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Orientador: Henrique Tahan Novaes / Banca: Fabiana de Cássia Rodrigues / Banca: Júlio César Torres / Resumo: A presente pesquisa é dedicada a compreender as propostas, os debates e o pensamento educacional de Florestan Fernandes na sua atuação como deputado federal na Assembleia Nacional Constituinte (ANC), em 1987-88. Florestan Fernandes militou pela educação pública nos anos de 1960, na campanha "Em Defesa da Escola Pública" e, na década de 1980, como deputado federal constituinte (1987-88), pelas demandas históricas trazidas dos embates políticos travados na década de 1960. Para realizar a pesquisa, as categorias de análise que utilizamos para nos nortear foram: a) a superação dos resquícios dos traços coloniais vindos do antigo regime servil e a conquista da democracia; b) a luta dos trabalhadores da educação e a formação da autoconsciência dos "de baixo"; e c) verba púbica somente para a escola pública. Florestan Fernandes, devido as suas experiências vivenciadas pelo golpe empresarial-militar de abril de 1964, e pelo aprofundamento de suas pesquisas sobre as especificidades da formação do capitalismo no Brasil, incluiu, em suas considerações sobre os dilemas educacionais brasileiros, elementos socialistas. Recortamos o último período para análise, principalmente, porque descobrimos que não há trabalhos que focalizem esse período de sua atuação como pensador e militante da educação brasileira e por considerarmos que suas proposições, debates e pensamento sobre o tema nos ofereceriam grandes contribuições para pensarmos os dilemas educacionais que ainda permeiam a nossa realidad... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present research is dedicated to understanding the proposals, thinking and debates about education of Florestan Fernandes in his role as federal deputy in the National Constituent Assembly (ANC), in 1987-1988. He was one of the most esteemed Brazilian intellectuals of the twentieth century. Florestan Fernandes fought for public education in the 1960s, in the campaign "In Defense of Public School", and in the 1980s, as constituent federal deputy (1987-88), for the historical demands brought by political conflicts of the 1960s. The categories of analysis to carry out this research were: a) the overcoming of remnants of the colonial traits coming from the old servile regime and the conquest of democracy; b) the struggle of education workers and the formation of self-consciousness of lower class people; and c) public funds only for public school. Due to his experiences of the military-business coup of April 1964 and by deepening his research on the specificities of formation of capitalism in Brazil, Florestan Fernandes included socialist elements in his considerations on Brazilian educational dilemmas. We cut the last period for analysis mainly because we found that there are no papers focusing on this period of his work as a thinker and militant of Brazilian education. We also consider that their propositions, debates and thought on the subject would offer us great contributions to think about the educational dilemmas that still permeate our reality. The procedures that we u... (Complete abstract click electronic access below) / Mestre

白立平. / 呈交日期: 2004年10月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻 (p. 219-238). / Cheng jiao ri qi: 2004 nian 10 yue. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts also in English. / Bai Liping. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 219-238).

The term "Psychological ballet" has been used in reference to Antony Tudor's ballets dating from John Martin's January 16, 1940, review of "Lilac Garden" in The New York Times. Until this thesis, the psychological ballet as a genre has been overlooked and left undefined. The Psychological Ballet can be defined by: (1) using Antony Tudor's "Pillar of Fire" as a model example and (2) analyzing the term "psychological ballet" into its two components "Psychological," and "Ballet," respectively. The contribution of drama, with attention to character, is explored. Those dance works which do not fall under the category of Psychological Ballet but are works whose themes "have mental origin or are affected by mental conflicts and/or states" will be defined as Psychogenic Works.

This dissertation is a study of Kohlberg's moral psychology, which is a six-stage model of moral development. Kohlberg claims that his stages form a universal invariant sequence and that they are hierarchical, i.e., higher stages are better than lower stages. Accordingly, he claims that Stage 6 morality, which centers on justice, is universally valid. This ethic of justice is embodied mainly in respect for persons, fairness, and the procedural principle of ideal role taking. Kohlberg claims not only that Stage 6 values and principles are universally valid, but also that they are determinate. In other words, reasoning in terms of these values and principles guarantees that, for each particular moral problem, there will be a distinct solution on which all morally mature people could agree. By making these claims Kohlberg is advocating a strong and traditional version of universalism, which I call 'paradigm universalism.' The dissertation is divided into five chapters. In the first two chapters I outline Kohlberg's theory and explore its philosophical implications. In Chapter 3 I discuss Kohlberg's debates with two important critics, Gilligan and Flanagan. Gilligan claims that Kohlberg's emphasis on justice rather than care indicates a gender bias in his model. Flanagan, on the other hand, argues that since morality is multifarious it is wrong to equate morality either with justice or care of a combination of both. While these criticism do point out certain shortcomings of Kohlberg's theory, I argue that they do not seriously threaten the universal validity of Stage 6 moral values and principles in general. Chapter 4 introduces the main philosophical arguments of this dissertation. In this chapter I argue that (1) moral psychology is relevant to moral philosophy; (2) that the claim of hierarchy for the Kohlbergian stages does receive significant support from his research; and therefore (3) Stage 6 does plausibly reflect certain universal moral ideals. At the same time I allow (4) that there is clearly certain cultural bias in Kohlberg's theory and (5) that he is excessively optimistic about the determinacy of Stage 6 moral reasoning. In the final Chapter, I reflect on the universalism-relativism debate in light of Kohlberg's theory. I argue that paradigm universalism is too strong for Kohlberg to support, and that universalism is acceptable only in a weakened form which I call 'minimal universalism.' Contrary to the hope of paradigm universalists, this minimal universalism cannot serve as a comprehensive theory for solving moral problems. Neither does it exclude all forms of ethical relativism, but it does set important limits to any acceptable relativist theory.

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This dissertation presents the ten sonatas for harpsichord written by American composer Vincent Persichetti (1915-1987). The research aims to define the specific approach to musical style that Persichetti embraced in these works. The methodology employs an analytical approach to define that style. The introductory chapter places the harpsichord sonatas in the context of Persichetti’s keyboard repertoire and his general musical output and outlines the limited scholarly research available on the topic. The second chapter contains a short biography of the composer and a review of existing literature pertinent to this study. In the third chapter, the ten sonatas are individually analyzed. The concluding chapter summarizes common stylistic traits found in the analyses. It emphasizes the importance of these works for contemporary harpsichordists, denoting Persichetti’s passion for the rediscovered instrument in the last several years of his life. The stylistic elements found in Persichetti’s harpsichord sonatas include the use of classical forms, the preference for contrapuntal craft as exemplified accompanied melody, mirror technique, and complementary rhythms, the amalgamated harmonic language, the frequent use of polychords, the use of dynamic markings as indicators of the registration as well as for musical expression and the use of the full range of the harpsichord. This research references for the first time the composer’s Tenth Harpsichord Sonata, published posthumously in 1994. / School of Music