Memoria (licenciado en ciencias jurídicas y sociales) / Autor no autoriza el acceso a texto completo de su documento / En el presente ensayo se realiza una exposición crítica de cinco aportes relacionados al concepto de libertad. Como texto base de la discusión moderna tal concepto, se analiza “Two Concepts of Liberty” de Isaiah Berlin. Se argumenta que la definición de libertad negativa de Berlin no atiende exclusivamente a la ausencia de interferencias, sino más bien a la existencia de un área de alternativas, y que la definición positiva, relacionada a la idea de “ser dueño de sí”, sólo cae en las consecuencias totalitarias que Berlin le atribuye producto de una diferencia en el nivel de análisis, mas no por la estructura propia del concepto. A continuación se revisan cuatro críticas a este texto. (1) “Negative and Positive Freedom”, de Gerald MacCallum, donde se presenta la tesis de un concepto unitario de libertad. Se argumentará que tal concepto sólo constituye una versión ampliada del concepto negativo de Berlin, no logrando incorporar el concepto positivo. (2) “A Third Concept of Liberty”, de Quentin Skinner, quien agrega a la discusión el concepto republicano de libertad. Se argumentará que para introducir tal concepto Skinner redujo el sentido del concepto positivo, no incorporando por tanto un concepto ajeno a los introducidos por Berlin. (3) “What’s Wrong with Negative Liberty”, de Charles Taylor, quien critica la libertad negativa Hobbesiano como un concepto insuficiente (crudo). Se argumenta que para llegar a las conclusiones que Taylor sostiene, no se requiere la introducción de la noción de autorrealización dentro del concepto negativo. (4) “Freedom as an Ideal”, de Raymond Geuss, quien junto con evidenciar la existencia de más conceptos de libertad, realiza la distinción de la libertad en sentidos interno y externo. En las conclusiones, esta distinción es tomada para sostener una clasificación de la libertad en seis variables (positiva, negativa; interna, externa; individual, colectiva). / 27/12/2019

University of Macau / Faculty of Arts and Humanities. / Department of English

Made available in DSpace on 2016-04-28T19:59:16Z (GMT). No. of bitstreams: 1 Emerson Roberto de Oliveira Sitta.pdf: 1895810 bytes, checksum: d642c4418319514e6af110f99f2d4469 (MD5) Previous issue date: 2009-04-29 / This dissertation focuses on the poetical relation between João Cabral de Melo Neto (1920-1999) and Augusto de Campos(1931). This study aims at showing this relation, investigates the process of creation of each one of the poets. The research has as corpus of analysis the works: O Engenheiro from João Cabral, published in 1945 and the serie Ovonovelo from Augusto de Campos, published in 1960. To guide our reflection, we selected the following question-problem: Until extention has the exercise of poetical construction from the concrete poet Augusto Campos had roots in the ingenious poetry of João Cabral? We showed, among the characteristics of the word cabralina , the substantive, as well as its importance of appearing in the brazilian historic-literary context. We compared the organization of verses from João Cabral and Augusto de Campos, trying to understand and demonstrate the verbal, vocal and visual side ( verbivocovisualidade ) from concrete poetry of Augusto de Campos. We reflected through the analysis of the poems from João Cabral and Augusto de Campos, the construction of poetical syntax in both poets. To develop this proposal, We grounded on the propositions theoretical-critic of studious as: Roman Jakobson, Ezra Pound, Octavio Paz, João Alexandre Barbosa, Gonzalo Aguilar. We, also, used the studies of the genuine concrete poets: Haroldo de Campos, Décio Pignatari and Augusto de Campos. At the end of this research, we concluded that one of the essencial point of Cabralina was followed by the concrete poet Augusto de Campos. It refers to the reducing of language both in João Cabral and Augusto de Campos structures in the combination