In the second half of the twentieth century heated philosophical debates occurred about Modernity, based on doubts on the analysis, assessment and, consequently, perception of the social reality. The questionings covered the intrinsic or related fundaments of individual and collective human behavior, crucial issues for measuring social goals. Along such debates, a substantial change in the social forces occurred, with culture as their inducer and their expression, supported by technoscience. Amid the current debate on Modernity and Postmodernity, Terry Eagleton suggests that Postmodernity has come to an end. He points that what he calls Cultural Theory has not considered values, failed to solve the grave problems of the West, and that the social-political reality needs to be reordained and reoriented. To check the consistency of such new inflection should be of interest to the researchers in social sciences in what relates, specially, to issues of communication and it’s developments for the future study and direction of the social forces, revision of those goals related to policies or public institutions and the relation between Knowledge and Power. In the present work the book After Theory, by Eagleton, and the film Babel, by director Alejandro González Iñarritu are discussed in order to see if the filmic text does reflect such a new change in social reality, or on the forces that conform it / Submitted by Jovina Laurentino Raimundo (jovina.raimundo@unisul.br) on 2018-01-17T16:39:25Z No. of bitstreams: 1 98103_Renato.pdf: 550390 bytes, checksum: c3890ec1e7564de6fce98b400a121e00 (MD5) / Approved for entry into archive by Gheovana Figueiredo (gheovana.figueiredo@unisul.br) on 2018-01-17T17:15:55Z (GMT) No. of bitstreams: 1 98103_Renato.pdf: 550390 bytes, checksum: c3890ec1e7564de6fce98b400a121e00 (MD5) / Made available in DSpace on 2018-01-17T17:15:55Z (GMT). No. of bitstreams: 1 98103_Renato.pdf: 550390 bytes, checksum: c3890ec1e7564de6fce98b400a121e00 (MD5) Previous issue date: 2009 / Na segunda metade do século passado intensos debates filosóficos se desenvolveram a respeito de Modernidade, originados por dúvidas sobre a análise, avaliação e, conseqüentemente, percepção da realidade social. Os questionamentos se desdobraram sobre fundamentos intrínsecos ou relacionados ao comportamento humano individual e coletivo, cruciais para dimensionamento de objetivos sociais. Ao lado destes debates, uma substancial alteração nas forças sociais ocorreu tendo a cultura como sua indutora e seu reflexo, sustentada pela tecno-ciência. Atualmente, em meio ao debate dessas correntes de pensamento denominadas como Modernidade e Pós-modernidade, Terry Eagleton propõe que o Pósmodernismo tenha chegado ao seu fim. Aponta que a Teoria Cultural desconsiderou valores, falhou ao resolver os graves problemas do ocidente e que a realidade sócio-política necessita ser reordenada ou reorientada. Verificar a consistência desta possível nova inflexão pode interessar aos estudiosos das ciências humanas no que se refere, principalmente, a questões de comunicação e seus desdobramentos para o estudo e direcionamento de forças sociais, revisão de objetivos relacionados às políticas ou instituições públicas e a relação entre Saber e Poder. Pretendemos analisar o livro “Depois da Teoria”, de Eagleton, e o filme “Babel” para verificar se o texto fílmico, extraído através de pressupostos estéticos, pode refletir essa nova mudança na realidade social ou nas forças que a conformam

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Among the vast assembly of Biblical mythology, the tower of Babel stands as an exclusive representation of the limits of human endeavor. As a paradigmatic extremity, it circumscribes the field of civic artifice. Babel is the absolute limit, and in that regard, its presence is enduring and timeless. The legacy of exegetic readings are textual shades, emanating from the point source of the paradigm. Athanasius Kircher's Turris Babel is an appropriate and intentional unfolding of this condition. / Firstly, that in the awakening of the Baroque scholar to history, origin materializes as the sole legitimate chronological reference. / Secondly, that the paradigmatic extremities collapse into the empirical standard of the theoretical discourse. / This thesis is a speculative study of architecture, drawn through Turris Babel, in the shadow of the paradigmatic limits of Babel. Written in three parts, each dealing with the implications of artifice in confrontation with the post-Babel adversaries of dispersion, tyranny, and decay.

This dissertation thematically belongs to the field of "History of Science and Scholarly Knowledge" with significant reach to theology and exegesis. It concerns the dispute of whether the annunciated text of the Old Testament was in all respects original or if it in some respects followed the traditions of ancient Near Eastern civilizations, particularly the Sumero-Akkadian one. The purpose of this thesis is to introduce the fundamental information on the "Babel-Bibel" dispute to the Czech scholarly community for the very first time. The dissertation includes an analysis of the course and consequences of the dispute as well as a discussion of the impact of Oriental scholarship on Old Testament exegesis.

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Le mythe du Graal, mythe littéraire, créé par Chrétien de Troyes, rencontre des ramifications avec le mythe de Babel, mythe cosmogonique de la pluralité des langues. Peut-on considérer le mythe du Graal comme un mythe de la parole, perdue, recherchée, retrouvée ? L'aventure de l'évangélisation dans l'Estoire del Saint Graal, inspirée des croisades et des missions franciscaines, et la quête du Graal dans la Queste convergent dans leur dynamique vers une unité que symbolise le Graal mais qui empêche la parole. Elles tendent vers le rassemblement et la réunification des matériaux d'un chaos primordial créé sous l'égide de Babel. À un certain chaos, à une certaine fragmentation de la parole se substitue une parole unificatrice relative au Un originel qui ordonne le monde en lui donnant un sens.Cette unification de la parole : une seule parole, celle de Dieu, pour une seule bouche, celle du peuple chrétien, suit le schéma inverse de Babel. En effet l'Estoire ne retrace pas l'éparpillement d'un peuple maudit mais représente l'archétype d'un exode bien encadré d'un peuple choisi et dont la finalité n'est pas de défier Dieu mais de le servir ; c'est pourquoi Dieu lui octroie le privilège et la force des mots. Dans la Queste, le commencement des aventures des chevaliers de la table ronde le jour de la Pentecôte inscrit d'ores et déjà les événements dans la réconciliation post-babélique offerte aux apôtres pour répandre la bonne parole. La Pentecôte qui inaugure le début de la quête du Graal dans la Queste, inaugure de même l'introduction de la nouvelle parole des envoyés de Dieu, qui dès le début du récit en signe l'orientation mystique annihilant ainsi tout héritage courtois.

