OLIVEIRA, Daniele Kelly Lima de. Gramsci e os intelectuais orgânicos da classe trabalhadora: contribuição à educação na perspectiva da emancipação humana. 2013. 98f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-07T11:06:24Z No. of bitstreams: 1 2013-DIS-DKLOLIVEIRA.pdf: 870578 bytes, checksum: 1dd9f12607445378a45481929e58e530 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-07T12:11:24Z (GMT) No. of bitstreams: 1 2013-DIS-DKLOLIVEIRA.pdf: 870578 bytes, checksum: 1dd9f12607445378a45481929e58e530 (MD5) / Made available in DSpace on 2013-10-07T12:11:24Z (GMT). No. of bitstreams: 1 2013-DIS-DKLOLIVEIRA.pdf: 870578 bytes, checksum: 1dd9f12607445378a45481929e58e530 (MD5) Previous issue date: 2013 / O presente trabalho dissertativo consiste em um estudo, à luz da ontologia marxiana-lukacsiana, da proposta de Gramsci, pensador marxista do século XX, sobre a formação de intelectuais orgânicos da classe trabalhadora e sua contribuição à educação na perspectiva da emancipação humana – proposta antagônica à atual formação do educador num cenário de crise estrutural do capital, em que a formação das consciências entorpecidas vem se configurando cada vez mais como um mecanismo de controle da classe trabalhadora, num momento histórico em que esse sistema joga sobre a humanidade a possibilidade de sua própria destruição. Nesse sentido, recompomos a biografia e contexto histórico no qual Gramsci viveu, num esforço de melhor compreensão da elaboração de seu pensamento, especialmente um estudo sobre o processo de unificação italiana, a partir do qual, o filósofo italiano trata das categorias: hegemonia, bloco histórico e intelectuais orgânicos. Contamos ainda com uma exposição sobre a base marxista de Gramsci, que lhe permite pensar uma educação omnilateral na perspectiva da emancipação humana. Na elaboração deste trabalho, lançamos mão do pensamento de Marx e Engels (2007), no Manifesto Comunista, leitura considerada por Gramsci de fundamental importância para o despertar da consciência da classe trabalhadora; Marx (1999), As teses sobre Feuerbach, e O Capital – livro I (2011). Contamos ainda com a obra de Gramsci em seus Escritos Políticos (2004), os Cadernos do Cárcere (2011), mormente os cadernos 12 e 11 e as Cartas do Cárcere (2005), bem como os intérpretes marxistas do pensamento de Gramsci como Manacorda (1990), Del Roio (2006), Coutinho (1999), Nosella (2010), Semeraro (2006) e Schlesener (1992), dentre outros.

Durante todo o período de vigência da Constituição brasileira de 1891, foram produzidos diversos trabalhos doutrinários em torno da reforma da Constituição, ora mais ligados à política constitucional do período, ora de caráter mais teórico. Com os olhos voltados a esse material, o objetivo da pesquisa foi mapear e sistematizar os trabalhos doutrinários que veicularam esses discursos da época, em suportes materiais mais duradouros (livros de Direito Constitucional gerais, livros específicos sobre o tema e artigos publicados em periódicos jurídicos), a fim de verificar quais foram seus objetos e quais os objetivos de seus autores ao se inserirem no debate sobre a reforma constitucional. Para tanto, foram utilizadas as reflexões teóricas da Escola de Cambridge para o estudo da teoria política, especialmente de Quentin Skinner e J. G. A. Pocock, como instrumentos metodológicos para a reconstrução do debate. A partir da observação dos discursos em seus respectivos contextos intelectuais, foram identificados alguns objetos de reflexão recorrentes no debate, para além das propostas de reforma da Constituição de 1891. Em primeiro lugar, identificou-se que houve reflexões ligadas à teoria da Constituição e da reforma constitucional, no que diz respeito à estabilidade ou mutabilidade do texto constitucional, além de outras mais incipientes relativas à mudança da Constituição sem alteração do seu texto. Em segundo lugar, houve discursos jurídicos voltados à intepretação do artigo 90 da Constituição, quanto ao procedimento e limites materiais para a reforma constitucional, além de outros discursos com caráter político, que questionavam a legitimidade da vedação