Este estudo objetivou evidenciar a visão de Novo Realismo de Mario Schenberg, dada sua importância no horizonte das Vanguardas Brasileiras das décadas de 1960 e 1970, bem como sua relação com o Novo Humanismo, também desenvolvido pelo crítico de arte durante esse período. Foi analisado o envolvimento de Schenberg no debate das décadas de 1960 e 1970, tendo por base sua atuação nas exposições Opinião 65, Propostas 65, Opinião 66, Propostas 66, bem como nas Bienais de São Paulo (1961, 1965, 1967, 1969 e 1971). O estudo tomou por fontes primárias as críticas originais do Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP escritas nas nessas duas décadas, bem como os demais livros, artigos e entrevistas do crítico. Considerado por Mario Schenberg a expressão artística do Novo Humanismo, o Novo Realismo foi definido a partir de um horizonte paralelo: fruto da sociedade industrial e reflexo da cultura ocidental em crise, essa tendência refletiu um momento de ampliação de referenciais. Mario Schenberg soube compreender as demandas da arte nascente, na medida em que sua atividade crítica não se deu como julgamento e avaliação, mas como compreensão e incentivo. / This Study had the objective of showing the vision of the New Humanism of Mario Schenberg, due to its importance in the horizon of the Brazilian Vanguards from the 1960´s and 1970´s decades, as well as its relation to the New Humanism, also developed by the art critic during this period. The involvement of Schenberg in the debate of the 1960´s and 1970´s decades was analyzed, based on his actuation on the expositions Opinião 65, Propostas 65, Opinião 66, Propostas 66, as well as in the São Paulo Biennials (1961, 1965, 1967, 1969 e 1971). This study considered by primary sources the original critics of the Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP written in these two decades, as well as the rest of the books, articles and interviews of the critic. Considered by Mario Schenberg the artistic expression of the New Humanism, the New Realism was defined from a parallel horizon: result of an industrial society and a reflex of an occidental culture in crisis, this tendency reflected in a moment of referential amplifications. Mario Schenberg knew how to comprehend the demands of the rising art, in which, his critical activities were not made by judgment and evaluation, but as comprehension and incentive.

Este estudo objetivou evidenciar a visão de Novo Realismo de Mario Schenberg, dada sua importância no horizonte das Vanguardas Brasileiras das décadas de 1960 e 1970, bem como sua relação com o Novo Humanismo, também desenvolvido pelo crítico de arte durante esse período. Foi analisado o envolvimento de Schenberg no debate das décadas de 1960 e 1970, tendo por base sua atuação nas exposições Opinião 65, Propostas 65, Opinião 66, Propostas 66, bem como nas Bienais de São Paulo (1961, 1965, 1967, 1969 e 1971). O estudo tomou por fontes primárias as críticas originais do Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP escritas nas nessas duas décadas, bem como os demais livros, artigos e entrevistas do crítico. Considerado por Mario Schenberg a expressão artística do Novo Humanismo, o Novo Realismo foi definido a partir de um horizonte paralelo: fruto da sociedade industrial e reflexo da cultura ocidental em crise, essa tendência refletiu um momento de ampliação de referenciais. Mario Schenberg soube compreender as demandas da arte nascente, na medida em que sua atividade crítica não se deu como julgamento e avaliação, mas como compreensão e incentivo. / This Study had the objective of showing the vision of the New Humanism of Mario Schenberg, due to its importance in the horizon of the Brazilian Vanguards from the 1960´s and 1970´s decades, as well as its relation to the New Humanism, also developed by the art critic during this period. The involvement of Schenberg in the debate of the 1960´s and 1970´s decades was analyzed, based on his actuation on the expositions Opinião 65, Propostas 65, Opinião 66, Propostas 66, as well as in the São Paulo Biennials (1961, 1965, 1967, 1969 e 1971). This study considered by primary sources the original critics of the Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP written in these two decades, as well as the rest of the books, articles and interviews of the critic. Considered by Mario Schenberg the artistic expression of the New Humanism, the New Realism was defined from a parallel horizon: result of an industrial society and a reflex of an occidental culture in crisis, this tendency reflected in a moment of referential amplifications. Mario Schenberg knew how to comprehend the demands of the rising art, in which, his critical activities were not made by judgment and evaluation, but as comprehension and incentive.

[pt] Gaibéus, de Alves Redol e As Vinhas da Ira, de John Steinbeck são romances que apresentam semelhanças de tema e estilo, além de revelarem um retrato vivo da vida dos agricultores em Portugal e nos Estados Unidos na década de 1930. Considerando o Neo-Realismo ou Novo Humanismo como base para uma abordagem comparativa entre estas obras, esta tese propõe primeiramente uma análise de alguns aspectos culturais e sociais que influenciaram a criação destes livros, bem como da repercussão crítica que os mesmos obtiveram em seus países. O propósito principal deste trabalho é provar que, através de um duplo ponto de vista crítico englobando um enfoque marxista do materialismo histórico e a teoria da resposta no leitor, é possível determinar as semelhanças entre a dialética empregada pelos seus autores e os elementos estéticos implícitos, os quais fazem estes dois romances semelhantes em arte e conteúdo. / [en] Alves Redol s Gaibéus, and John Steinbeck s The Grapes of Wrath are novels that present similarities in theme and style, besides revealing a lively portrait of agricultural life in Portugal and in the United States during de 1930 s. Considering the Neorealism or New Humanism as the basis for a comparative approach between these works, this thesis proposes firstly an analysis on some cultural and social aspects that influenced the creation of these books, as well as the criticism on them in their countries. The main purpose of this work is to prove that, through a double point of view, comprising both the Marxist focus of historical materialism together with the reader-response theories, it is possible to determine the similarities between the dialectics employed by the authors and the implied aesthetics elements, which make these two novels similar in artistry and content.