Este ensaio tem como objetivo apresentar uma leitura do livro O exército de cavalaria, do escritor Isaac Bábel (1894-1940). A leitura empreendida buscou investigar as relações dialéticas entre o texto ficcional e a História, uma vez que as narrativas de Bábel abordam a Campanha Russo-Polonesa, ocorrida entre 1920 e 1921. Ao mesmo tempo, as formas particulares de representação do heroico e do épico, que permitem compreender O exército de cavalaria como uma espécie de epopeia falhada, conduziram a uma reflexão a respeito do realismo babeliano e da possibilidade de caracterizar o seu livro como um romance. Nele, fragmentação, a organização não linear e episódica dos conflitos, a recusa à ordem cronológica e a variedade de narradores e vozes do texto parecem, todos, encenar a dificuldade de a forma romanesca tradicional incorporar esteticamente uma matéria contraditória e convulsa. / This essay aims to present a reading of the book Red Calvary, from Isaac Babel (1893 - 1940). The perusal undertaken sought to investigate the dialetic relations between History and fictional texts, once the Bábel\'s narratives approach the Russian-Polish Civil War, which occurred between 1920 and 1921. At the same time, the particular forms of representation of the heroic and of the epic allowed to understand Red Calvary as a kind of failed epic and conducted to a reflection about babelian realism and the possibility of characterizing his book as a novel. On the book, fragmentation, non-linear and episodic organization of conflicts, the refusal to chronological order and the variety of narrators and voices of the text seem to stage the difficulty of the romanesque traditional form to aesthethically incorporate the experience of the war and of the contradicting and convulse matter. Keywords: Isaac Babel; Modernism; Novel; Russian Literature; Sovietic Literature.

The subject of this thesis is the short story "Карл-Янкель" ("Karl-Yankel") by Russian-Jewish writer Isaac Babel (1894‒1940), published in 1931. The story depicts a trial following the cir-cumcision of a boy against his parents’ will, and thus directly addresses issues of high relevance at the time, namely the transformations of religious life in the early years of the Soviet Union. Firstly, I have analyzed the references to Jewish culture that appear in the story. Further on, drawing on research by other scholars, I have examined the shift of the traditional Jew into a Soviet Jew—a highly secular subject deeply involved in the socialist society and far removed from the traditions of the Pale of Settlement. Lastly, I have studied the narrator’s perspective, which, being far from objective, plays a major role in portraying the trial and is of key im-portance for understanding the transformation of Jewish life that occurred in the Soviet Union in the 1930s. At the end of the story, the narrator deprives the reader of the verdict and gives in-stead his attention to the circumcised boy. I argue that he thus focused on the future rather than on the conflict between tradition and secularism.

The subject of this thesis is the short story "Карл-Янкель" ("Karl-Yankel") by Russian-Jewish writer Isaac Babel (1894‒1940), published in 1931. The story depicts a trial following the cir-cumcision of a boy against his parents’ will, and thus directly addresses issues of high relevance at the time, namely the transformations of religious life in the early years of the Soviet Union. Firstly, I have analyzed the references to Jewish culture that appear in the story. Further on, drawing on research by other scholars, I have examined the shift of the traditional Jew into a Soviet Jew—a highly secular subject deeply involved in the socialist society and far removed from the traditions of the Pale of Settlement. Lastly, I have studied the narrator’s perspective, which, being far from objective, plays a major role in portraying the trial and is of key im-portance for understanding the transformation of Jewish life that occurred in the Soviet Union in the 1930s. At the end of the story, the narrator deprives the reader of the verdict and gives in-stead his attention to the circumcised boy. I argue that he thus focused on the future rather than on the conflict between tradition and secularism. / <p>historia</p>

Abstract The Russia in which Isaak Babel (1894-1940) wrote was one of deep seated anti-Semitic philosophies and prejudices, a place of pogroms and segregation. Literature of this era painted the Jew as a villainous, dishonest, and feeble minded foreign being within society. Traditionally, Russian literature used the Jew as a national scapegoat or a comical stock character ripe for ridicule. Babel’s contemporaries considered him to be a born writer with a gift for minimalism without the sacrifice of vivid description. His was an evocative style of brutal humanism, showing both character flaws and character virtues. The Odesskie rasskazy (Odessa Tales) epitomized this honest approach to human portrayal. The Jewish community of the Odesskie rasskazy boasted a variety of characters from all walks of life, rejecting the previously perpetuated stereotype. The Jew, as shown by Pushkin, Turgenev, Dostoyevsky, Gogol, and Chekhov, was simply a caricature. Such characters were restricted to the role of the fool, the thief, and the opportunist. When Babel first described the community, people, and culture of his native shtetl, the previous stereotype of the Russian Jew became an antiquated relic of the past. This thesis will explore some examples of earlier depiction of Jews in literature and the humanized image of Russian Jewry that Babel created in his Odesskie rasskazy. The analysis will discuss how these depictions created a new, three dimensional characterization of the Jew.