo Ensino Médio (que estabelece no currículo nacional a interdisciplinaridade como um princípio); II) das dificuldades dos professores para com o trabalho interdisciplinar; III) da resistência dos mesmos em relação a ele. O método utilizado foi o da pesquisa bibliográfica, observando-se as posições de dois grupos de pensadores quanto ao problema discutido neste trabalho. No primeiro grupo (Foucault; Nietzsche; Hockeimer da Escola de Frankfurt e Veiga-Neto) foram indicadas para a implementação dificuldades epistemológicas, enquanto, no segundo (Marx e Santos Filho), foram apresentadas políticas, econômicas e sociológicas dificuldades a serem superadas para que se atinja o objetivo almejado no projeto educacional.(AU)

Evolutionary neurobiology and art

In his important book on evolutionary theory, Darwin's Dangerous Idea, Daniel Dennett warns that Darwin's idea seeps through every area of human discourse like a "universal acid" (Dennett, 1995). Art and the aesthetic response cannot escape its influence. So my approach in this chapter is essentially naturalistic. Friedrich Nietzsche writes of observing the human comedy from afar, "like a cold angel...without anger, but without warmth" (Nietzsche, 1872, p. 164). Whether Nietzsche, of all people, could have done this is a matter of debate. But we know what he means. It describes a stance outside the human world as if looking down on human folly from Mount Olympus. From this stance, humans, their art and neurology are all part of the natural world, all part of the evolutionary process, the struggle for existence. The anthropologist David Dutton, in his contribution to the Routledge Companion to Aesthetics, says that all humans have an aesthetic sense (Dutton, 2001). It is a human universal. Biologists argue that such universals have an evolutionary basis. Furthermore, many have argued that not only humans but also animals, at least the higher mammals and birds, have an appreciation of the beautiful and the ugly (Eibl-Eibesfeldt, 1988).11Charles Darwin indeed writes "Birds appear to be the most aesthetic of all animals, excepting, of course, man, and they have nearly the same sense of the beautiful that we have" (1871, The Descent of Man and Selection in Relation to Sex, London: John Murray, vol.2, xiii, 39). This again suggests that aesthetics has an evolutionary origin. In parenthesis here, I should perhaps say that I am well aware of the criticism leveled at evolutionary psychology. I am well aware that it has been attacked as just so many "just-so" stories. This is neither the time nor the place to mount a defense but simply just to say that I believe that a defense is eminently feasible. © 2006 Elsevier Inc. All rights reserved.

Zarathustra's evolutionary epistemology

Friedrich Nietzsche was the first great philosopher to be influenced at the core by Darwinian ideas. He regarded Also Sprach Zarathustra as his masterpiece and most subsequent commentators have agreed. There have been many interpretations of the Zarathustra, and like all great works it has many levels of meaning. An exposition in terms of evolutionary epistemology, however, has not yet been attempted. This article rectifies this omission and shows how Nietzsche's work carries Darwinian ideas into the domain of philosophical anthropology. It shows through the prism of Nietzsche's mature thought some of the consequences of an evolutionary epistemology both in opening up alternative visions of the world and in permitting a profound criticism of our commonsense metaphysics and ontology. © 1992.

Leadership through intellect:the meaning of leadership in the intellectual history of nineteenth and early twentieth century Germany

This study examines the understanding of leadership in Germany, as it developed throughout the nineteenth and early twentieth century. The investigation is based on the work of contemporary writers and thinkers, as well as on the leadership styles of key political figures. Given the ideological connotations of the term "Führung" in post-war Germany, the aim is to reconsider the meaning of leadership, with particular reference to the alternative notion of spiritual guidance. The rise to power of Napoleon I fundamentally influenced the understanding of leadership in Germany, as is demonstrated through an analysis of the Napoleonic reception in contemporary literature. Despite polarised responses, the formation of the heroic ideal may be identified, the quest for spiritual guidance having become subordinate to the charismatic legitimisation of political authority. As advocated by Thomas Carlyle, the mid to late nineteenth century witnessed the realisation of this ideal through Bismarck. The intellectual response to this development is characterised by the work of Wagner, Burckhardt and Nietzsche. In different ways each figure emphasised the need to redefine greatness and to seek spiritual guidance from alternative sources. The reflection on leadership in the early twentieth century is traced through the work of Harry Graf Kessler and the circles around Stefan George. Hitherto unpublished material is examined, revealing both the influences of nineteenth century thought and reactions to the "persönliches Regiment" of Wilhelm II. The intellectual debate culminates in Max Kommerell's 1928 study Der Dichter als Führer. Read in conjunction with unpublished notes and correspondence, this provides new insights into Kommerell's thought. The concept of poetic leadership constitutes a potential spiritual and intellectual alternative to the ideal of the political "Führer" which dominated the forthcoming era. It therefore remains of contemporary significance and may contribute to a broader discussion of the leadership dilemma in modern Germany.

Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela historica

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso , the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. ^ This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. ^ Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist's approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier's El arpa y la sombra and Posse's Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power. ^

Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela histórica

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso, the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist’s approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier´s El arpa y la sombra and Posse´s Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power.

