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Orientador: Wilma Patrícia Marzari Dinardo Maas / Banca: Orlando Nunes de Amorim / Banca: Guacira Marcondes Machado Leite / Banca: Renata Philippov / Banca: Márcio Scheel / Resumo: Esta tese de doutorado tem como objetivo estudar a manifestação do trágico no romance do período literário do século XIX conhecido genericamente como Realismo. O objeto de estudo específico são os romances Madame Bovary e Anna Kariênina, de Flaubert e Tolstói, respectivamente. Tal escolha sustenta-se tanto no fato de que ambos os romances são produtos exemplares do chamado Realismo, quanto pelo fato de terem em comum o tema do adultério feminino, o qual, como pretendemos demonstrar em nosso estudo, estrutura a forma trágica desses romances. Essa forma trágica, como demonstraremos, é organizada em torno do conflito individual e do debate ético em relação ao sistema social. Tais leituras sobre o trágico partem de duas interpretações distintas do que é tragédia: a dos filósofos idealistas alemães pós-kantianos, tomada aqui sob a perspectiva da filosofia de Schelling, que destaca o elemento individual, a afirmação da liberdade humana e, por outro lado, a dos estudos estruturalistas da Tragédia Grega (empreendidos especialmente por Vernant e Vidal-Naquet, além de Charles Segal). Assim, pretendemos realizar uma leitura do gênero romance como forma trágica (atendo-nos ao recorte específico que analisaremos, ou seja, o romance realista novecentista, que constitui uma forma madura do romance burguês), a partir da interpretação de sua forma e de seu conteúdo, buscando apoio para essa interpretação em dois tipos de leitura relevantes para a compreensão do conceito de trágico. / Abstract: This doctorate thesis intends to study the concept of tragic in the realistic novel of the nineteenth Century, more specifically in "Madame Bovary", by Gustave Flaubert, and "Anna Kariênina", by Liév Tolstoi. Both novels are products of the Modern Realism, and they share the theme of women adultery, which, as we intend to demonstrate in our study, is responsible for the tragic structure of these literary works. The tragic form reveals itself in the individual conflict and the ethical debate about the social system. These interpretations come from two different concepts of tragedy. The first is the one of the German idealistic philosophy, which, especially in Friedrich Schelling's ideas, emphasizes the individual element, the affirmation of human freedom. The second one is the interpretation of the structuralist studies on Greek Tragedy (made, especially, by Vernant, Vidal-Naquet, and Charles Segal). Therefore, we intend to read the genre novel as a tragic form (considering the specific literary period we will study), interpreting its form and content through the two different concepts of tragic. / Doutor

This discussion paper looks at the connections between economies and ecosystems, or more generally biophysical reality. The term "economies" is used, rather than "the economy", because of the prevalent false claim that there is only one type of economic system that is possible. We outline how the ecological crises is linked to the dominant drive for economic growth and the tendency to equate growth with progress and development; common even amongst those apparently critical of the need for continued growth in the materially rich countries. The unreality of mainstream economics is epitomised by the accolades given to those justifying mild reformist policy in response to human induced climate change in order to continue the pursuit of economic growth. We emphasise the structural aspects of economies as emergent from and dependent upon the structure and functioning of both society and ecology (energy and material flows). Finally, that the structure of the global economy must change to avoid social ecological collapse, poses the questions of how that can be achieved and what sort of economics is necessary? We explain the need for: (i) a structural change that addresses the currently dysfunctional relationships between economic, social and ecological systems, and (ii) an economics that is interdisciplinary and realist about its social and natural science relations. / Series: SRE - Discussion Papers

O realismo científico é uma concepção filosófica da ciência que assume uma atitude epistêmica positiva em relação às melhores teorias científicas disponíveis, recomendando, sob algumas circunstâncias (em geral o atendimento de princípios metodológicos bem estabelecidos), a crença nas afirmações que estas teorias fazem a respeito do observável e do inobservável. Hilary Putnam, um dos nomes mais salientes no atual cenário filosófico anglofônico, é um autor que, mesmo tendo mudado diversas vezes concepções centrais de suas propostas filosóficas, tem no realismo científico um interesse perene. Em sua mais recente produção, tem defendido que a relatividade conceitual (uma marca característica de muitas abordagens antirrealistas acerca da ciência) é compatível com o realismo científico (Putnam: 2012; p. 63). Esse trabalho procurará investigar a possibilidade de sustentar a proposta de Putnam, analisando a relatividade conceitual e os pressupostos realistas no campo que efetivamente separa as posições realistas e antirrealistas da ciência: o entendimento do que as melhores teorias científicas afirmam sobre o inobservável. Antirrealistas são em geral agnósticos em relação às proposições sobre o inobservável, ou instrumentalistas em relação a essa parte da teorização científica, ao passo que realistas (sob as circunstancias acima evocadas) afirmam que é epistemicamente justificável acreditar na existência dos ditos inobserváveis e que a descrição científica dos mesmos representa características desses eventos ou objetos. Concluímos que a proposta de Putnam leva ao que o mesmo chama em Ética Sem Ontologia a uma Objetividade sem Objetos, uma forma de realismo local (aqui entendido como envolvimento direto com o processo de mensuração/interação do objeto ou evento), de caráter eminentemente estrutural e cujo pronunciamento ontológico mais significativo é de que o mundo responde e restringe nossas ações, e esse responder (uma metáfora adequada seria ressoar) nos permite conhecê-lo. Construímos imagens do mundo, mas uma ontologia final assim como uma narrativa absoluta dos eventos está fora de nossas possibilidades cognitivas. / Scientific realism is a philosophical conception of science that assumes a positive epistemic attitude about the best available scientific theories, recommending, under some circumstances (usually the meeting of some well established methodological principles), the belief concerning what these theories claim about the observable and unobservable. Hilary Putnam, one of the most prominent names in the current Anglophonic philosophical scene, is an author even having changed central conceptions in their philosophical thought along time, keep scientific realism as an perennial interest. In his latest production, has argued that conceptual relativity (one hallmark of many anti-realists approaches about science) is compatible with scientific realism (Putnam 2012, p. 63). This work will seek to investigate the possibility of supporting what was proposed by Putnam, analyzing conceptual relativity and realistic assumptions in the field that effectively separates realistic and anti-realists conceptions of science: understanding what the best scientific theories say about unobservable. Anti-realists are at large agnostic about the unobservable or instrumentalists in relation to that part of scientific theorizing, while scientific realists ( under the circumstances mentioned above ) say the believe in the existence of said \"unobservable\" is epistemically justified, as the scientific description of that events or objects. We conclude the Putnam idea leads to what they call in \"Ethics Without Ontology\" for a \"Objectivity without objects\", a form of local realism (here understood as direct involvement with the measurement process / interaction with the object or event), eminently structural character and whose ontological statement more significant is the world responds and restricts our actions, and that answer (an apt metaphor would be resonate) allows us to meet him. We build images of the world, but an final ontology as well as an absolute narrative of events are out of our cognitive possibilities.

