This dissertation work is biographical study of Bohumil Markalous - Jaromír John (1882-1952). The aesthetician and promoter of culture life Markalous was publishing his literary works since the First World War under the name Jaromír John. Markalous works as professional journalist for daily news Lidové noviny, Právo lidu, Tribuna and for magazines Přítomnost, Naše doba, Magazín Družstevní práce, etc. He founded and was conducting magazine Bytová kultura (1924-1925)and the book edition Ars of the Orbis publisher (1924-1948). Markalous was personal friend of famous european architekt Adolf Loos and popularized his work and thoughts of the Czech environment. At the turn of 1920s and 1930s was Markalous conducting the editorial of a prominent Czech pictorial magazine Pestrý týden and participated on organization of a Prague social club Společenský klub. In the years between 1934-1946 he aimed his work to the literature and after the Second World War accepted the offer to establish department of aesthetics at the newly founded University of Palacký. One year in his life spend Markalous in Germany and France. The personal heritage of Markalous - John is stored in the separate fund of the Literatury archive of the Museum of Czech Literature in Prague. Majority of his literary, journalistic and aesthetic works as well as correspondence was published.

Made available in DSpace on 2015-04-11T13:48:58Z (GMT). No. of bitstreams: 1 Silvana Santos.pdf: 1686036 bytes, checksum: e4ce7cd3295884085d6c14f8e03f53d3 (MD5) Previous issue date: 2012-08-27 / The research presented here makes a literary reading of the myths Baniwa,Arawak - speaking people from the upper Rio Negro in Amazonas State, collected by a group of researchers in the period 2004 to 2005. The reading in order to know the thoughts and feelings that people is maked in theoretical literature focused on the oral narratives and popular discussion, from theorists of anthropology, history and Greek mythology, the concepts of myth and his relationship with the narrative of indigenous oral tradition, specifically the Baniwa. The content of mythical narratives in question is facing the fishery and refers to the relationship between cosmology, humans and protohumans essential for the socio-cultural life Baniwa / A pesquisa aqui apresentada faz uma leitura literária dos mitos Baniwa, povo aruak - falante da região do Alto Rio Negro, no Estado do Amazonas, coletados por um grupo de pesquisadores no período de 2004 a 2005. A leitura, visando a conhecer os pensamentos e sentimentos desse povo, está aportada nos teóricos da literatura voltados para a narrativa oral e popular, discutindo, a partir de teóricos da antropologia, da história e da mitologia grega, conceitos de mito e a relação dele com a narrativa dos povos indígenas de tradição oral, especificamente os Baniwa. O conteúdo mítico das narrativas em análise está voltado para a atividade pesqueira e remete à relação entre a cosmologia, seres humanos e proto-humanos, essencial para a vida sócio-cultural Baniwa

The work brings critical and philosophical perspective on the issue of art and mass culture in contemporary society. Relying on H.-G. Gadamer's, T. W. Adorno's and Walter Benjamin's ideas. The work performs a summary of their thoughts, focusing on art as an example of humanities- scientific investigation in the case of H.-G. Gadamer, the criticism of the cultural industry and its vital role in the thinking of T. W Adorno and the issue of technical reproducibility of works of art in a Walter Benjamin's essay. The work focuses on the present social functions of mass culture, its internal structure, on the issue of its quality, taking into account the extent to which this appears to be useful. The main topic was ultimately shown to be a phenomenon of education. Keywords. Philosophical Anthropology, Philosophy of Art, Culture and Society, Mass Culture.

The main aim of this thesis is to look at school as a place where children learn values con-nected with civil society. It tries to answer the question "How can schools prepare their students for participation in civil society with regard to values". This answer will be an-swered by studying of literature focused on this issue and by a research at chosen elemen-tary school. Design of research is taken from study of Klaassen and Huwae (2006) which has been done recently at Netherland elementary schools. There is no study like that in the Czech Republic and this thesis should bring basic information about this issue.