Cartilha do silêncio: sob o signo da modernidade e da memória

This research starts from the presupposition that Cartilha do Silêncio(1997), a novel by the Brazilian writer Francisco Dantas, has a double articulated shift. One of the moves is towards the modern experience, with the idea that modernity is filled with contraries, as remarked by Nietzsche; the other is linked to the livelihoods ashore on traditional experiences, which encompasses the notion of memory as individual and collective ownership. The aim here is to analyze such perspective, social and critical issues within the characters' life stories that regards the calling of past as clear example that tradition is not gone, though modern life presents its own signs. Such dynamics gives to the plot a paradoxal feature. This work is mainly grounded on Marshall Berman' s thoughts in All That Is Solid Melts Into Air: The Experience of Modernity (1982) as well as on Antoine Compagnon'sFive Paradoxes of Modernity (1994). Assuming that Francisco Dantas' Novel is set as a split narrative, outcome of social memory originated on individual experiences aside social process and patriarchal family, this research brings into play the concept of memory by Jacques Le Goff in History and Memory (1992) along EcléaBosi's study in Memória e Sociedade: lembranças de velhos (1979). Keen to check how Cartilha do silêncio adjoins modern livelihoods with aesthetics order, the method articulates text and context, literary and social life, according to Antonio Candido'sLiteratura e Sociedade (1965). Thus, after reading the novel, it is possible to notice how the identity of the characters are built throughout the plot and it is also kept against settling on its social context during the transition from patriarchal tradition to modernity, creating a taut mood between both registries.

O eterno retorno como paródia e como colagem na filosofia da diferença de Gilles Deleuze

Gilles Deleuze hás commented on many philosophers, but his relationship with Nietzsche plays a singular role in his thought: appropriating the concept of the “eternal return” to think the central axis of his thesis, Difference and repetition (1968). Terms “difference” and “repetition” appeared associated to eternal return in his Nietzsche and philosophy (1962). Our dissertation thesis analyzes the presentations of that concept in bothworks. Chapter one presents the style construction and critical, methodological aspects of Nietzschean philosophy, fundamental elements to understand Deleuze’s interpretation. It subsequently analyzes the first presentation of that concept, expressed in the following terms: the aesthetic existence, either innocent or justified from the figure of game. We will see how the image of game implies another concept of chance, that leads Deleuze to think of an affirmative philosophical “type”, capable of creating new values. Chapter two evaluates the existential, “ethical-selective”, “physicalcosmological” character of the concept of eternal return, as much as the difficulties it imposes upon Nietzsche’s interpreter. We present afterwards Deleuzian comprehension of eternal return as a “parody” or a “simulacrum of doctrine”. Chapter three analyzes that interpretive position as a transvaluation of values from a rearrange of perspectives in order to overcome the negative comprehensions of existence. We want to question the way Deleuze builds another image of thought from the concept of eternal return – an image that, by a sort of “colagem” and selective elimination of the negativity, proposes a historiographic work and unfolds a lineage of thinkers of immanence and difference, a detour from the thought of identity, the same and the similar. We want thus to understand Deleuze’s critique of “dogmatic image of thought”.

O eterno retorno como paródia e como colagem na filosofia da diferença de Gilles Deleuze

Gilles Deleuze hás commented on many philosophers, but his relationship with Nietzsche plays a singular role in his thought: appropriating the concept of the “eternal return” to think the central axis of his thesis, Difference and repetition (1968). Terms “difference” and “repetition” appeared associated to eternal return in his Nietzsche and philosophy (1962). Our dissertation thesis analyzes the presentations of that concept in bothworks. Chapter one presents the style construction and critical, methodological aspects of Nietzschean philosophy, fundamental elements to understand Deleuze’s interpretation. It subsequently analyzes the first presentation of that concept, expressed in the following terms: the aesthetic existence, either innocent or justified from the figure of game. We will see how the image of game implies another concept of chance, that leads Deleuze to think of an affirmative philosophical “type”, capable of creating new values. Chapter two evaluates the existential, “ethical-selective”, “physicalcosmological” character of the concept of eternal return, as much as the difficulties it imposes upon Nietzsche’s interpreter. We present afterwards Deleuzian comprehension of eternal return as a “parody” or a “simulacrum of doctrine”. Chapter three analyzes that interpretive position as a transvaluation of values from a rearrange of perspectives in order to overcome the negative comprehensions of existence. We want to question the way Deleuze builds another image of thought from the concept of eternal return – an image that, by a sort of “colagem” and selective elimination of the negativity, proposes a historiographic work and unfolds a lineage of thinkers of immanence and difference, a detour from the thought of identity, the same and the similar. We want thus to understand Deleuze’s critique of “dogmatic image of thought”.

