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Orientador: Caio Navarro de Toledo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-28T14:10:06Z (GMT). No. of bitstreams: 1 Cotrim_LiviaCristinadeAguiar_M.pdf: 15300059 bytes, checksum: 0700250172024acc87507474f0975646 (MD5) Previous issue date: 1999 / Resumo: O objeto desta dissertação é a análise imanente dos discursos de Getúlio Vargas pronunciados durante o Estado Novo. A pesquisa, evidenciou a presença de uma concepção bem delineada sobre a realidade brasileira à época, bem como a defesa de um projeto de desenvolvimento nacional autônomo, referido às várias esferas da vida social, política e econômica. Em seu contorno mais geral, esse projeto mostrou-se como uma expressão da conciliação entre o historicamente novo e o historicamente velho. Conciliação cuja base é sua perspectiva econômica, nucleada pela industrialização centrada no setor de bens de capital, com vistas a alcançar a unidade e autonomia nacionais, sem, no entanto, romper com a estrutura agrária tradicional. A defesa da "modernização conservadora", da conciliação pelo alto, relaciona-se à negação do liberalismo econômico e político, que considera falido. Repudiando igualmente o que denomina de "totalitarismo" (nazi-fascismo e comunismo), defende o estado "institucionalmente forte", de fato um estado autocrático bonapartista, forma política que considera necessária para implementar as transformações econômicas projetadas, resguardando modernizadamente o atraso e mantendo a "paz social". É nesse âmbito que se inserem as legislações previdenciária, trabalhista e sindical, que expressam tanto a necessidade, posta pela industrialização nacional buscada, de ampliar o mercado interno e regulamentar a força de trabalho, quanto a impossibilidade de garantir a plena integração dos trabalhadores, seja no plano econômico, seja no político. A análise do discurso de uma das lideranças burguesas mais expressivas dos momentos iniciais da instituição do capitalismo industrial brasileiro permitiu-nos identificar característica do tipo de capitalismo industrial e de burguesia que aqui se constitui, bem como o limite máximo de "autonomia" e "completude" a que aspirou, e que, conquanto bastante estreitos, nem assim foram alcançados / Abstract: The subject of this dissertation is a c10seanalysis of Getúlio Vargas' speeches, delivered during the period known as Estado Novo. They emphasized the concept of the Brazilian reality at that time; as well as the defense of a national development project, extended to social, economic and polítical fields. In its general configuration that project presented itself as a reconciliation between the historica1ly new and the historically old. This reconciliation had an economic perspective as its foundation and industrialization as its core. Both were centered on the growth of capital goods, in order to reach political unity and economic independence, without however, breaking with the traditional agrarian structure. He defendedhis modei of "conservative modernity" and denied political and economic liberalism, which he considered a failure. He also denied what he called "totalitarism" (nazi-facism and communism), and he justified an "institutionallystrong" state which was in fact a bonapartist autocratic state. This was the political configuration which he considered necessary to imple~ent the planned economic transformations that could at the same time preserve both conservantism and "social peace". It was in this context that he ~posed Labor, Wellfare and Trade Unions Legislation. It disc10sed the need for industrialization to widen the internal market and to control the workforce. It made quite c1earthat it was impossible to integrate workers both economicallyand politically. The discourse analysis of this the most expressive leadership at the start of Brazilian industrial capitalism permits us to identify the characteristics of industrial capitalism and bourgeoisie establis,hedhere, as well as the desired "autonomy" and "completeness". However, ,~Vensuch restricted aims were not reach / Mestrado / Mestre em Ciência Política

Orientador : Hermas Gonçalves Arana / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-01T19:01:39Z (GMT). No. of bitstreams: 1 Metzger_MariaBereniceRibeirodeOliveira_M.pdf: 4543851 bytes, checksum: 07e761682b1569cb08da8d0a6a176e3d (MD5) Previous issue date: 2002 / Mestrado

Orientador: Luis Gonzaga de Mello Belluzzo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-08-03T17:57:18Z (GMT). No. of bitstreams: 1 Ferreira_AdrianaNunes_D.pdf: 549241 bytes, checksum: 646b396b8beb33475d1947eb24efc963 (MD5) Previous issue date: 2003 / Doutorado

Orientador: Italo Arnaldo Tronca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-25T16:02:25Z (GMT). No. of bitstreams: 1 Biroli_FlaviaMillena_M.pdf: 2883721 bytes, checksum: 437a88b12f2511f86a0d5b16f92ee17d (MD5) Previous issue date: 1999 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História

Propone la reconstrucción del concepto de ideología en Marx y Engels, tarea que implica la explicitación y evaluación de sus presupuestos epistemológicos y sociológicos. Formúla las bases de una teoría marxista de la ideología en general. Realiza un análisis histórico en el que presenta el concepto marxista de ideología. Define sistemáticamente la ideología en el contexto integral del pensamiento de Marx y Engels siguiendo los cánones del materialismo histórico. / Tesis

