O discurso sobre o mal na Igreja Universal do Reino de Deus: uma história cultural do diabo no Brasil contemporâneo (1977-2005)

Pós-graduação em História - FCLAS

O Serviço de Proteção aos Índios e o estabelecimento de uma política indigenista republicana junto aos índios da reserva de Dourados e Panambizinho na área da educação escolar (1929 a 1968)

Pós-graduação em História - FCLAS

A formação do licenciado em Enfermagem no estado do Pará: as prescrições curriculares no período de 1977 a 2006

Esta pesquisa tem por objetivo investigar que prescrições curriculares, concepções de enfermagem e de educador e que perfis profissionais foram adotados ao longo da história do currículo do curso de Licenciatura Plena em Enfermagem da UFPA desde a sua criação até a implantação do Projeto Pedagógico do Curso. O problema situa-se na compreensão das influências exercidas pela conjuntura econômica, política e social sobre as propostas curriculares, considerando o momento histórico em que cada uma delas fora produzida, os atores sociais que o fizeram e o porquê de o terem feito. Em se tratando de uma pesquisa qualitativa em Ciências Sociais, o percurso metodológico empregou um estudo exploratório descritivo do tipo estudo de caso histórico-organizacional, que se assentou em pesquisa documental assessorada pela técnica de entrevista. Os resultados mostraram que, conforme o momento histórico vivido pela Instituição, a formação do licenciado em enfermagem fora mais ou menos valorizada, no entanto, sempre esteve presente na história do currículo do curso de Licenciatura Plena em Enfermagem da UFPA. O desafio assumido, com exclusividade no contexto paraense, revela o compromisso da Instituição para com a qualidade da formação de professores de enfermagem no Estado, dado o interesse em perpetuar esta missão.

Estabilidade constitucional e acordos constitucionais: os processos constituintes de Brasil (1987-1988) e Espanha (1977-1978)

O artigo analisa os acordos que formaram as maiorias nas assembléias constituintes de Brasil (1987-1988) e Espanha (1977-1978), buscando indentificar sua contribuição para a estabilidade constitucional dos dois países. O estudo foi desenvolvido em três níveis: estudo das normas regimentais das assembléias constituintes; tabulação das votações que aprovaram dispositivos constitucionais; e análise dos debates constitucionais, na qual foram identificados três processos de formação de maiorias, concessões mútuas, não-decisão e maioria aritmética. O trabalho demonstra que o uso de concessões mútuas e da não-decisão na constituinte favorece o processo de construção do consenso em torno da constituição, contribuindo para sua estabilidade.

O Mito da cidade provisória: natureza, migração e conflito social em Tailândia (1977-2000)

Esta dissertação analisa a ideia da provisoriedade associada ao contexto da criação da cidade de Tailândia (nordeste do Pará) entre os anos de 1977 e 2000. O foco central é a construção da imagem desta cidade como um local violento e as contribuições do fluxo migratório para a construção da identidade e memória local. Este estudo analisa a política pública de ocupação deste espaço e as experiências e lutas dos moradores para estabelecer uma nova cidade, dentro de um processo de apagamento das vivências antigas. No contexto da ditadura militar e no universo dos Planos de Desenvolvimento e grandes projetos para a Amazônia, esta dissertação procura revelar outros sujeitos e suas narrativas, dando-lhe uma nova roupagem na medida em que se entrelaçam o rural e o urbano, constantemente alterados pelas relações que se processam nesse contexto, nos possibilitando entendê-lo pelo amplo viés da história social. Este tipo de problema não é puramente da cidade de Tailândia, mas se faz perceber em toda a Amazônia contemporânea e encontra paralelos em outros lugares, com outros sujeitos e outras vivências. No entanto, todo este universo ainda se constitui como uma história marginal, ainda pouco desvendada.

A imprensa em Lins: análise das dinâmicas sociais e urbanas em O Progresso, 1925-1927 O Linense, 1928-1929