This study introduces the Fanonian thought on race and racism, rhetoric of modernity, and new humanism as three constitutive thematic areas in order to enable a new understanding of the South African situation. These thematic areas are examined with specific reference to socio-economic development within the limited context of post-apartheid South Africa. This is done by reading Fanon’s text in the context of South Africa to provide the background against which the unfolding of the post-apartheid era and its political discourses may be analysed. In essence, this study is based on Fanon’s predictions that he made in the text written more than 50 years ago about the future of post-colonial states. Therefore, this study argues that Fanon’s thought has proven to be more prophetic with regard to post-apartheid South Africa and its political reforms which left the fundamental question of structures such as land, economy, and labour unaddressed. What happened on 27 April 1994 is not genuine liberation, but a mere transition from apartheid to democratic dispensation that left the status quo in spatial arrangements uninterrupted. Indeed, it was an elite pact between the African National Congress and white monopoly capital, which betrayed the national liberation movement and the black majority. The contention is that South Africa celebrated the cosmetic reforms that attributed the term liberation incomplete in the absence of fundamental and structural changes. What is therefore recommended is that for there to be success, there must be genuine liberation that is consistent with the needs of society. This means bringing to an end the racially marked structures and reimagining the black condition, through jobs, education, social and economic programmes aimed at empowering the black majority to depend on themselves as opposed to relying on the State. / Development Studies / M.A. (Development Studies)

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Elie-Paul Cohen est un médecin et un compositeur encore inconnu du grand public. Ses œuvres électroacoustiques sont construites autour d’un matériau sonore physiologique, issu de la captation des vibrations du corps humain. L’étude de ces pièces pose la question de la relation entre le corps et la musique, notion déjà abordée par les humanistes de la Renaissance. Il fait également partie d’un groupe de recherche médicale qui vient de mettre au point des modèles sonores de molécules d’ADN qu’il utilisera dans sa prochaine production musicale. Ces sons de provenance physiologique ont un impact énorme sur la perception que nous avons des sons mais également de la musique ; ceci nous a amené à nous interroger sur la notion même de musique, sur la perception que nous en avons. Une éventuelle universalité de la musique pourrait-elle reposer, depuis toujours, sur la modélisation sonores des vibrations corporelles ? Pour ce faire nos travaux ont abouti à une transversalité de disciplines telles que musique, musicologie, phénoménologie, neurosciences, physiques, recherche médicale de pointe ou biologie. / Elie-Paul Cohen is a doctor and a composer who is relatively unknown by the general public. His electroacoustic works are built around a physiological sound material, resulting from the capturing of human body vibrations. The study of these works raises the question of the relationship between the body and music, a concept which was already being addressed by the Renaissance humanists. He is also part of a medical research group which has developed sound patterns of DNA molecules that he will use in his next musical production. These physiological sounds have a huge impact on our perception of sounds but also of music; this led us to question the very notion of music and the perception we have of it. Could a universal music based on the sound modeling body vibrations exist? This led our work to result in a cross-disciplinary approach including the fields of music, musicology, phenomenology, neuroscience, physics, medical research or advanced biology.

La tesi ha lo scopo di inquadrare Giordani nel contesto del mondo culturale cattolico tra le due guerre e di approfondire la sua proposta di «cristianesimo integrale» come soluzione alla crisi che negli anni Venti e Trenta viziò il mondo economico, il sistema politico e lo scenario culturale, a livello di principi fondamentali, di valori. Per questo si è dato assoluto rilievo ai rapporti di Giordani con molti intellettuali suoi contemporanei e con varie istituzioni culturali cattoliche. Il testo segue dapprima un indirizzo biografico, che permette di ripercorrere la vita di Giordani dalla giovinezza, segnata dalla guerra e dall’esperienza al fronte, alla sua serena fine, nel 1980. Si tratta di una testimonianza di come la sua conseguenzialità tra fede e opere abbia inciso negli ambienti che lo hanno visto protagonista, tanto che è stato avviato per lui il processo di beatificazione. La ricerca è stata condotta tenendo conto degli scritti di Giordani e della storiografia precedente, ma soprattutto utilizzando numerosi materiali d’archivio. In particolare i carteggi privati aiutano a ricostruire l’operato di Giordani a favore dell’impegno degli intellettuali cattolici negli anni oscuri del fascismo e la sua indefessa attività per la realizzazione di un nuovo umanesimo. Altro spazio è stato riservato ai rapporti maturati da Giordani con due esponenti del mondo cattolico italiano di quel periodo, ovvero Giovanni Papini e Piero Bargellini. / This dissertation aims at setting Igino Giordani within the broader framework of the catholic cultural environment between the two world wars. It focuses on his proposal of an «integral Christianity» as a solution to the recession which threatened the fundamental values and principles of the economy, politics and culture during the 1920's and 1930's. This is the reason why the relationships between Giordani and many of his colleagues and cultural catholic institutions have been studied in depth. The work starts with a biography, underlining how Giordani's youth has been affected by the war and the experience as a soldier, up to his peaceful death, in 1980. His life shows how the consistency of his actions with his faith made him an influent personality in his working environments, to the point that the beatification process has begun. The research is based on Giordani's writings and on the previous historiography, but the most important source is constituted by a large number of archive documents. Particularly, Giordani's private correspondence has been very useful in understanding how he acted in order to support the engagement of the catholic intellectuals during the dark fascist age and his endless activity in order to build a new humanism. The work also focuses on the relationships between Giordani and two members of the Italian catholic world of the time: Giovanni Papini and Piero Bargellini.