T. E. Hulme is a controversial figure in modern literary criticism but his influence on the thought of T. S. Eliot and on the principles behind the Imagist movement is assured. Recent critical examinations of him have discovered strong Romantic tendencies in his thought, in spite of his firm anti-Romantic initial stand. This Romanticism is particularly evident in his aesthetics, in the definition of unity he applies to the image. The aim of this paper is to trace the idea of unity through the whole of Hulme's writings, to clarify his definitions of the idea in different contexts, and to try and discover some basis for the particular definition of unity he uses in the case of the image. Hulme's metaphysics delineates the limits of unity and provides his basic definitions of the term. Hulme denies the principle of continuity which he believes to be the basis of Humanism and Romanticism. In place of one all-pervasive unity, he presents a triple structure, in which each realm is different. The realm of ethical and religious values is unified and unchanging. The realm of the knowledge of mathematics and the physical sciences is unified, yet subject to change. The unity of this realm is the product of the human intellect, of its tendency to organize and manipulate the flux of life, reducing it to counter words. The ideas of this realm, which Hulme believes to be finite unities, will change when new facts are introduced. The realm of life is characterized as a continuous state of flux or change and is not unified. Hulme ascribes to Bergson's theory that man has two ways of obtaining knowledge, by intuition and by intellect. Intuition achieves a direct contact with the flux, obtaining an intensive manifold, in which the parts cannot be separated. The intellect divides things into parts, obtaining an extensive manifold. An awkwardness in Hulme's metaphysics is his belief in Original Sin, which makes man a finite unity. This definition of man is a contradiction of his belief that life is flux and change. Whereas Hulme's metaphysics denies a single unified system of reality, his aesthetics postulates the unity of the aesthetic creation. Hulme begins with a mechanistic conception of art which he subsequently contradicts completely. Art occupies a unique place in Hulme's thought, in that he allows it a vital unity which is inconsistent with any of the definitions of unity brought out in the discussion of his metaphysics. Yet the life-in-death which Hulme allows art is only temporary and will decay into commonplace. In the Cinders theory Hulme asserts that plurality is the nature of reality and that relativity is absolute. Unity is impossible, an illusion, on this theory. Yet a work of art emerges in this discussion as a unity, in which the form contains the content completely. Hulme states that art creates another "mystic" world. Art would appear to be the one unity, bringing together all three realms, which according to Hulme's metaphysics must be discontinuous. At the same time, the existence of an artistic unity, unlike the absolute values of religion and ethics, is ephemeral. The idea of unity, in the writings of T. E. Hulme, has different meanings in different contexts. / Arts, Faculty of / English, Department of / Graduate

The thesis deals with some aspects of the Canzoniere , the major poetic work of Umberto Saba, who made his appearance on the Italian literary scene during the first decade of this century. The introduction and the first chapter are intended to provide summary background material on the literary-cultural situation in Trieste at the turn of the century within which Saba had necessarily to develop and work. Particular emphasis is placed on the fact that the city of Trieste, where the poet was born and lived most of his life, was culturally behind the times. This fact, together with Saba's own late cultural "awakening", contributed to the creation of a "peripheral" and "backward" style of poetry characterized by a touch of authentic realism which distinguishes and isolates him from his contemporaries, who were for the most part engaged in the attempts at poetic innovation. Another major characteristic of Saba's poetry derives from his acquaintance with Freud; in fact, the poet's interest in psychoanalysis constitutes the subject of the second chapter. Here the role which psychoanalysis plays in his poetry is defined by differentiating between "clinical" and "poetic" psychoanalysis, with reference to the poems written during the period in which he was undergoing psychoanalysis (1929-31) and to the writings in which Saba finally explicitly rejects psychoanalysis as an authentic source of poetic themes. The third chapter consists of a thematic and stylistic analysis of the poetry of the Canzoniere. with special emphasis on the early collections of Saba's work. The themes of these youthful poems are structurally related to those of the more recent works, where the poet, through a new sense of immediacy, transforms the motifs which dominated his adolescence, and in which a greater psychological clarity is accompanied by just as great a clarity of form. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Informe de Seminario para optar al grado de Licenciado en Filosofía

A critical review of Marx on population is made to determine if the modern Marxist population thepry can validly claim to follow from Marx. An historical review of population thought from the Greeks to Malthus is made and a dominant trendline is identified. Marx's population thought is presented and it is compared to Malthus. Anomalies in Marx are discovered. A new perspective on Marx using the history of demography is advanced in which Malthus is found deviating from the dominant trend line and Marx's criticism of Malthus as focusing on these specific points of deviation. Marx is found defending the dominant trendline against Malthus and not as advancing an original theory of population. Remaining problems with Marx are noted. The conclusion rejects the modern Marxist claim.