of poetical elements consciously condensed / Esta dissertação trata da relação poética entre João Cabral de Melo Neto (1920-1999) e Augusto de Campos (1931). Tem como objetivo destacar essa relação, investigando o processo de criação de cada um dos poetas. A pesquisa tem como corpus de análise as obras: O Engenheiro de João Cabral, publicado em 1945 e a série Ovonovelo de Augusto de Campos, publicada em 1960. Para guiar nossa reflexão, selecionamos a seguinte questão-problema: até que ponto o exercício de construção poética do poeta concreto Augusto de Campos tem raízes na engenhosa poesia de João Cabral? Evidenciamos, entre as características da palavra cabralina, a substantividade, assim como a importância do seu aparecimento no contexto histórico-literário brasileiro. Comparamos a organização dos versos de João Cabral e a de Augusto de Campos, buscando entender e demonstrar a verbivocovisualidade da poesia concreta de Augusto de Campos. Refletimos, por meio das análises de poemas de João Cabral e de Augusto de Campos, a construção da sintaxe poética em ambos os poetas. Para desenvolver essa proposta, fundamentamo-nos em proposições teórico-críticas de estudiosos como, por exemplo: Roman Jakobson, Ezra Pound, Octavio Paz, Luiz Costa Lima, João Alexandre Barbosa, Gonzalo Aguilar. Recorremos, ainda, aos estudos dos próprios poetas concretos: Haroldo de Campos, Décio Pignatari e Augusto de Campos. Ao fim da pesquisa, concluímos que uma das marcas essenciais da poética cabralina foi seguida pelo poeta concreto Augusto de Campos. Trata-se da economia da linguagem que tanto em João Cabral quanto em Augusto de Campos estruturase na conjugação de elementos poéticos conscientemente condensados

Made available in DSpace on 2016-04-26T18:16:24Z (GMT). No. of bitstreams: 1 Audrei Aparecida Franco de Carvalho.pdf: 19498370 bytes, checksum: 9ed446b71a9cde11a0ddae501835378d (MD5) Previous issue date: 2007-09-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The dialog between Augusto de Campos work and available medias in each period, it is de start point for this research. This affirmation suggests the investigation about poetic procedures put in practice by Augusto de Campos at the possibility of translation to electronic-digital support. The work hypothesis are: a) Augusto de Campos poetry is intersemiotic; b) the intersemiotic features of Augusto de Campos poetry, always connected at new media technologies, presume unexpected concepts of translation and poetry; c) these features presume a translation in constant process. The theorical and methodological foundations are divided in three parts: the concrete poetry and Augusto de Campos poetry will be analysed through the critical studies about concrete poetry, that was done by the concrete poets in: Teoria da Poesia Concreta (1987). The second part is formed by studies of the procedures used to the translation of concrete poems to digital media, it was found at: Ertho Albino de Souza, Ricardo Araújo, Julio Plaza, Melo e Castro s work. The last part of this research is formed by the translation of poetamenos poems (1953) to digital media, they are: poetamenos, paraíso pudendo, lygia fingers, nossos dias com cimento, eis os amantes and dias dias dias. The selection of these poems isn t by chance. Since the 1950 s, Augusto de Campos indicated the need of using new medias in the artistic development: Mas luminosos, ou filmletras, quem os tivera! The translation practice from this research appeals to Julio Plaza s studies in: Tradução Intersemiótica (1987) and Processos criativos com os meios eletrônicos: poéticas digitais (1998). Besides, we use the Walter Benjamin s critical study: A Tarefa do Tradutor (1923), and Haroldo de Campos studies about creative translation, with these studies we intent to understand how a creative text reacts at a translation to another support. This research is important to Communication Studies because it brings the light to the relation among art, communication and