A luta em defesa da Sociologia no Ensino Médio: 1996-2007 : um estudo sobre a invenção das tradições

Pós-graduação em Educação Escolar - FCLAR

A política como incômodo

This article holds that the dominant scene of the “crisis of politics” in modern societies reflects a complex process of reconfiguration of social life and way of living. Through critical dialogue with some representatives of political sociology of radicalized modernity, it suggests that current failure of politics is the failure of one way of doing and thinking about politics, direct heir of “historical capitalism”. It is not the failure of politics as such, but of a mode of politics, political system, political practice. It must be associated with a sort of fatigue of the material which composed modern politics, which has always been based on strong national and constitutional states, on mass parties and active parliaments, as well as on the efficient functioning of representative democracies.

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

Sobre O tronco, romance de Bernardo Élis

The conception of O tronco was influenced by Hegel´s ideas. The genesis of this novel is in Bernardo Élis’ purpose of writing a monograph on land ownership conflicts in Goiás, later transformed into a new project, the novel O tronco. The same ideological position of the author gives the argumentative direction of the novel; his ideological background determines the choice of the theme, associated with images expanded by the procedures of argumentation that permeate the literary discourse. Thus, in face of the undeniable aesthetic value of Élis´work, we analyzed O tronco, specifically the argumentation that guides the literary narrative, enhanced by the artistic treatment of violence, its theme, as the result of the struggle for power. The novel was published in 1956; the author, heir to the literary regionalism of the 30s, through an artistic and calculated combination of the story of a local government and literature, accuses, judges the exacerbated domination of a particular social group in a region in Goiás.

Ópera e literatura em cena: uma análise da obra juvenil aída, adaptada por han mi-ho e ilustrada por Lucia Sforza

This text’s objective is to present an analysis of Aída, adapted by Han Mi-Ho (2012) and illustrated by Lucia Sforza, from the classic eponymous opera by Giuseppe Verdi. This book is part of the collection Classical music on the scene, published by FTD, which aims to introduce stories of important librettos regarded as classics in the music field to young audiences. More specifically, we intend to verify in this text, with Bakhtinian principles, how the dialogue between Verdi’s work and HanMi-Ho’s is actualized. To achieve these objectives, we will present a reflection of what provides the pleasure in reading. In this text we built the hypothesis that Han-Mi-Ho’s strategy to rescue a classic opera and adapt it in the form of an illustrated narrative for the young reader provides the contact with an attractive and playful text that leads to critical reflection and expands his knowledge through the rescue of the cultural memory. The appropriation of a classic cultural production adapted to the narrative language and targeted to a young audience can act as an appraisal factor in the identity of the reader. Through it, he is able to raise his self-esteem, because he perceives that he is considered as a production receiver, while at the same time he is recognized as the heir of a traditional cultural heritage.

Planejamento Ambiental da Bacia Hidrográfica do Córrego Guaiçarinha, Município de Álvares Machado, São Paulo, Brasil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Design versus artesanato: identidades e contrastes

There are at least three different visions about origins of design; the most diffused is the idea that design begins with the Industrial Revolution. Some see the design as heir of a special kind of crafts at Revolution’s eve, because it already have a former project and work division. Less diffused is the idea that there aren’t much significant differences between design and crafts, giving to design some millenniums of history. But, being the designer heir of this millenary tradition isn’t time to reconciliate it again with crafts? Shouldn’t we return to defend the rescue of concepts of project before the modernism?

Mediación y legitimación en la crítica literaria de Otto Maria Carperaux

The work and the trajectory of literary critic and journalist Austrian-Brazilian Otto Maria Carpeaux (1900-1978) are studied from the relationship between literary criticism and the diffusion field in Brazil. Between the decades of 1940-1970, Carpeaux has played a prominent role in the formation process of the reader and reading in Brazil, as evidenced by his intense activity as a critic and essayist. Will also be developed reflections on the place occupied by Carpeaux in the field of criticism in Brazil. Two hypotheses are developed: a) Carpeaux`s work was affected by a lack of legitimacy of his contemporaries in the decades of 1940-1950, as can be seen, for example, in peripheral treating conferred on him by the field of diffusion and consecration instances we can read, the editorial market. b) Carpeaux such as an Alvaro Lins`s heir in the Correio da Manha, also inherited a criticism model that lost prestige in the light of the New Criticism growing influence occurred in the country, which shifts the critical role from the newspaper to the university.

EC77-865 Have It Your Way By Making A Will

Making a will is not the sad and gloomy picture painted by some people. Quite the contrary! A person who makes a will is creating his or her own blueprint for the future. A will, like life insurance, social security, or retirement plans, provides security and peace of mind. The person who has a will made can rest assured that property and loved ones will be taken care of precisely in the manner he or she desires. This publication presents basic information about wills, one of the most important documents a person can make or possess. This information can be useful both to those who have already made a will and those who have not.