constitucional de alteração da forma republicano-federativa e da igualdade de representação dos Estados no Senado. Por fim, houve discursos político-constitucionais que se voltaram à análise de três aspectos. Em primeiro lugar, sobre a necessidade e oportunidade de uma reforma da Constituição de 1891. Em segundo lugar, discursos que objetivaram avaliar o produto da reforma constitucional realizada no Brasil entre 1924 e 1926, bem como as condições políticas em que se deu. E, enfim, os discursos que produziram a crítica à Constituição (por sua dissociação da realidade do país ou por ser inspirada em instituições estrangeiras), a crítica à crença na sua reforma com solução para os problemas políticos, econômicos e sociais do país, e outros que dialogaram com essas críticas. Nas reflexões sobre a reforma constitucional do período, verificou-se a produção de discursos com objetos e objetivos variados, que identificaram causas distintas para os mencionados problemas e que apresentaram propostas e encaminhamentos diversos para a sua solução, que tocavam no tema da reforma constitucional. / Throughout the period of time Brazilian Constitution of 1891 was in force, numerous doctrinal works on the constitutional amendment and constitutional making were done either more related to the constitutional politics of the time, or to more theoretical features. Bearing this material in mind, the purpose of this research was to map and systematize the doctrinal work that reported the discourses of the time, which were published in more durable material supports (Constitutional Law books, specific books on the topic and articles published in legal journals), in order to check which their objects were as well as the authors goals when having contributed to the debate on constitutional amendment and constitutional making. Therefore, the Cambridges School theoretical reflections for the study of political theory, especially of Quentin Skinner and J. G. A. Pocock, were used as methodological tools for the reconstruction of the debate. From the observation of the speeches in their respective intellectual contexts, it was identified some recurring objects of reflection in the debate, in addition to the proposed amendments to the 1891 Constitution. Firstly, it was identified that there were reflections related to the theory of the Constitution and the constitutional amendment and constitutional making, with regard to the stability or changeability of the constitutional text, besides other incipient speeches related to the Constitution change without changing its text. Secondly, there were legal discourses focused on the interpretation of article 90 of the Constitution of 1891, concerning the procedure and materials limits for constitutional amendment, along with speeches with political feature, which questioned the legitimacy of the constitutional prohibition of amendment of the Republican-federative form and the equal representation of the States in the Senate. Lastly, there were also political and constitutional speeches that targeted the analysis of the necessity and opportunity for amendment of the Constitution of 1891, during most of its validity period; others that aimed at evaluating the product of constitutional amendment held in Brazil between 1924 and 1926, as well as the political conditions under which it was carried, and, finally, speeches that criticized the Constitution (due to its dissociation of the country reality or for being inspired by foreign institutions), or criticized the belief in its amendment as a solution for the political, economical and social problems of the country, among others which dialogued with these criticisms. With the reflections upon the constitutional amendment in the Brazilian First Republic, the production of speeches with diverse objects and objectives was identified, which recognized several causes for such problems and that proposed distinct suggestions for their solution. In conclusion, in the research, many visions of Brazilian First Republics doctrine about constitutional making and constitutional amendment were observed and presented.

