Made available in DSpace on 2014-06-12T15:05:36Z (GMT). No. of bitstreams: 2 arquivo1799_1.pdf: 1825663 bytes, checksum: 05e5a5b8443073f866662b4c8314e87f (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2005 / Em regiões tropicais, epidemias de dengue têm sido coincidentes com a ocorrência de chuvas e aumento da temperatura. Nesse trabalho investigou-se o efeito de diferentes temperaturas e umidades sobre a fecundidade das fêmeas, fertilidade e quiescência dos ovos de Aedes aegypti, principal vetor do vírus da dengue em áreas urbanas. Fêmeas alimentadas em camundongos foram separadas individualmente em recipientes plásticos e mantidas a 25º, 30º e 35ºC associados a umidades de 60% e 80%. Às fêmeas foi oferecido papel de filtro embebido em água como substrato para postura, o qual foi substituído diariamente, registrando-se o número de ovos postos durante 7 dias. A fertilidade foi baseada no percentual de eclosão das larvas provenientes dos ovos postos pelas fêmeas utilizadas nos experimentos de fecundidade. Os grupos de ovos utilizados para a análise da quiescência foram mantidos nas mesmas condições experimentais durante 30, 60, 90 e 120 dias. Os resultados indicaram redução na fecundidade com o aumento da temperatura. A intensidade desse efeito foi dependente da umidade, com as menores taxas registradas a 35ºC e 60%ur, e as maiores a 25ºC e 80%ur. Na temperatura mais amena a sobrevivência e o período de postura prolongaram-se por até 6 e 3 dias respectivamente, comparados aos indivíduos submetidos a 35ºC. Reduções gradativas na fertilidade de ovos a 60% foram observadas com o aumento da temperatura, enquanto a 80%, esse efeito foi registrado apenas a 35ºC. Ovos mantidos a 25ºC produziram cerca de duas vezes mais machos que fêmeas, em ambas umidades. A temperatura, umidade e período de estocagem afetaram a integridade e eclosão dos ovos. Esses resultados sugerem que a redução nas densidades populacionais registradas nos períodos quentes em regiões tropicais é fortemente influenciada pela temperatura e umidade, que afetam negativamente diversos aspectos da biologia do mosquito. As baixas taxas de sobrevivência e a redução do tempo de postura em temperatura mais alta sugerem que as fêmeas teriam menor probabilidade de distribuir seus ovos em diferentes criadouros reduzindo a dispersão do mosquito

Cette thèse en histoire de la philosophie propose une reconstruction interprétative de la cohérence synchronique et diachronique de la philosophie de Johann Gottlieb Fichte à la lumière de la dynamique perspectiviste de sa pensée transcendantale. Notre recherche part du problème systématique de la philosophie appliquée, c’est-à-dire du passage du point de vue transcendantal à son application dans l’action empirique. En effet, un tel passage est, d’une part, exigé comme une tâche essentielle adressée à la philosophie fichtéenne conformément à son unité théorico–pratique mais, d’autre part, il est rendu problématique par la différenciation principielle entre le point de vue de la réflexion transcendantale et le point de vue de la conscience empirique du donné factuel. <p>Il s’agit d’abord d’élucider les prémisses spéculatives de ce problème dans une théorie des points de vue inscrite au cœur des exposés de la Doctrine de la science (Wissenschaftslehre, WL). Nous tentons ainsi de réinterpréter les différentes versions de la WL qui vont de 1794 à 1804 en nous concentrant sur tous les concepts et procédures épistémologiques qui ressortissent à une logique perspectiviste, pour les appréhender comme des opérateurs de réflexivité du savoir philosophique dans l’auto–construction de la WL. C’est dans une telle dynamique perspectiviste que la tension conceptuelle constitutive du problème de la philosophie appliquée entre le point de vue transcendantal et le point de vue empirique ou entre le système et la vie prend tout son sens philosophique.<p>Cette dynamique perspectiviste qui opère au fondement spéculatif de la WL se prolonge et se concrétise ensuite dans une phénoménologie des visions du monde (Weltansichten) pensées comme points de vue de la liberté, qui trouve sa forme la plus aboutie en 1806. Le point de vue transcendantal de la liberté reconnaît alors sa genèse dans quatre points de vue empiriques qui attachent la liberté respectivement à la nature, à la loi, à l’action créatrice ou à la vie divine. C’est cette phénoménologie que nous mobilisons enfin pour mettre à l’épreuve son potentiel heuristique comme une logique de l’action ou une praxéologie de la liberté dans les écrits de philosophie appliquée et principalement dans le domaine de la philosophie politique. <p>Bref, la philosophie transcendantale de Fichte se développe selon une dynamique perspectiviste qui génère, d’une part, le fondement spéculatif du problème systématique de l’application empirico–pratique de la philosophie transcendantale, et qui livre, d’autre part, en tant que théorie transcendantale des points de vue pratiques, les ressources phénoménologiques et praxéologiques pour une heuristique de la liberté dans la philosophie appliquée.