O trabalho de conclusão de curso, que tem por tema “A imprensa interiorana: análise das dinâmicas sociais e urbanas em O Progresso, 1925-1927 e O Linense, 1928-1929”, visa analisar os periódicos aqui apontados, enquanto representativos dos jornais circulantes no interior paulista do início do século XX, inseridos dentro de um contexto de urbanização das cidades do noroeste do estado de São Paulo, mais especificamente, Lins. Esses periódicos serão, portanto, objeto de estudo e, concomitantemente, as principais ferramentas de pesquisa sobre a cidade aqui estudada e de identificação das temáticas relativas ao assunto cidade/urbano. Este trabalho serve como um complemento à pesquisa de iniciação científica “A Imprensa em Lins: temas da cidade e do urbano em O Progresso, 1925-1927 e O Linense, 1928-1929”, que teve como proposta fazer o levantamento de temas sobre a vida, as transformações e as dinâmicas urbanas de Lins, município do oeste paulista, mapeando diversas dimensões da cidade publicadas nos jornais O Progresso, do período de 1925 a 1927 e O Linense, de 1928 a 1929. Dessa maneira, o trabalho visa contribuir para os estudos sobre as cidades da Zona Noroeste paulista e, a partir da análise dos jornais, realizar uma leitura da imprensa interiorana do início do século XX em São Paulo. Cabe salientar que a pesquisa está vinculada ao Projeto Temático “Saberes Eruditos e Técnicos na Configuração e Reconfiguração do Espaço Urbano – Estado de São Paulo, séculos XIX e XX (processo 05/55338-0)”, com coordenação do grupo de professores da Faculdade de Arquitetura, Artes e Comunicação da UNESP-Bauru. O subtema desse projeto, sob a responsabilidade específica do orientador Célio José Losnak, chama-se “As dimensões política e cultural da circulação dos saberes nas cidades do oeste paulista: legislação, processos decisórios... (Resumo completo, clicar acesso eletrônico abaixo)

Jornal 'Coração', o porta-voz da torcida corintiana: uma aventura na imprensa esportiva paulista (1976/1977)

Pós-graduação em Comunicação - FAAC

Escola Pacheco e Silva anexada ao Hospital de Juqueri (1929-1940)

This article presents the results of research on the Hall-School installed in the Juqueri Hospital, São Paulo, in 1929, by initiative of the psychiatrist Antonio Carlos Pacheco e Silva, and organized by the pediatrician Vicente Baptista da Silva and professors Norberto de Souza Pinto and Celso Guimarães da Fonseca. It is regarded as a real pioneer project for the development of Special Education and of Psychology, formerly named as for the abnormals. One can neatly perceive the change in the treatment of a medical origin only to that of an inclusion of Psychology and Education in the development of children affected by mental deficiency or by psychopathies. The influence of the ideas of educators, such as the ones mentioned above, were fundamental for the changes.

Imaginando o outro e a nação nas relações internacionais: Commentary Magazine, The New Republic e o intervencionismo dos Estados Unidos na Nicarágua e El Salvador (1977 - 1992)

Pós-graduação em Relações Internacionais (UNESP - UNICAMP - PUC-SP) - FFC

Scorpiodinipora costulata (Canu & Bassler, 1929) (Bryozoa, Cheilostomata), a taxonomic and biogeographic dilemma: complex of cryptic species or human-mediated cosmopolitan colonizer?

Despite implausible cosmopolitanism, the species Scorpiodinipora costulata (Canu & Bassler, 1929) has been attributed with reservations to small encrusting colonies with similar morphological features whose known distribution is scattered in tropical and subtropical seas: Pacific Ocean (Philippines), Indian Ocean (Oman), Red Sea, SE Mediterranean, SE Atlantic (Ghana) and SW Atlantic (Brazil). This material raised questions about its generic assignment. The genus Scorpiodinipora Balavoine, 1959 is redescribed with Schizoporella costulata Canu & Bassler, 1929, from the Philippines as the type species, as Balavoine misidentified the specimens to define the genus as Cellepora bernardii Audouin, 1826. Moreover, SEM examination of the cotypes of S. costulata showed that Canu & Bassler confused two genera among them. A lectotype and paralectorype were thus chosen from Canu & Bassler's syntypes corresponding with the present morphotype. Hippodiplosia ottomuelleriana var. parva Marcus, 1938, from Brazil, which presents the same morphotype, is provisionally considered as the junior synonym of S. costulata. Considering the broad allopatric distribution of this morphotype across the oceans and the low capacity of dispersal of species with short-lived larvae, it is likely that this material includes several sibling species. However, the role of man-mediated dispersal is not excluded, at least in regions with high shipping activity, such as that comprising the Suez Canal.

Evolución de la natación española a través de los Campeonatos de España de natación de invierno y de verano desde 1977 a 1996

[ES] El objeto de estudio es poder describir como han evolucionado, desde 1977 a 1996, los registros de los mejores nadadores españoles en cada una de las pruebas, así como valorar la edad que presentaban estos nadadores y como se ha comportado este parámetro a lo largo del periodo analizado. Este trabajo, con un marcado carácter descriptivo, también intenta en una segunda parte hacer una aproximación al comportamiento de los mismos parámetros de edad y tiempos en la natación mundial, tomando como referencia los Campeonatos del Mundo, cita que se disputa cada cuatro años. Al final también se intentan mostrar las diferencias que puedan existir entre los datos referidos a la natación española y los referidos a la natación mundial, así como proyectar las líneas de investigación futura en este campo.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

La arquitectura regionalista en la ciudad de Las Palmas de Gran Canaria: 1929-1955

Programa de doctorado: Restauración y rehabilitación arquitectónica