Neste estudo de análise e interpretação de Moby-Dick (1851), de Herman Melville (1819-1891), pretendemos formular e esclarecer questões relativas ao momento de definição do romance norte-americano, bem como à obra que se traduz como o esforço mais radical de um norte-americano na tentativa de, então, levar a forma romance ao estudo e reflexão sobre sua sociedade. Para tanto, recuperamos da leitura da obra os aspectos que mais fortemente tematizam tal intento: a crise ideológica de fins da década de 1840, quando os ideais revolucionários de igualdade da antiga república são finalmente confrontados com as consequências de sua integração no sistema capitalista mundializado questão central de Redburn (1849) e White-Jacket (1850), romances que preparam Moby-Dick e marcam as primeiras experiências de Melville como escritor social; o conceito de fronteira, problema de definição identitária norte-americana que abarca desde a ocupação da wilderness puritana no século XVII ao estabelecimento, à época de Melville, de uma política de Estado imperialista e, ademais, passa pela cristalização de perspectivas culturalmente particulares de propriedade e formação social de classe; e, finalmente, as noções de técnica e trabalho, diretamente implicadas na atividade baleeira e, de modo mais amplo, no avanço civilizatório norte-americano, e para quais pesam a consciência do valor social do trabalho livre e sua coexistência com a escravidão. É sob tais preocupações que contemplaremos, à luz da teoria crítica e da tradição crítica brasileira, as especificidades formais do romance, a saber, a apropriação estrutural do trágico em contraposição à épica, que define o percurso de Ahab, o capitão do Pequod, em sua caçada a Moby Dick, e a formação de um narrador reflexionante, o sobrevivente Ishmael, que retoma o passado da catástrofe para ferir o presente em que se perpetuam, no roldão do ingresso norte-americano na modernidade, as condições para sua reprodução. / Through an analytical and interpretative study of Herman Melvilles Moby-Dick I intend to formulate and clarify the historical turning point of the American novel, specifically what is deemed the most radical effort of an American writer to bring a comprehensive study on society into novelistic form. In order to accomplish that, I reconsider some of the features of Moby-Dick that strongly appealed to the times. First the ideological crisis of the 1840s, when the equalitarian revolutionary ideals of the Independence were finally confronted by the consequences of the U.S. being fully compromised to the Industrial Revolution and the capitalistic worldwide system. This is a central issue in Redburn (1849) and White-Jacket (1850), both novels where some major features of Moby-Dick are anticipated and firstly tested. Second, I scrutinize the concept of frontier -- a national identity issue that can be traced back to the Puritan 17th century errand into the wilderness that is strongly attached in the age of Melville to the ideological making of American imperialism. Besides, it also has had a major role in the crystallization of culturally specific perspectives on property and the establishment of social classes. Finally, I reconsider the notions of technique and labor, directly implied in the whaling industry and in a more general way in the marching of American civilization towards the West, which has had a strong impact on the understanding of the social significance of free labor and its coexistence with slavery. With those things under consideration, and through the surmises of the Critical Theory and the Brazilian tradition of social and literary criticism as well, it is my aim to shed light on some esthetical features of the novel, particularly on the tragic structure (as opposed to the epic) that defines the career of Pequods Captain Ahab and his obsessive chasing of Moby Dick, and the constitution of a self-reflexive narrator, the survivor Ishmael, who recalls the past of the catastrophe in order to attack the social reproduction of its conditions in the present.

The objective of this thesis is to present a study of the political impact of Communism on four individuals who at one stage in their lives thought that Communism was the best political system on earth, and who subsequently became disillusioned ot the point where they considered Communism the worst political system on earth. This thesis tries to answer some of the questions arising from such a study. How did these four people become so enamoured of Communism and later so thoroughly disillusioned with it? What is there about Communism which could so strongly attract and later so thoroughly repel intelligent people? Was disaffection due to the weakness of the people involved, or was it due to weaknesses in the Communist system? Where is the truth to be found regarding the essential nature of Communism: in the official reports and propaganda of the Russian government, or in the opinions of the Communist Party members, or in the writings of those who have been in close contact with the system? The problem is to determine the nature of the attraction of Communism and the nature of its repellent aspects as seen by four of those who have strongly felt, in turn, that attraction and that repulsion.

No description available.