<p>Dans une deuxième partie plus exploratoire, nous cherchons à tester à la fois la signification moderne et le potentiel actuel du lien conceptuel entre réflexivité, perspectivité et liberté mis en exergue dans le système fichtéen. Nous construisons d’abord une série de dialogues que Fichte a pu ou aurait pu mener avec d’autres philosophes de l’époque moderne, en ciblant particulièrement l’idée perspectiviste comme fil conducteur des confrontations avec ces différents systèmes (Leibniz, Kant, Schelling et Hegel). Nous tentons pour finir une incursion dans le champ de la philosophie contemporaine en vue de mettre au jour une postérité cachée de la philosophie fichtéenne dans la pragmatique transcendantale de Karl–Otto Apel à travers une homologie structurelle entre ces deux philosophies, s’attestant notamment dans les questions de la fondation transcendantale du point de vue moral, de son application politique et des rapports qu’il doit entretenir avec d’autres points de vue inscrits dans la dialectique perspectiviste des intérêts de connaissance.<p> / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T07:25:52Z (GMT). No. of bitstreams: 1 Careta_MarcoAurelioFigueroa_M.pdf: 21264570 bytes, checksum: 0946c350683c17923715e4508bf1d62c (MD5) Previous issue date: 2013 / Resumo: Este trabalho teve por objetivo perscrutar o discurso poético de Manoel da Costa Ataíde presente na sua pintura em perspectiva realizada no forro da nave da Igreja de São Francisco de Assis em Ouro Preto, no provável período compreendido pelos anos de 1801 e 1812. Considerando os questionamentos de ordem epistemológica acerca da investigação crítica de uma obra de arte apresentados pelos Estudos Visuais, a referida obra foi focada como portadora de um discurso de natureza poética realizado por um artista através de uma pintura. Na abordagem da obra e do discurso por ela portado, foi considerada a essencial relação entre arquitetura e pintura inerente ao que de modo geral é chamado de pintura em perspectiva. Também foram considerados dados relativos ao autor da mesma, cuja naturalidade é de Mariana, Minas Gerais, e dados relativos ao contexto no qual ela se deu. Quanto ao contexto, ele foi interpretado a partir daquilo que possuía de imediato e de particular em relação aos contextos com os quais teve importantes relações, sendo que, foi chamado de mineiro tanto se diferenciando quanto se aproximando dos demais contextos do Brasil colonial, contemporâneos ou anteriores a ele, assim como se diferenciando e se aproximando de determinados contextos europeus devidamente destacados e justificados, dentre eles principalmente o português, o italiano e o francês. Dentre os contextos coloniais brasileiros foi importante distinguir o contexto que também se deu em Minas Gerais, e se deu principalmente do começo do século XVIII até a Inconfidência Mineira, do contexto no qual a própria obra se deu, o qual data do início do século XIX. Foram aproximadas a essa obra de Ataíde inúmeras outras obras de diversos artistas, mas, preferencialmente, além das demais obras do próprio artista marianense em questão, obras de artistas realizadas em contextos que possuíram alguma relação com o contexto mineiro e, sempre que possível, obras que puderam ser conhecidas pessoalmente pelo autor deste trabalho. Portanto, foram realizadas algumas viagens para possibilitar o contato pessoal com obras, por vezes, bastante específicas e que são encontradas em diferentes locais do sul do continente europeu. Como resultado deste trabalho foram elaboradas proposições acerca do discurso poético perscrutado, as quais, invariavelmente, revelaram uma grande sinceridade presente em tal discurso e que, ao mesmo tempo, confirmaram a potência genuína das diversas manifestações artísticas que, como um todo, ocorreram em Minas Gerais entre meados do século XVIII e início do século XIX, potência esta em cuja qual a contribuição de Manoel da Costa Ataíde é inestimável / Abstract: This study aimed to peer into the poetic discourse of Manoel da Costa Ataide present on his perspective painting held in the lining of the nave of the Church of St. Francis of Assisi in Ouro Preto, in the probable period comprehended by the years of 1801 and 1812. Considering the questions of epistemological order about the critique investigation of a work of art presented by Visual Studies, the referred work was focused as having a speech of poetic nature performed by an artist through a painting. In the approach of the work and of the discourse ported by it, was considered the essential relationship between architecture and painting inherent in what is generally called perspective painting. Were also considered data relating to the author of the same, whose naturalness is from Mariana, Minas Gerais, and data relating to the context in which it occurred. Regarding the context, it was interpreted from what it had of immediate and of particular in relation to the contexts with which had important relationships, whereas, was called of mineiro both differentiating and approaching of other contexts of colonial Brazil, contemporary or previous of it, as well as differentiating and approaching to certain European contexts properly highlighted and justified, including mainly the Portuguese, the Italian and the