technology, they are currently at Augusto de Campos work. The relation among these fields happens by the incorporation of elements and procedures found in the press, magazines, bright displays, Internet, and other places. It s important to remember the relationship between Brazilian concrete poetry and artistic moviments found all over the world. The conclusions achieved show the existence of the relation between Augusto de Campos poetry and electronic poetry. We notice, for example, the concern of both with the receiver, the moviment, the connection between image and sound, etc / O ponto de partida dessa pesquisa é o diálogo entre os textos poéticos de Augusto de Campos e as mídias disponíveis em cada período. Tal afirmação sugere a investigação do que ocorre com os procedimentos poéticos colocados em prática por este poeta diante da possibilidade de uma tradução para o suporte eletrônico-digital. As hipóteses de trabalho são: a) a poética de Augusto de Campos é intersemiótica; b) as características intersemióticas dessa poética, sempre ligadas às invenções tecnológicas das mídias, supõem desdobramentos no conceito de tradução e poética; c) essas características pressupõem uma tradução em constante processo. A base teórica e metodológica divide-se em três partes: a poesia concreta e a poética de Augusto de Campos é analisada através dos estudos críticos sobre a poesia concreta feita pelos próprios poetas em Teoria da Poesia Concreta (1987). A segunda parte é formada pelos estudos dos procedimentos empregados nas traduções de poemas concretos em mídia digital, encontrados nos trabalhos de Erthos Albino de Souza, Ricardo Araújo, Julio Plaza, E. E. de Melo e Castro, entre outros. A última parte dessa pesquisa é formada pela tradução para a mídia digital, dos poemas da série poetamenos, de 1953; são eles: poetamenos, paraíso pudendo, lygia fingers, nossos dias com cimento, eis os amantes e dias dias dias. A escolha desses poemas não se dá ao acaso, pois, já na década de 1950, Augusto de Campos sinalizava para a necessidade das novas mídias na criação artística: mas luminosos, ou filmletras, quem os tivera! A prática tradutória dessa pesquisa recorre aos estudos de Julio Plaza encontrados em Tradução Intersemiótica (1987) e Processos Criativos com os Meios Eletrônicos: Poéticas Digitais (1998). Além disso, utilizamos o estudo crítico de Walter Benjamin, A Tarefa do Tradutor (1923), e os textos de Haroldo de Campos sobre tradução criativa, na tentativa de compreender como um texto criativo reage a uma tradução para outro suporte. Esta pesquisa é importante para o campo da Comunicação porque traz à luz a relação entre arte, comunicação e tecnologia, que estão presentes no trabalho de Augusto de Campos. A relação entre esses campos se dá pela incorporação de elementos e procedimentos encontrados no jornal, na revista, no uso de luminosos, na Internet, entre outros. Lembre-se da relação entre poesia concreta brasileira e movimentos que se desdobravam em todas as partes do mundo. As conclusões obtidas apontam para a existência da relação entre a poesia de Augusto de Campos e a poesia eletrônica. Nota-se, por exemplo, a preocupação de ambas com o receptor, com o movimento, com a conexão entre imagem e som, etc

Made available in DSpace on 2016-04-26T18:18:41Z (GMT). No. of bitstreams: 1 Anderson Zotesso Rodrigues.pdf: 2671537 bytes, checksum: fbd5e67f11d15757972b721ddccdb282 (MD5) Previous issue date: 2010-05-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study brings to light the ramifications, incorporations and dialogues between radio and television elements in plays and/or sketches based upon the poetics of the Theater of the Oppressed as systematized by the dramatist Augusto Boal, paradigmatically, against the attempts of mediatic manipulations of individual behaviors and cultural practices. The purpose, specifically, is to demonstrate how, predominantly in popular theater stagings, ways to interpret, to narrate, certain gestures, themes and