<p>  </p> <p>The present study describes the pragmatic functions and the social meaning of the discourse marker (DM) <em>órale</em>. <em>Órale </em>is a recognized and salient DM in Mexican Spanish (Mejía-Gómez, 2008; Mendoza-Denton, 2011; Navarro, 2005), but research on its pragmatic meanings and use in interaction and society is minimal. Considering previous literature on discourse markers and descriptions of <em>órale</em>, two research questions were addressed to examine the pragmatic and sociolinguistic uses of <em>órale</em>: (1) What are the pragmatic functions of <em>órale</em>? and (2) Do gender, age, and educational level affect the use of <em>órale</em>? By answering these research questions, the current investigation represents the largest and most systematic analysis of <em>órale</em> to date, and it offers both pragmatic and sociolinguistic understandings. </p> <p>The analysis considered all 189 <em>órale </em>tokens in the Corpus Sociolingüístico de la Ciudad de México (CSCM) (Butragueño & Lastra, 2011–2015)<a href="https://hammer.purdue.edu/account/home#_ftn1" target="_blank">[1]</a>. The pragmatic analysis relied on an iterative approach, using open coding and axial coding (Corbin & Strauss, 1990). In addition, it relied on the triangulation of prior descriptions of <em>órale</em>, turn position, and the speakers’ positioning in the social narrative. For the sociolinguistic analysis, descriptive statistics and statistical models were used to understand the effect of gender, age, and education on <em>órale</em> in general and its different functions.</p> <p>Results indicated three discourse functions of <em>órale</em> (i.e., exhortation, affirmation, reorientation), each with two subfunctions. Exhortation functions appeared in first pair part positions (i.e., initiating) and aided speakers in positioning as authoritative. Affirmation functions were in second pair part positions (i.e., responsive) and reflected a more agreeable positioning, and reoriention functions were turn­ medial. Quantitative analysis of the distribution of <em>órale</em> indicated that affirmation was the most frequent function, followed by reorientation and then exhortation. Regarding the sociolinguistic variables, a quasi-Poisson regression model and multinomial logistical models revealed that gender had a statistically significant effect on <em>órale</em> use, in that men used the DM more than women. In addition, in the analysis of the effect of the social categories on function of <em>órale</em>, education had a significant effect. The middle educational level relied more on <em>órale </em>for affirmation compared to other functions than the other groups. The interaction between social categories and functions was discussed with respect to the findings related to gender and level of education.</p> <p>A main contribution of this investigation was the typology of the pragmatic functions of <em>órale</em>. The analysis was sufficient to explain all data and more economical than some prior descriptions. Furthermore, the proposed typology relies on a triangulation of pragmatic function, turn position, and the positioning made by the speaker, which taken together provide validity to the analysis. Other contributions were the distribution of the functions of<em> órale </em>in discourse and among social categories. In addition, a theoretical contribution was made by the proposal of the core meaning, leading to more precise understanding of <em>órale</em>. </p> <p>  <br>    </p> <p><a href="https://hammer.purdue.edu/account/home#_ftnref1" target="_blank">[1]</a> The CSCM is a balanced corpus of 108 interviews with men and women across three social classes and three age groups. Interviews addressed thematic modules, including life threatening situations.</p>

This thesis examines the impact of the 2011 Egyptian Revolution on Egyptian cinema in curating what I call a revolutionary aesthetic. The project also provides an overview of the history of Egyptian cinema and its relationship with politics under different regimes. The artistic space enabled and enhanced by the 2011 Revolution is rooted in the rich cinematic tradition of Egypt and has influenced not only independent cinema but also mainstream and commercial cinema, particularly in terms of visual aesthetics and technical aspects. The films examined are: Dreamaway (El Helm el-Baeid, Marouan Omara and Johanna Domke, 2018), Décor (Ahmed Abdallah, 2014), The Blue Elephant (El Fil el-Azraq, Marwan Hamed, 2014), Sheikh Jackson (Amr Salama, 2017), Withered Green (Akhdar Yabes, Mohammad Hammad, 2016), and Feathers (Reesh, Omar ElZohairy, 2021). This thesis adopts a close textual analysis of the films, to reveal a new avenue for artistic expression, innovation, and transformation in Egyptian cinema. These films employ revolutionary aesthetics in their complex narratives that address political issues and challenge prevailing ideologies. Their cinematography is innovative and transformative, uncovering tensions that are prevalent in the minds of Egyptians but usually concealed by religious and moral standards. The cinematic realism in the mise-en-scène of the films also helps convey issues of corruption, poverty, and radicalization in contemporary Egypt. This thesis argues that Egyptian cinema is transitioning into a new era marked by an artistic approach to exploring societal struggles and complexities.

Esta pesquisa visa compreender o projeto estético-político do cineasta inglês Ken Loach dentro da história da arte política, e como fruto de um processo histórico de crise da Esquerda e fragmentação da classe trabalhadora, intensificado durante a segunda metade do século XX. Observamos de que maneira a obra de Ken Loach estabelece relações entre a criação de uma forma que possua um resgate de elementos formais (como o melodrama, o naturalismo, o neo-realismo italiano e a Czech New Wave) que teriam um potencial utópico em sua origem, e a busca por conteúdos que explicitem a luta de classes. A refuncionalização desses materiais estéticos o aproxima da concepção benjaminiana de História e dos pressupostos políticos do teatro épico de Bertolt Brecht. Os filmes usados como base para a análise são Terra e Liberdade (Land and Freedom, 1995) e Uma Canção para Carla (Carla\'s Song, 1996), filmes cujas temáticas enfatizam momentos de verdadeiros estados de exceção, como a guerra civil espanhola e a revolução nicaragüense. Além disso, ambos os filmes trazem à tona a discussão sobre o papel do cinema político, de suas possibilidades e limites dentro da indústria cultural e da conjuntura sócio-histórica do final do século XX. / This research aims at understanding the aesthetical-political project of the English filmmaker Ken Loach in the course of the history of political art, and as a result of the historical process of crisis of the Left and fragmentation of the working class, intensified throughout the second half of the 20th century. We observe the ways in which the work of Ken Loach establishes relations between the making of a form which possesses a rescue of formal elements (such as melodrama, naturalism, Italian neorealism and Czech New Wave) that have a utopian potential in their origin, and the search for themes that make the class struggle explicit. The refunctionalization of those aesthetical materials brings him closer to the Benjaminian conception of History and the political assumptions of the epic theater of Bertolt Brecht. The movies used as basis for the analysis are Land and Freedom (1995) and Carlas Song (1996), movies whose themes emphasize moments of real states of exception, such as the Spanish civil war and the Nicaraguan revolution. Besides, both films bring about the discussion over the role of political cinema, its possibilities and limitations inside the cultural industry and the socio-historical conjuncture of the end of the 20th century