French. Among the Brazilian colonial contexts was important to distinguish the context that also took place in Minas Gerais, and took place mainly from the early eighteenth century until the Minas Conspiracy, of the context in which the work itself was given, which dates from the early nineteenth century. Were approached to this work of Ataíde numerous other works of many artists, but, preferably, in addition to other works by himself the artist of Mariana in question, works of artists performed in contexts that possessed some relationship with the mineiro context and, whenever possible, works that could be known by the author of this work. Therefore, there were realized a few trips to allow personal contact with works, sometimes, quite specifics and that are found in different locations of the south of the European continent. As the result of this work were prepared propositions about the poetic speech peered, which ones, invariably, showed a large sincerity present in such speech and which, at the same time, confirmed the genuine potency of the many artistic expressions that, as a whole, occurred in Minas Gerais between the mid-eighteenth century and the early nineteenth century, potency that in which the contribution of Manoel da Costa Ataide is invaluable / Mestrado / Artes Visuais / Mestre em Artes Visuais

Thema des Aufsatzes ist die Familie von Uckermann und ihr besonderer Vertreter Johann Jacob von Uckermann III. Nicht nur seine unstandesgemäße Ehe mit einem Dresdner Stubenmädchen ist bemerkenswert, sondern auch seine universale Gelehrsamkeit, die in eine umfangreiche Sammlung an Büchern, astronomischen Geräten, Skeletten, Tierpräparaten, Mineralien usw. mündete, das Uckermannsche „Museum“. In einer Nachlaßregelung vermachte er dieses der Universität Leipzig.

Le marquis de La Chétardie est le premier envoyé de la France en Russie à être revêtu du caractère d’ambassadeur. Cet honneur, naguère refusé à Pierre le Grand, a été accordé à sa nièce Anna, quoique ce fût au décours du premier conflit armé entre les deux pays. Son séjour à Petersbourg révéla ses qualités mais aussi ses limites ; en effet, ce courtisan achevé, courtois, expert en conversation et en réceptions mondaines, obsédé par un cérémonial pointilleux, a raté toutes les entreprises qu’il avait envisagées. A l’opposé, certaines de ses initiatives lui ont valu des désaveux. Impliqué modérément dans le coup d’État qui mit Élisabeth sur le trône, il ne profita pas longtemps de la faveur acquise à cette occasion. Il avait mal estimé les ressources des belligérants russes et suédois ; quelques maladresses, dont son gouvernement portait plus que lui la responsabilité, associées à la xénophobie exacerbée des Russes, suffirent à transformer le favori en paria ; il se vit refuser par la souveraine la médiation initialement promise dans le conflit en cours, et dut solliciter son rappel. Revenu en France, il y élabora un projet, qui fit long feu, d’alliance franco-russo-suédoise, qui devait remplacer le système des « barrières », sacrifier la Pologne et bouleverser le système établi. Son second séjour fut funeste et bref, son combat contre le vice-chancelier Bestoutcheff ne pouvant se terminer que par la chute de l’un d’eux. Ce fut lui qui fut expulsé, ayant péché par excès de confiance dans son chiffre. Ainsi, la première ambassade de France en Russie se terminait-elle dans la confusion ; La Chétardie, malgré sa séduction, avait échoué dans sa mission et dans ses grands projets. / The marquis de La Chétardie was the first French envoy to Russia invested with the title of ambassador. This honor, denied to Peter the Great, was accorded to his niece Anna, although the two countries were then engaged in their first armed conflict. La Chétardie’s mission in St. Petersburg revealed both his qualities and weaknesses. A polished, experienced courtier, an expert conversationalist at home in fashionable gatherings and punctilious about court ceremonial, he failed at every project he undertook. Nevertheless, some of these failures were not his alone. Having played a minor role in the coup d’état that put Elisabeth on the throne, he acquired a favor from which he was unable to profit for long. He miscalculated the resources of Russian and Swedish belligerents. Several blunders connected to the exacerbated xenophobia of the Russians, although less his responsibility than his government’s, made him a pariah. Having been denied the role of mediator promised by the sovereign during the ongoing conflict, he was obliged to request his recall. Upon returning to France, he developed a project for an alliance among France, Russia, and Sweden that would have replaced the system of « barriers, » sacrificed Poland, and overturned the prevailing diplomatic system. His second mission was unhappy and brief as a result of his conflict with the Vice-Chancellor Bestoutchef, a conflict that could only end in the fall of one of them. It was La Chétardie who was removed because of his overconfidence in the security of his codes. Thus did the first French embassy to Russia end in confusion. Despite his seductive appeal, La Chétardie had failed in his mission and grand projects.