songs that are part of these two mediums of mass communication embedded in the urban home tend to appear as a part of the plays. The theoretical basis of this research lays in the elaborations by Jesus Martin-Barbero of the dialogues between mass media and culture, and in the relations between media, culture and economy as proposed by Néstor García Canclini. The bibliography by Augusto Boal as well as articles about his propositions also constitute an important part of the present study, since they serve as material for the poetical elaboration of the plays staged by the researched groups. To accomplish our field research, certain plays were elected as objects of study, such as Que onda con Borges? , staged by the Infierno de los vivos, a group from Buenos Aires, Argentina, and the play Um dia a casa cai , staged by GATO (Teenage group of theater of the oppressed), from São Paulo, Brazil. Interviews with members and analysis of the plays were conducted between July, 2008 and January, 2010. The present study also contains a critical analysis of the institutional, political and economical relations developed by organizations and theatrical groups of São Paulo and Londrina, in order to detail and interrelate the political and aesthetic options of such groups / A presente dissertação busca apontar e descrever desdobramentos, incorporações e diálogos entre elementos do rádio e da televisão em peças e/ou esquetes da Poética Teatral do Oprimido, sistematizada pelo teatrólogo Augusto Boal e, paradigmaticamente, contrárias às tentativas de manipulação mediática dos comportamentos individuais e práticas da cultura. O objetivo, especificamente, é demonstrar como emergem, em encenações de teatro predominantemente populares, modos de interpretação, narrativas, gestos, temáticas e canções componentes de programas desses dois meios de comunicação incrustados nos lares das grandes cidades. O referencial teórico da pesquisa assenta-se nas concepções do diálogo cultura - medias de massa propostas por Jesús Martín-Barbero e das relações entre media - cultura - economia apontadas por Néstor García Canclini. Também serve de base a bibliografia de Augusto Boal por constituir-se como fundamento para o desenvolvimento poético dos grupos pesquisados, além de textos acadêmicos diretamente ligados ao tema. Para produzir o trabalho de campo foram prioritariamente eleitas as montagens Que onda con Borges? do Grupo Infierno de los Vivos, de Buenos Aires Argentina e Um dia a Casa Cai, do GATO (Grupo Adolescente de Teatro do Oprimido), de São Paulo, praticantes com os quais foram realizadas entrevistas e estudos de suas montagens entre os meses de Julho de 2008 e Janeiro de 2010. Há também análises críticas acerca das relações institucionais, políticas e econômicas desenvolvidas por organizações e outros coletivos teatrais de São Paulo e Londrina, em prol do detalhamento das suas opções políticas, estéticas e plásticas

This dissertation studies conservative modernism through the work of three Brazilian authors: Olavo Bilac, Graça Aranha and Monteiro Lobato. The three of them lived and were active between the 1890s and 1930s and were influential and controversial public figures during that period. Commonly criticized by the avant-garde modernists, their names remain associated with conservative and traditional views of modernity. I analyze how these three authors dialogued with the literary and journalistic circles and what kind of impact their works had when confronted with the avant-garde generation. I argue that some of their main ideas – misconceived in their attempt to answer the dilemmas of Brazilian society at the time – represented, nevertheless, an opportunity to think about the dialogue between high culture and popular culture, key elements of national identity used in the political discourse, and the role of the writer. These three central issues were tackled in the development and accommodation of modernity in the social and political discourse at that time.

