La representación indígena en la obra Cuatro años entre los ecuatorianos de Friedrich Hassaurek

La clasificación de Carl Linnaeus en el siglo XVIII y la creación de los polos fuertes y débiles de las oposiciones binarias han logrado etiquetar al mundo entero. Bajo el pretexto de salvar al mundo de la barbarie, el proyecto hegemónico europeo ha podido dibujar la línea divisoria entre la oposición binaria centro y periferia. El civilizado del centro o el sujeto de conocimiento se ha dedicado a la labor de remediar todas las enfermedades causadas por el objeto de conocimiento o los bárbaros de la periferia. Al establecer el conocimiento científico como el único saber, el discurso hegemónico ha ganado el derecho de prescribir el recetario para eliminar la alteridad del bárbaro. Sin embargo, la presencia del bárbaro es necesaria para definir quién es el civilizado, motivo por el cual no sería factible que desaparezca por completo el otro. La literatura de viaje es uno de los portavoces más importantes para el plan hegemónico porque la alteridad de la periferia puede ser visiblemientras el civilizado del centro sirve como su ventrílocuo. Un ejemplo de este género: Cuatro años entre los ecuatorianos, escrito por Friedrich Hassaurek en el siglo XIX sobre sus experiencias durante el período que sirvió como embajador en Ecuador, manifiesta un dilema entre la protección de los intereses de su gobierno y su propia curiosidad acerca de los aspectos etnográficos e históricos ecuatorianos. Por lo tanto, el propósito de este trabajo es identificar y analizar las razones por las cuales Hassaurek cambió de una retórica de la vanguardia capitalista y la misión civilizadora (el sujeto de conocimiento) a una de la anticonquista: la mística de la reciprocidad (el objeto de conocimiento). Se propone vincular el proyecto hegemónico occidental con el género de la literatura de viaje cuya labor ha sido el vehículo de la imposición de la epistemología europea. La representación indígena en el libro de Hassaurek es una pieza del rompecabezas del proyecto hegemónico occidental que busca nombrar al otro (la periferia) para definir quién es el yo (el centro).

Winckelmann and the invention of antiquity: history and aesthetics in the age of Altertumswissenschaft

This volume provides a new perspective on the emergence of the modern study of antiquity, Altertumswissenschaft, in eighteenth-century Germany through an exploration of debates that arose over the work of the art historian Johann Joachim Winckelmann between his death in 1768 and the end of the century. This period has long been recognised as particularly formative for the development of modern classical studies, and over the past few decades has received increased attention from historians of scholarship and of ideas. Winckelmann's eloquent articulation of the cultural and aesthetic value of studying the ancient Greeks, his adumbration of a new method for studying ancient artworks, and his provision of a model of cultural-historical development in terms of a succession of period styles, influenced both the public and intra-disciplinary self-image of classics long into the twentieth century. Yet this area of Winckelmann's Nachleben has received relatively little attention compared with the proliferation of studies concerning his importance for late eighteenth-century German art and literature, for historians of sexuality, and his traditional status as a 'founder figure' within the academic disciplines of classical archaeology and the history of art. Harloe restores the figure of Winckelmann to classicists' understanding of the history of their own discipline and uses debates between important figures, such as Christian Gottlob Heyne, Friedrich August Wolf, and Johann Gottfried Herder, to cast fresh light upon the emergence of the modern paradigm of classics as Altertumswissenschaft: the multi-disciplinary, comprehensive, and historicizing study of the ancient world.

Winckelmann in the perspective of Altertumswissenschaft: Christian Gottlob Heyne and Friedrich August Wolf

Winckelmann's writings hold an interest for modern classical studies which is not restricted to the subfield of classical archaeology. Considered in terms of methodology, his writings dramatise problems and questions which attend any attempt to provide a comprehensive account of ancient culture and society. The Geschichte der Kunst des Alterthums provided an influential model of what such a reconstruction might look like in a period when classical philology was undergoing a significant reconfiguration as „Alterthums-Wissenschaft" at the hands of scholars such as Christian Gottlob Heyne and Friedrich August Wolf. Investigation of their critical responses to Winckelmann’s works aims to contribute to understanding both of the early reception of his works and of questions which are still relevant today. Im Rahmen der modernen Altertumswissenschaften kommt den Werken Winckelmanns eine Bedeutung zu, die nicht auf den Bereich der Klassischen Archäologie beschränkt ist. Methodologisch betrachtet, dramatisieren seine Schriften Probleme und Fragen, die jedem Versuch einer umfassenden, erklärenden Rekonstruktion der antiken Kultur und Gesellschaft zugrunde liegen. Die Geschichte der Kunst des Alterthums hat ein einflussreiches Modell dafür geliefert, was eine solche Rekonstruktion in einer Zeit leisten konnte, in der die klassische Philologie einer erheblichen Umstrukturierung als „Alterthums-Wissenschaft“ durch Gelehrte wie Christian Gottlob Heyne und Friedrich August Wolf unterzogen wurde. Die vorliegende Untersuchung ihrer kritischen Reaktionen auf Winckelmanns Schriften soll dazu beitragen, sowohl die frühe Rezeption seines Werkes als auch Fragestellungen, die heute noch aktuell sind, besser zu verstehen.