Thesis (PhD)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: Herman Melville (1819-1891) remains a recalcitrant and enigmatic presence in the Western canon. This dissertation explores the radical narrative strategies engaged by Melville in the composition of his prose fictions. It is my contention that Melville's writings to an important degree constitute a subversive response to the privileged apocalyptic and teleological narratives of the day-national, ontological, metaphysical, and literary, or aesthetic-and that he primarily engages these narratives in terms of the archetypal symbolism of the romantic quest. Against this linear and goal-oriented, or plotted, progress, Melville's own narratives assert the nonredemptive forces of time, change, and natural flux, which the quest is symbolically meant to conquer and subject to a redemptive pattern. Melville's critique of the quest takes the shape of a radical fragmentation of its agonistic, evolutionary force-its progress-which is always directed towards a resolvent end. In this sense, most of his protagonists may be defined as questers, characters who seek, by some (individuating) action, to achieve a monumental point of closure. But the Melvillean narrative (even when narrated by the protagonist) always resists this intention. His rhetoric is digressive and improvisational, his style heterogeneous and parodic, and his endings always indeterminate and equivocal. Significantly, this same quality renders his prose fictions highly resistant to an apocalyptic hermeneutics that strives to redeem the monumental "meaning" of the work from the narrative itself. The destabilising questions raised in Melville's work with regard to redemptive plot and progress ultimately centre on the idea of Providence, in other words, the authorising telos that informs, governs and justifies the quest. By fragmenting this quest, Melville undermines the effective presence of Providence, clearing away what he perceives to be an illusion of control harboured in a dual but related image of the providential God and the providential author as external, "metaphysical" authorities directing their worlds in terms of a master plan toward final and meaningful closure. Melville's fiction, then, imaginatively (and philosophically) engages a world in which such stable authorising centres are absent. It is in terms of this absence that I intend to examine the nature of Melville's prose fictions. The focus in this dissertation is specifically on Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter and The Confidence-Man. Throughout, however, the canonical Moby-Dick and the unfinished and posthumous Billy Budd, are also drawn into the discussion in order to clarify and extend the points raised. / AFRIKAANSE OPSOMMING: Herman Melville (1819-1891) bly 'n weerspannige en enigmatiese aanwesigheid in die Westerse kanon. Hierdie verhandeling ondersoek die radikale narratiewe strategiëe wat deur Melville ingespan is tydens die komposisie van sy fiksie in prosa. Ek gaan van die standpunt uit dat Melville se werk tot 'n groot mate gedefinieer word deur 'n ondermynende reaksie teen die bevoorregte apokaliptiese en teleologiese narratiewe diskoerse van sy tyd-nasionaal, ontologies, metafisies, en literêr, of esteties-en dat hy hoofsaaklik hierdie diskoerse ondersoek in terme van die argetipiese simboliek van die romantiese soektog of "quest." Teenoor hierdie lineêre en doelgerigte, of beraamde ("plotted"), vooruitgang, beklemtoon Melville se eie verhale die nie-verlossende kragte van tyd, verandering, en natuurlike stroming, dit wat die "quest" simbolies beoog om te oorwin en onderwerp aan 'n verlossings-patroon. Melville se kritiese beoordeling van die "quest" neem die vorm aan van 'n radikale fragmentering van die opposisionele, evolusionêre krag---die progressie-wat altyd op 'n beslissende slot gerig is. In hierdie sin kan ons die meerderheid van sy protagoniste as soekers ("questers") definieer, karakters wat poog, deur middel van die een of ander (individuerende) handeling, om 'n monumentale slot te behaal. Maar die Melvilliese verhaal (selfs wanneer deur die protagonis vertel) werk altyd dié voorneme teë. Sy retorika is uitwydend en improvisatories, sy styl heterogeen en parodies, en sy slotte altyd onbeslis en dubbelsinnig. Dit is aanmerklik dat hierdie einste eienskap sy fiksie hoogs weerstandig maak teen 'n apokaliptiese hermeneutiek wat poog om die monumentale "betekenis" van die werk uit die narratief self te herwin of "verlos." Die ondergrawende vrae wat in Melville se werk ten opsigte van die beslissende verloop ("plot") en progressie geopper word word uiteindelik grotendeels gekoppel aan die idee van die Voorsienigheid, met ander woorde, die outoriserende telos wat die "quest" beïnvloed, regeer en regverdig. Deur die "quest" te fragmenteer, ondermyn Melville die effektiewe teenwoordigheid van die Voorsienigheid, en verwyder daarmee dit wat hy ervaar as 'n illusie van beheer wat behoue bly in die dubbele beeld van die bestierende God en die bestierende outeur as eksterne, "metafisiese" outoriteite wat hulle wêrelde in terme van 'n uitgewerkte plan na 'n finale en betekenisvolle einde lei. Melville se fiksie, dus, op verbeeldingsryke (en filosofiese) wyse, stel 'n wêreld daar waarin sulke outoriserende sentra afwesig is. Dit is in terme van hierdie afwesigheid wat ek beoog om die aard van Melville se fiksies te ondersoek. Hierdie verhandeling fokus op Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter en The Confidence-Man. Die kanonieke Moby-Dick en die onvoltooide en postume Billy Budd word egter deurgaans in die bespreking opgeneem ter wille van die duidelikheid en uitbreiding van die argument.