Quality of diet of working college students

Considering the scarcity of studies with young workers and the role of diet in the prevention of chronic diseases, the objective of the study was to assess the quality of diet of working college students. The present study investigated 43 university students, aged between 18 and 25 years old who had systematically being involved in a working activity in the past 6 months, paid or unpaid, at least 6 hours daily, five days a week. Dietary intake measured by seven dietary records covering every day of the week was used to calculate the Brazilian Healthy Eating Index Revised (B-HEIR). It was observed a low B-HEIR score (53.43,+/- 7.81) indicating a risk of a poor quality of diet, with high intake of sodium and sugar and low consumption of fruits and whole grains. This poor quality of diet can result in an inadequate nutritional status that may increase the risk of obesity and chronic diseases.

Johann Schöffer, Buchdrucker zu Mainz

Die Arbeit beschriebt das Leben und Wirken Johann Schöffers, des Erben der Mainzer Druckerei Johannes Fusts und Peter Schöffer d.Ä. Im Mittelpunkt stehen die 315 heute noch nachweisbaren Drucke. Neben der bibliographischen Erfassung der Titel, die ergänzt werden durch Hinweise zur Illustration und zur Typographie, wird versucht anhand dieser die Entwicklung und die Veränderungen in der Werkstatt aufzuzeigen. Von Interesse ist dabei, dass sich die historischen Ereignisse und religiösen Strömungen teilweise parallel, teilweise zeitlich versetzt im Verlagsprogramm widerspiegeln.

Il museo Wilhelm Lehmbruck: paradigma della nuova modernità nella Germania del secondo dopoguerra

Oggetto della ricerca è il museo Wilhelm Lehmbruck di Duisburg, un'opera dell'architetto Manfred Lehmbruck, progettata e realizzata tra il 1957 e il 1964. Questa architettura, che ospita la produzione artistica del noto scultore Wilhelm Lehmbruck, padre di Manfred, è tra i primi musei edificati ex novo nella Repubblica Federale Tedesca dopo la seconda guerra mondiale. Il mito di Wilhelm Lehmbruck, costruito negli anni per donare una identità culturale alla città industriale di Duisburg, si rinvigorì nel secondo dopoguerra in seno ad una più generale tendenza sorta nella Repubblica di Bonn verso la rivalutazione dell'arte moderna, dichiarata “degenerata” dal nazionalsocialismo. Ricollegarsi all'arte e all'architettura moderna degli anni venti era in quel momento funzionale al ridisegno di un volto nuovo e democratico del giovane stato tedesco, che cercava legittimazione proclamandosi erede della mitica e gloriosa Repubblica di Weimar. Dopo anni di dibattiti sulla ricostruzione, l'architettura del neues Bauen sembrava l'unico modo in cui la Repubblica Federale potesse presentarsi al mondo, anche se la realtà del paese era assai più complessa e svelava il “doppio volto” che connotò questo stato a partire dal 1945. Le numerose dicotomie che popolarono presto la tabula rasa nata dalle ceneri del conflitto (memoria/oblio, tradizione/modernità, continuità/discontinuità con il recente e infausto passato) trovano espressione nella storia e nella particolare architettura del museo di Duisburg, che può essere quindi interpretato come un'opera paradigmatica per comprendere la nuova identità della Repubblica Federale, un'identità che la rese capace di risorgere dopo l' “anno zero”, ricercando nel miracolo economico uno strumento di redenzione da un passato vergognoso, che doveva essere taciuto, dimenticato, lasciato alle spalle.

L’Orientalismo tra vocazione imperialista, suggestioni esotiche e omoerotiche. Le rappresentazioni storiche del passaggio tra l’epoca omayyade e abbaside.

Lo studio si tratta di mettere in evidenza il cambiamento che ha subito il termine Oriente nel secolo XX in alcuni testi della letteratura italiana contemporanea. L’opera di Edward Said, L’Orientalismo è un testo di riferimento per i nostri studi. Nel quale abbiamo focalizzato l’attenzione su alcuni aspetti salienti: il concetto di orientalismo; l’interesse nei confronti dell’Oriente sul piano politico, scientifico, letterario; l’impossibilità di separare lo studioso dalle circostanze biografiche e sociali. Siamo riusciti, quindi, a stabilire che il cambiamento dell’immagine orientale dipende da tre fattori: lo scrittore (emittente), il soggetto (la fonte) ed il lettore (destinatario), dai quali si origina l’oggetto (il testo). Basandoci su questi tre elementi abbiamo cercato di inquadrare l’interesse letterario per l’Oriente vista da una triplice prospettiva: imperialismo, fascino ed erotismo. Per studiare le prime due prospettive, abbiamo scelto due opere. La prima presenta l’immagine dell’imperialismo, si tratta di Sanya, La moglie egiziana e il Romanzo dell’Oriente Moderno (1927) di Bruno Corra. La seconda prospettiva dove troviamo l’immagine dell’Oriente fascinoso è nello scritto di Annie Vivanti, La terra di Cleopatra (1925). Il punto centrale della tesi si tratta di studiare Annie Messina (1910-1996), è una scrittrice che ha uno stile peculiare ed un approccio tutto suo al tema dell’Oriente. I testi studiati sono : "Il mirto e la rosa" (1982), "Il banchetto dell'emiro" (1997) e "La principessa e il wâlî" (1996), tutti pubblicati dalla casa editrice Sellerio.L’unico pubblicato da Mondadori è "La palma di Rusafa" (1989). L’ultima parte del lavoro abbiamo esposto un profilo storico e socio-religioso della letteratura erotica araba. In cui abbiamo rintracciato le origini dell’immagine erotico dell’Oriente e il tema dell’omosessualità, mettendo a confronto il testo omosessuale di Messina con la letteratura italiana contemporanea.