This creative thesis is a retelling of events as a collection of poems. Struggling with mental illness most of my life, I base most of my writing in this odd juxtaposition—the struggle for life alternating with my delight in its splendor. I find myself writing about the most challenging times in my life along with the most magnificent. The critical introduction explores and elaborates on the context and influences of my writing. Every line of poetry on every page has been a journey of reconciliation with my past and present—a journey deciphering who I am among all the leftovers of what I have been. An undeniably essential expedition.

This study investigates the relationship between social learning and perceived realism in the context of an entertainment media text, the 2015 movie San Andreas. As a fictional natural disaster movie, this film depicts several safety and survival techniques that could potentially be observed and adopted by audience members should they face a similar situation (i.e. major earthquake). While the majority of these techniques align with professionally recommended behaviors, a few are misleading. This study investigates the perceptions, attitudes, beliefs, and behavioral intentions different groups of audience members hold concerning the behaviors they observed in the film. Participants were grouped by geologically-based knowledge levels and levels of perceived realism. While the findings of this study reveal minimal differences based on knowledge and perceived realism, results clearly show that the film triggered high levels of curiosity and thinking about earthquakes and earthquake safety across the board. Furthermore, all audience members appeared to be persuaded on both a conscious and even more so on a subconscious level to behave as the characters in the film did, assuming the consequences of those actions were positive. These findings suggest that entertainment media texts can be a powerful educational and persuasive tool.

Rock, Paper, Scissors has developed into a story about Wren, a young man fresh out of the Navy, trying to make a name for himself in the world. Wren finds himself in Tampa, Florida because his oldest pal, Allen, has moved there, even though his younger sister has been diagnosed with leukemia back home. The problem is that Allen somewhere along the way has lost his mind. Wren finds out that Allen has recently been fired from a job as a server in a restaurant called the Bolognese, the same restaurant that Allen promised Wren a job. Wren decides to go ahead and get a job at the Bolo and simply not mention that he knows Allen, even though Allen has sworn to, "kill every last one of those mother fuckers." Wren further finds out that his old friend has developed a drug problem and has delusions of dealing and moving to Cuba. Wren has delusions of his own in his quest to make his mark on the world. Wren decides to be a doctor and drunkenly treks to an emergency room to interview one of the physicians. After meeting a scholarly street preacher he tries his hand at evangelism. Finally, he meets two crooked customers at the Bolo who claim to run a business in pharmaceutical sales. Little does Wren know that the business is crooked and the two conspirators are pedaling black-market pills. Even so, eager Wren buys into the program hook line and sinker and soon finds himself and his sister in harms way. Wren finally discovers that he is embroiled not only an illegal graft, but a mass murdering spree with his long time friend Allen.

Following the formal conclusion of reconciliatory processes in a newly post-apartheid South Africa, narrative remained a perdurable, centripetal force. Extending into the realm of literature, the inquiries of the Truth and Reconciliation Commission were altered and enlarged. The mode of magical realism, in particular, emerged as a viable method not only for representing the world, but for working through uncertain futures and traumatic histories. Shimmering with the extraordinary and ineffable strangeness of the magical realist text, Achmat Dangor’s short story “The Devil”, offers expansive, recognizable and revelatory ways of dealing with the trauma of apartheid. Crucially, the narrative represents the private efforts of individual, personal healing in contradistinction with official processes of reconciliation. This thesis examines the ways in which “The Devil” proposes the body as a site of exploring the structuring antipodes of individual-collective and public-private, ultimately untethering these binaries through a process of bodily dis/entwining.

Shouting Distance is a collection of ten short stories written by Gary Thomas Smith. Most of the stories take place in Appalachia and rural Kentucky, and the stories set outside of the region still feature characters whose identities are intricately bound to it. The characters' relationships to Appalachia are complex as some embrace the mountains and their culture, while others feel oppressed by that environment. The stories are driven by characters' relationships with family and friends, with their futures and their pasts, or with cultural expectations. The collection explores themes such as poverty, violence, substance abuse, and loss. The natural world is pervasive throughout these stories, and many of them illustrate the effects of human interaction with the environment. While the seeming decline of rural life is at the foreground of this collection, it does not dismiss the beauty of this life. Rather, it suggests that there is promise for the future in spite of loss, hate, and fear.

Scattered Sandpipers is a Young Adult novel excerpt. Seventeen-year-old Bee, lost her mother two years ago in a car crash. As she denies and represses her grief, strange and magical things begin to happen.