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Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The study centered on the four composers' compositional techniques, and the relationship between the voices or strings to the piano was identified. It also revealed the technical demands placed on the pianist. Each partsong or chamber work movement was first briefly analyzed and then suggestions to the pianist/ensemble were made, which were based on the analysis, and that intended to draw the pianist's attention to the most relevant concerns that he will face while preparing this music. The works that I included in this study are from the first period of American history in which American composers wrote significant pieces of art music. The compositions from this turning point in American history reveal a fascinating mix between German Romantic, Modernist, and "American" elements. I found both the partsongs and chamber pieces to be worthy of study, and the large body of works of these four composers, in my opinion, deserves greater exposure.The piano writing, in both their partsongs and chamber works, is quite accomplished and reveals just how gifted these four composers were as pianists. The varied piano textures and the technical demands for the pianist create challenging, yet enjoyable interesting, piano parts, which serve both the partsongs and chamber pieces very well. The piano writing of these four composers' chamber pieces is more complex than that of their partsongs, but both genres contain effective piano parts. Contemporary audiences of classical music would find the piano writing of these works (not to mention the works in their entirety) to be very worthwhile. / School of Music

It is a central claim of modern linguistic theory that linguists do not prescribe, but describe language as it is, without pronouncing on correctness or judging one variety better than another. This attempt to exclude evaluation is motivated by a desire to be ' politically correct', which hinders objective analysis of language, and by an ill-advised imitation of the natural sciences, which obstructs the discipline's progress towards becoming a science in its own right. It involves linguists, as users of a valued variety, in self-deception and disingenuousness, distances them from the concerns of the ordinary language user, and betrays a failure to understand the involvement of social values in language, the nature of language itself, and the limits of linguistic science. On a wider scale, linguistics reflects society's devaluing and mechanisation of language. Despite growing concern expressed in the literature, and the incoherence that becomes apparent when linguists attempt to address social problems using a theory that regards language as an autonomous object, newcomers to the discipline continue to be taught that anti-prescriptivism is the natural corollary of a scientific approach to language. This thesis suggests that the way out of these difficulties is to rethink the meaning of ' theory' in linguistics. If we take the reflexivity of language seriously, building on M.A.K. Halliday's notion of 'linguistics as metaphor', we are reminded that a linguistic theory is made of language. Metalanguage must use the experiential and interpersonal meaning-making resources of everyday language. It follows that a linguistic theory cannot escape being evaluative, because evaluation is an inherent part of interpersonal meaning. If we fail to notice our own metalinguistic evaluation, this is because language disguises its evaluative meanings, or perhaps we are just not used to thinking of them as part of the grammar. To achieve clarity about the involvement of value in language, we need to turn our metalanguage back on itself - 'using the grammar to think with about the grammar' . Some ways of doing this are demonstrated here, turning the resources of systemic functional linguistics on linguists' own language. The circularity of this process should be seen not as a drawback but as a salutary reminder that linguistics is an interpretive rather than a discovery process. This knowledge should help us revalue language and make a place for evaluation in linguistic theory, paving the way for a socially responsible and productive linguistics.

Em pleno século XXI, assistimos ao surgimento do romance A Mercy (2008), da norte-americana Toni Morrison, que invoca o passado de povos que estiveram historicamente às margens da cultura nacional norte-americana. A Mercy retorna a história da colonização anglo-saxõnica do século XVII, para contar, a partir dos viés do trauma, a história de Florens, que ainda menina é oferecida pela mãe, no lugar de seu irmão menor, para pagamento de dívidas do dono da plantação. O romance marca o envolvimento por parte de Toni Morrison em um projeto estético-político que visa resgatar a história das relações raciais nos Estados Unidos pelo viés do trauma. Este estudo apontacomo, a partir do redirecionamento do foco para a interioridade da experiência histórica - a história como trauma -, Morrison possibilita um encontro diferenciado com um passado historicamente silenciado, através de estratégias textuais que mobilizam não apenas a razão, a percepção crítica do leitor, mas que transformam o ato da leitura numa experiência vivida revelando o potencial da literatura para transformar as relações humanas. / Toni Morrison’s latest novel A Mercy (2008), evokes the past of peoples that were historically confined to the margins of the American culture. Morrison goes back to the period of the Anglo-Saxon colonization in the 17th century to tell the story of Florens, who is offered by her mother as the payment of a debt by the plantation owner. Florens’ story is narrated from the point of view of trauma, an aspect that highliths Toni Morrison’s commitment to a political-aesthetical project to recover the history of racial relations in the United States from an inner perspective. This thesis shows how Morrison’s text allows for a different encounter with a historically silenced past, focusing on the interiority of historical experience – i.e., on history as a trauma. Through multiple textual strategies, Morrison’s novel mobilize not only the reader’s critical perception but transform the act of reading into a living experience, one that can reveal the power of literature to change human relations.