A signed LAC Non-Exclusive License form from this author is pending. / In this thesis I attempt to develop an alternative to the logical positivist's image of science, which attempts to exclude beliefs from scientific investigations. First I set the problem up by describing what the positivists mean by belief and how they attempt to exclude belief through the use of the scientific method. I begin to develop an alternative by examining the views of three philosophers of science: Thomas S. Kuhn, Michael Polanyi, and Gerard Radnitzky. Each of them provides an alternative to the positivistic conception of science by suggesting that scientific research is surrounded by a framework of tacit beliefs. I present each view in the following way. First I describe the background and context for the framework hypothesis; then I explain the framework itself, including discussions on the nature of the framework, how it is acquired, its role in visible scientific activity, and how switches from one framework to another occur; finally I assess each person's insights, including each's relevance for my thesis. The examination of these views sets the stage for my last chapter. Here I briefly compare the three thinkers, noting similarities and differences. Then I highlight each thinker's unique insights. Finally, I present a brief description of what I believe is a viable alternative to the positivistic image of science, based on the work of the three philosophers.

Licenciado en artes mención en teoría e historia del arte / Gustave Flaubert (1821-1880), indudablemente uno de los más importantes escritores occidentales, no sólo se caracteriza por publicar una serie de textos maestros -entre los cuales Madame Bovary es sino el más logrado, al menos el de mayor resonancia en nuestros días-, también se define por ceder ante las fantasías y placeres que prometiera Oriente, encaminando sus pasos hacia aquellas tierras exóticas, peligrosas y sensuales. Su móvil: el placer de ver con sus propios ojos aquello entrevisto desde su infancia en la gran cantidad de representaciones que por aquel entonces circulaban sobre el mundo oriental. Por otra parte, Arthur Rimbaud (1854-1891), poeta, vagabundo, desertor intratable, cumbre y modelo de un rabioso malditismo decimonónico, fija su itinerario sobre aquellas tierras donde la soberanía es ejercida por el sol y la brutalidad; es también Oriente su espejismo. Oriente con sus misterios y, sobretodo, una compleja maquinaria de subyugación colonial que resulta indisociable a la producción de las representaciones que pretendieron desvelarlo. Sin embargo, el móvil de Rimbaud es diferente: enriquecerse a toda costa. Dicho de otro modo, mientras el primero es movido por la promesa de una voluptuosidad mayor, el segundo persigue incansablemente el oro que pudiera arrebatar a los nativos de los territorios donde Occidente ha arribado con todo su poderío técnico. De tal manera que, en sus respetivos viajes, Flaubert resulte ser el turista, así como Rimbaud, el colonizador. Dos caras de la misma moneda, desentrañadas aquí con el objeto de reflexionar sobre el lugar del sujeto moderno, específicamente del hombre de letras, al momento de viajar en la búsqueda de lugares que -sembrados a partir de una representación- tal vez no están más que en la propia mente de aquellos que viajan.

Many critics not satisfied with explaining Moby-Dick in terms of the novel, have sough analogies in other literary genres. Most often parallels have been drawn from epic and dramatic literature. Critics have called Moby-Dick either an epic or a tragedy. After examining the evidence presented by both schools of thought, after establishing a workable definition of the epic and listing the most common epic devices, and after examining Moby-Dick in terms of this definition and discovering many of the epic devices in it, I propose the thesis that Melville has written an epic, not unlike the great epics of the past.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.