O processo de transcrição da Suíte 20 de Johann Jacob Froberger para violão solo

Este trabalho trata do processo de transcrição da Suíte 20 de J. J Froberger para violão solo. O objetivo geral é descrever o processo de transcrição com base em modelos de transcrição dos séculos XVII e XXI. A partir destas análises foi construído um referencial teórico para aplicação na transcrição da Suíte 20. A identificação dos elementos típicos do chamado stile brisé a partir do referencial foi essencial para o processo de transcrição da suíte 20, que se utilizou de vários procedimentos similares. No anexo deste artigo consta uma edição comparativa da versão original da Suíte 20 com a transcrição, bem como outra edição com a parte do violão solo e sugestões de execução.

“Método de Gauss”: inapropriado até no nome

Tal como ressaltado em de Faro e Guerra (2014), tem sido frequente em nossos tribunais, sentenças judiciais determinando que, relativamente ao caso de amortizações de dívidas com prestações constantes, a popular Tabela Price seja substituída por um sistema que, fundamentado em uma particular aplicação do regime de juros simples, vem sendo cognominado de “Método de Gauss” (cf. Antonick e Assunção, 2006 e Nogueira, 2013). E isso, frize-se, mantendo-se o valor numérico da taxa de juros especificada no contrato de financiamento (usualmente, habitacional). A par de ser totalmente inadequado, como discutido em de Faro (2014c), associar o nome do grande matemático alemão Johann Carl Friedrich Gauss (1777-1855) ao procedimento em questão, sucede que ao mesmo, como a qualquer outro que seja baseado no regime de juros simples, associam-se incontornáveis inconsistências. Como já anteriormente, amplamente evidenciado em de Faro (2013b e 2014a). Tomando a Tabela Price como base de comparação, o propósito do presente trabalho é o de aprofundar a análise das deficiências do que tem sido denominado como “Método de Gauss”. Em particular, dado que as sentenças judiciais costumam não alterar os valores numéricos das taxas contratuais de juros, substituindo tão somente o regime de juros compostos, que está implícito na Tabela Price, pela peculiar variante do regime de juros simples que está subjacente ao que se chama de “Método de Gauss”, buscar-se-á considerar a questão do ponto de vista do financiador.

Da crise do estado à democracia como alvo: Observações sobre o neoliberalismo a partir de Friedrich Hayek e Milton Friedman

The neoliberalism proclaims the crisis of the State in front of globalization , but, approaching two books taken as basic on this theoretical chain - The road to serfdom, of Friedrich Hayek, and Capitalism and Freedom, of Milton Friedman - to analyze this supposed dualism, the conclusion into which we arrive is another one. Remembering liberal tradition and quickly, later, analyzing critically the workmanships, can be perceived that others are the conflicts really gifts in the current capitalist reality - market versus State et capitalism versus democracy - and, from the understanding on the reading made and the theoretical trajectory of its authors, we may see as the neoliberalism locates itself in relation to these conflicts, which polar regions of these antagonisms privileges, what represents the State for itself, and what it intends as much more global philosophy than economic/politics thinking only

A obra de triangulis omnimodis libri quinque de Johann Müller Regiomontanus (1436 1476): uma contribuição para o desenvolvimento da trigonometria

Trigonometry, branch of mathematics related to the study of triangles, developed from practical needs, especially relating to astronomy, Surveying and Navigation. Johann Müller, the Regiomontanus (1436-1476) mathematician and astronomer of the fifteenth century played an important role in the development of this science. His work titled De Triangulis Omnimodis Libri Quinque written around 1464, and published posthumously in 1533, presents the first systematic exposure of European plane and spherical trigonometry, a treatment independent of astronomy. In this study we present a description, translation and analysis of some aspects of this important work in the history of trigonometry. Therefore, the translation was performed using a version of the book Regiomontanus on Triangles of Barnabas Hughes, 1967. In it you will find the original work in Latin and an English translation. For this study, we use for most of our translation in Portuguese, the English version, but some doubt utterance, statement and figures were made by the original Latin. In this work, we can see that trigonometry is considered as a branch of mathematics which is subordinated to geometry, that is, toward the study of triangles. Regiomontanus provides a large number of theorems as the original trigonometric formula for the area of a triangle. Use algebra to solve geometric problems and mainly shows the first practical theorem for the law of cosines in spherical trigonometry. Thus, this study shows some of the development of the trigonometry in the fifteenth century, especially with regard to concepts such as sine and cosine (sine reverse), the work discussed above, is of paramount importance for the research in the history of mathematics more specifically in the area of historical analysis and critique of literary sources or studying the work of a particular mathematician

A figura do poeta em Friedrich von Hardenberg (Novalis) e Gaston Bachelard: algumas considerações

Através do Fogo - elemento marcante tanto em Novalis (século XVIII) quanto em Gaston Bachelard (século XX), pudemos ensaiar uma aproximação entre esses dois autores, distantes no tempo, mas próximos no tocante à valorização da imaginação (estética).