Cette présente étude propose d’éclairer l’apport de la France durant la première étape du développement de la galerie impériale de peintures, qui donna naissance au Musée de l’Ermitage, à Saint-Pétersbourg. C’est durant cette période que se constitue et se sanctuarise, comme nous tenterons de le démontrer, la galerie des souverains russes au sein d’un nouveau complexe palatial adossé au palais d’Hiver – siège du pouvoir –, en un établissement qui prend rapidement le nom – français – d’« ermitage ». Ce travail se divise en trois parties. Après une présentation de l’apport de la France sous Catherine II (1729-1762-1796), à travers l’étude de la construction des bâtiments de l’Ermitage d’une part, et la formation des collections d’autre part, nous traiterons ensuite des règnes de Paul Ier (1754-1796-1801) et surtout de son fils Alexandre Ier (1777-1801-1825), afin de déterminer comment ils ont géré cet héritage, en soulignant ce que ces souverains ont puisé en idées et en œuvres en France. Il reste enfin à établir, dans un troisième temps et au terme de cette première étape de l’évolution de l’Ermitage, comment la France a stimulé la mutation de la galerie impériale en un établissement tendant de plus en plus vers le musée. / This study proposes to clarify the contribution of France during the first stage of development of the Imperial Gallery of Paintings, which gave birth to the State Hermitage Museum, in Saint Petersburg. It is during this period that the gallery of the Russian sovereigns, within a new palatial complex, is gathered, organized and housed immediately just next to the Winter Palace – the seat of power – in an establishment which is quickly given the – French – name, “Hermitage.”This study is divided in three parts. First, the study will present the contribution of France under Catherine the Great (1729-1762-1796), by examining both the construction of the Hermitage’s building and the formation of the collections. Secondly, we will delve into the reigns of Paul I (1754-1796-1801) and especially his son, Alexander the Great (1777-1801-1825), in order to determine how they managed this inheritance, by highlighting how these sovereigns used the ideas and artworks from France. Finally, the study will establish, how, at the end of this first stage of the evolution of the Hermitage, France stimulated the transformation of the Imperial Gallery into an institution whose trajectory arced towards becoming a museum.