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Cenários de contra-hegemonia no protestantismo brasileiro no contexto da pós-modernidade

Since long ago that the religious manifestations are considered important items in various social media. In this sense, we are interested in understanding the strong denominational plurality, and the emergence of new movements / events and forms of Christianity in Brazil, which therefore is a reflection of what happens in the rest of the globalized world. Such interest is covered by the assumption that religiosity and social media are built on mutual and interconnected way, which allows us to understand that social cosmology presents itself as a fertile space privileged and to verify the interactions pertaining to the binomial: religion and society. The Protestantism is divided into three main streams: Historical, Pentecostal and Neo-Pentecostal. Each current of Protestantism emerged to adapt to social cosmology of historical ages, from the Reformation to the present day, forming institutions with certain ethical and moral stances. In this sense, it is necessary to research and understand how the historical Protestant, Pentecostal and neo-Pentecostal were implanted in Brazil. From this we believe to be interesting problematize accurately the following: How have the processes of formation of strands / evangelical movements in Brazil? These movements are still holding their "classic robes" or hybreeding their borders? What are the modulations in the religious transit demonstrate that this probable hybridization? If there is, indeed, a hybridization between the Evangelical means, we can put it is provoked only by a logic of "market of symbolic goods of religion" in the world today? Nowadays, we are experiencing a period of change cosmological, from Modern to Postmodern (caosmológic). This last is therefore characterized by secularization, the fracture, the mutilation, the diversity of subjectivities. And thinking about is this "spirit of the times" we take as the main its theoretical references of this study, the Italian philosopher and thinker of postmodernity Gianni Vattimo featuring postmodernity with the cosmology of fragile / pensiero debole Thought and post-metaphysical, that is which enhances the appearance of more plural institutions and non-absolute. To do so, he makes use of the philosophies of German, Nietzsche and Heidegger. Finally, it must be said that this grounded theoretical framework, raise the hypothesis that the Protestantism tends to "injure anymore" by the influence of postmodern social episteme, providing thereby the emergence of a new hybrid framework has not yet nominated and can move between the three major currents of world Protestantism, with features in converged aspects of the same.

Cenários de contra-hegemonia no protestantismo brasileiro no contexto da pós-modernidade

Since long ago that the religious manifestations are considered important items in various social media. In this sense, we are interested in understanding the strong denominational plurality, and the emergence of new movements / events and forms of Christianity in Brazil, which therefore is a reflection of what happens in the rest of the globalized world. Such interest is covered by the assumption that religiosity and social media are built on mutual and interconnected way, which allows us to understand that social cosmology presents itself as a fertile space privileged and to verify the interactions pertaining to the binomial: religion and society. The Protestantism is divided into three main streams: Historical, Pentecostal and Neo-Pentecostal. Each current of Protestantism emerged to adapt to social cosmology of historical ages, from the Reformation to the present day, forming institutions with certain ethical and moral stances. In this sense, it is necessary to research and understand how the historical Protestant, Pentecostal and neo-Pentecostal were implanted in Brazil. From this we believe to be interesting problematize accurately the following: How have the processes of formation of strands / evangelical movements in Brazil? These movements are still holding their "classic robes" or hybreeding their borders? What are the modulations in the religious transit demonstrate that this probable hybridization? If there is, indeed, a hybridization between the Evangelical means, we can put it is provoked only by a logic of "market of symbolic goods of religion" in the world today? Nowadays, we are experiencing a period of change cosmological, from Modern to Postmodern (caosmológic). This last is therefore characterized by secularization, the fracture, the mutilation, the diversity of subjectivities. And thinking about is this "spirit of the times" we take as the main its theoretical references of this study, the Italian philosopher and thinker of postmodernity Gianni Vattimo featuring postmodernity with the cosmology of fragile / pensiero debole Thought and post-metaphysical, that is which enhances the appearance of more plural institutions and non-absolute. To do so, he makes use of the philosophies of German, Nietzsche and Heidegger. Finally, it must be said that this grounded theoretical framework, raise the hypothesis that the Protestantism tends to "injure anymore" by the influence of postmodern social episteme, providing thereby the emergence of a new hybrid framework has not yet nominated and can move between the three major currents of world Protestantism, with features in converged aspects of the same.

El clown y el teatro como contenidos de la Educación Física

Al hablar de Educación física, estamos haciendo referencia a una disciplina educativa que como tal incide en la formación de subjetividades, y en este caso en particular, y de manera específica es también, educadora del cuerpo; al cual lo entenderemos como construcción socio-histórica, y por lo tanto cultural. En el marco de dicho posicionamiento, el presente trabajo pretenderá analizar las teorías, discursos y prácticas corporales de la Educación Física, y la influencia de éstas en la construcción de subjetividades y corporalidades. Coincidiendo de ésta manera con una frase del profesor Mariano Giraldes (2008), la cual dice: ?mi cuerpo es...la relación que tengo con él.? También, y desde las nociones estéticas que Nietzsche presenta en su libro ?El origen de la tragedia?, sobre lo que él llamó los instintos apolíneos y dionisíacos, se intentará plantear un nuevo abordaje de las prácticas de la Educación Física. Se realizarán comparaciones analíticas entre determinadas características del instinto apolíneo y su cercanía con la Educación Física tradicional, y la propuesta de una educación física más cercana a ciertas prácticas artísticas como el clown y el teatro, las cuales pueden ser relacionadas con el carácter disruptivo de la estética dionisiaca