Na 1 Nachlass Max Horkheimer, 1 - Korrespondenzen u.a. mit Franz Alexander (p. I 1, 1-205)

1 Brief von Max Horkheimer an Abel, 16.03.1936; 3 Briefe zwischen Hubert Abrahamsohn und Max Horkheimer, 1935-1936, 21.12.1936; 2 Briefe zwischen Emanuel Adler und Max Horkheimer, 12.04.1946, 26.04.1946; 2 Briefe zwischen Max Adler und Max Horkheimer, 16.03.1935, 29.03.1935; 1 Brief von Eva Ahamson an Max Horkheimer, 01.11.1944; 2 Briefe der Aircraft Warning Service Brentwood an Max Horkheimer, Mai 1942; 6 Briefe zwischen Librairie Félix Alcan und Max Horkheimer, 1935, 18.12.1935; 11 Briefe zwischen Franz Alexander und Max Horkheimer, 1938-1940; 2 Briefe zwischen der American Historical Review New York und Max Horkheimer, 01.04.1941, 07.04.1941; 1 Brief von Paul Reiwald an Max Horkheimer, 18.10.1940; 2 Briefe zwischen Helen Manice Alexander und Max Horkheimer, 1936; 2 Briefe zwischen Bernardine Allen und Max Horkheimer, 17.06.1938, 24.06.1938; 1 Brief der Alumni Federation of Columbia University an Max Horkheimer, 21.07.1942; 1 Brief der American Friends Service Comittee an Max Horkheimer, 10.12.1940; 3 Briefe zwischen der American Academy of Political and Social Science Philadelphia und Max Horkheimer, 1939,1940, 16.01.1939; 1 Brief der American Automobile Association Washington an Max Horkheimer, 22.03.1938; 1 Brief der American Association for the Advancement of Science Washington an Max Horkheimer, 16.08.1937; 2 Briefe von Max Horkheimer an den American Consulate General Berlin, 1939; 1 Brief von Max Horkheimer an den American Consulate General Havana, 03.03.1941; 4 Briefe von Max Horkheimer an den American Consul London, 1939-1941; 2 Briefe von Max Horkheimer an den American Consulate General Stuttgart, 1939-1941; 1 Brief von Max Horkheimer an den American Consul Zürich, 1939; 1 Brief von Friedrich Pollock an den American Council of Learned Society, Washington, 27.06.1941; 2 Briefe von Max Horkheimer an die American Friends of German Freedom New York, 1941; 4 Briefe der American Historical Association Washington an Max Horkheimer, 1937-1938; 1 Brief von Max Horkheimer an den American Red Cross Westwood Office, 21.06.1943; 18 Briefe zwschen der American Society for the Prevention of Cruelty to Animals New York und Max Horkheimer, 1936-1941; 1 Brief von Max Horkheimer an die American Women's Volunteer Service Pacific Palisades, 27.07.1942; 23 Briefe zwischen Eugene Anderson und Max Horkheimer, 1937-1941; 2 Briefe zwischen Norah Andreae und Max Horkheimer, 27.10.1944, 09.09.1946; 1 Brief von Rosa Nebel-Schenk, 04.03.1946; 1 Brief von der National Catholic Welfare Conference, 14.08.1944; 12 Briefe zwischen Werner Andreae und Max Horkheimer, 1945-1954; 1 Brief von Julius Marx an Werner Andreae, 10.05.1946, 11.05.1950; 2 Briefe von Josef Messinger an Werner Andreae, 23.10.1946, ohne Datum; 3 Briefe zwischen dem Advokatenbüro Hodler und Max Horkheimer, 1946, 09.05.1946;

Los pecados capitales en las obras morales de Alcuino de York

Dentro de las obras de Alcuino, maestro palatino en la corte de Carlomagno, podemos encontrar un grupo al que bien puede dársele el título de “obras morales",ya que presentan una serie de características que responden a esta clasificación. Ellas son: De ratione animae, De virtutibus et vitiis, De vera philosophia y la Epistola ad pueros Sancti Martini. Estas obras tratan el tema de las pasiones, puntualmente algunas de ellas, tangencialmente otras, demostrando en el autor un dominio del tema en cuanto heredero de la tradición clásica y patrística. Este exposición consiste en un análisis de esta temática dentro de obra que la trata de un modo más puntual: el De virtutibus et vitiis considerando también algunos aspectos importantes de crítica externa del tratado.