Made available in DSpace on 2016-04-27T17:27:16Z (GMT). No. of bitstreams: 1 FIL - Edson Dognaldo Gil.pdf: 1469522 bytes, checksum: 93803423295828ce6d57adf7e6ced90d (MD5) Previous issue date: 2006-10-19 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The aim of this dissertation is to present and toanalyse the first principle of Fichte&#697;s Doctrine of Science, namely, that of the self&#8208;position of the I, in the same way the German idealist philosopher expounds it in the firstparagraph of his masterpiece Grundlage der gesammten issenschaftslehre [Foundation of the Entire Doctrine of Scientific Knowledge], published in 1794&#8208;1795. The historical presentation situates Fichte&#697;s issue in the context of the modern philosophy in general, and of German idealism in particular. Remarks are provided on the relation and mutual influence of German thinkers, especially on the continuity between the transcendental philosophy of Kant and that of Fichte, pointing out, however, the originality of the project of the Doctrine of Science. Some attention is also given to the current state of the Fichte&#8208;Forschung. The systematic analysis, wish constitutes the core of the work, concentrates on the thorough reading of the first paragraph of the Grundlage, pointing out its implications to the question of the relation between being and thinking, morespecifically, the respective transcendental transformation of the Cartesian cogito. Thus, the I, in so far as it is (characterized as) pure intelligence, is the genetic, originary and pre-predicative Act (Tathandlung). Therefore, it is previous toboth discursive thought and objective consciousness (ofa substantiated Cartesian subject), and yet it is accessible by means of an intuitive method; it is nonetheless purely intellectual and authentically meditative meditative philosophy, philosophy as art (ars). There is enclosed a reproduction of the original text of the first paragraph of the Grundlage, as well as the respective translation, of my authorship. There is also a small glossary of the most important terms used by Fichte translated from German into Portuguese / O escopo desta dissertação consiste em apresentar e analisaro chamado Primeiro Princípio da autoposição do Eu da Doutrina da Ciência de Johann Gottlieb Fichte, tal qual o idealista alemão o expõe no primeiro parágrafo de sua obra&#8208;prima Grundlage der gesammten Wissenschaftslehre als Handschriftfür seine Zuhörer [Fundamento de toda a Doutrina da Ciência como manual para seus ouvintes], publicada em 1794&#8208;1795. A apresentação histórica visa a situar a problemáticafichteana no contexto da filosofia moderna, em geral, e, em particular, do idealismo alemão. Tecem&#8208;se considerações sobre a relação e a influência mútua dos pensadores alemães, especialmente sobre a continuidade entre a filosofia transcendental deKant e a de Fichte, destacando&#8208;se porém a originalidade do projeto da Doutrina da Ciência. Dedicam&#8208;se, além disso, algumas palavras ao estado atual da Fichte&#8208;Forschung. A análise sistemática, que constitui o cerne do trabalho, concentra&#8208;se na leitura minuciosa do primeiro parágrafo da Grundlage, destacando&#8208;se suas implicações no que respeita à questão da relação entre ser e pensar, mais especificamente, a respectiva transformação transcendental do cogito cartesiano. Conclui&#8208;se que, para Fichte, o eu, enquanto inteligência pura, é Ato genético, originário (Tathandlung), pré&#8208;predicativo e, portanto, anterior ao pensamento discursivo e à consciência objetiva (de um sujeito hipostasiado, cartesiano), ao qual se tem acesso por meio de um método intuitivo, mas puramente intelectual, autenticamente meditativo filosofia meditativa, filosofia como arte (ars). Como anexos, seguem&#8208;se a reprodução do texto original do primeiro parágrafo da Grundlage, bem como a respectiva tradução, de minha autoria. Além disso, um pequeno vocabulário, alemão&#8208;português, dos termos mais importantes utilizados por Fichte

MA / Thesis (MA (History))--University of Stellenbosch, 1932.

Libertines Real and Fictional in Rochester, Shadwell, Wycherley, and Boswell examines the Restoration and eighteenth-century libertine figure as it appears in John Wilmot, Second Earl of Rochester's Satyr against Mankind, "The Maim'd Debauchee," and "Upon His Drinking a Bowl," Thomas Shadwell's The Libertine, William Wycherley's The Country Wife, and James Boswell's London Journal, 1762-1763. I argue that the limitations and self-contradictions of standard definitions of libertinism and the ways in which libertine protagonists and libertinism in general function as critiques of libertinism. Moreover, libertine protagonists and poetic personae reinterpret libertinism to accommodate their personal agendas and in doing so, satirize the idea of libertinism itself and identify the problematization of "libertinism" as a category of gender and social identity. That is, these libertines misinterpret-often deliberately-Hobbes to justify their opposition and refusal to obey social institutions-e.g., eventually marrying and engaging in a monogamous relationship with one's wife-as well as their endorsement of obedience to nature or sense, which can include embracing a libertine lifestyle in which one engages in sexual encounters with multiple partners, refuses marriage, and questions the existence of God or at least distrusts any sort of organized religion. Since any attempts to define the word "libertinism"-or at least any attempts to provide a standard definition of the word-are tenuous at best, it is equally tenuous to suggest that any libertines conform to conventional or standard libertinism. In fact, the literary and "real life" libertines in this study not only fail to conform to such definitions of libertinism, but also reinterpret libertinism. While all these libertines do possess similar characteristics-namely affluence, insatiable sexual appetites, and a rebellion against institutional authorities (the Church, reason, government, family, and marriage)-they often misinterpret libertinism, reason, and Hobbesian philosophy. Furthermore, they all choose different, unique ways to oppose patriarchal, social authorities. These aberrant ways of rebelling against social institutions and their redefinitions of libertinism, I argue, make them self-satirists and self-conscious critics of libertinism as a concept.