Esta pesquisa tem como objetivo analisar a produção fílmica do cineasta norte-americano Michael Moore, tendo como questão central a relação que se estabelece entre arte e política num momento histórico que, de um lado, aponta para a crise do capitalismo e, de outro, para a fragmentação política da classe trabalhadora. A partir da análise formal de dois de seus filmes, estabelecemos uma relação com os momentos históricos que lhes deram condições de produção, a fim de compreender o método desenvolvido pelo cineasta para lidar com a crise de representação e comunicação vivida pela arte política nas últimas décadas. Os dois filmes escolhidos para tal análise são Roger e Eu (Roger & Me, 1989) e Capitalismo: uma história de amor (Capitalism: a love story, 2009). Ambos os filmes possuem diagnósticos de momentos distintos da crise do capitalismo, juntamente com a constatação de que existe um desmonte da classe trabalhadora, fruto de uma série de mudanças econômicas, políticas e culturais, especialmente ao longo da segunda metade do século XX e início do XXI. Este trabalho faz um estudo comparativo dos dois filmes, traçando as continuidades e mudanças estéticas e políticas ocorridas na obra de Michael Moore num intervalo de duas décadas, bem como sua relação com as condições de representação da luta de classes dentro da cultura norte-americana. Esta pesquisa reflete sobre o surgimento do fenômeno Michael Moore como parte de um processo de construção e desconstrução de uma tradição da classe trabalhadora norte-americana. / This research aims to analyze the film production of the American filmmaker Michael Moore, proposing as a central question the relationship established between art and politics in a historical moment which, on one side, points to the crisis of capitalism and, on the other side, to the political fragmentation of the working class. Starting from the formal analysis of two of his films, we have established a relationship with the historical moments which gave conditions of production to them, in order to understand the method developed by the filmmaker to deal with the crisis of representation and communication experienced by political art in the last decades. The two films chosen for this analysis are Roger & Me (1989) and Capitalism: a love story (2009). Both films have different diagnoses of the distinct moments of the capitalist crisis, along with the realization of the fact there is a dismantling of the working class, result of a series of economic, political and cultural chances, especially during the second half of the 20th century and early 21st century. This research makes a comparison between the two films, tracing the aesthetic and political continuities and changes in the work of Michael Moore which happened throughout two decades, as well as its relation to the conditions of representation of class struggle in American culture. This work reflects on the rise of the Michael Moore phenomenon as part of a process of construction and deconstruction of a tradition of the American working class.

Esta pesquisa visa compreender o projeto estético-político do cineasta inglês Ken Loach dentro da história da arte política, e como fruto de um processo histórico de crise da Esquerda e fragmentação da classe trabalhadora, intensificado durante a segunda metade do século XX. Observamos de que maneira a obra de Ken Loach estabelece relações entre a criação de uma forma que possua um resgate de elementos formais (como o melodrama, o naturalismo, o neo-realismo italiano e a Czech New Wave) que teriam um potencial utópico em sua origem, e a busca por conteúdos que explicitem a luta de classes. A refuncionalização desses materiais estéticos o aproxima da concepção benjaminiana de História e dos pressupostos políticos do teatro épico de Bertolt Brecht. Os filmes usados como base para a análise são Terra e Liberdade (Land and Freedom, 1995) e Uma Canção para Carla (Carla\'s Song, 1996), filmes cujas temáticas enfatizam momentos de verdadeiros estados de exceção, como a guerra civil espanhola e a revolução nicaragüense. Além disso, ambos os filmes trazem à tona a discussão sobre o papel do cinema político, de suas possibilidades e limites dentro da indústria cultural e da conjuntura sócio-histórica do final do século XX. / This research aims at understanding the aesthetical-political project of the English filmmaker Ken Loach in the course of the history of political art, and as a result of the historical process of crisis of the Left and fragmentation of the working class, intensified throughout the second half of the 20th century. We observe the ways in which the work of Ken Loach establishes relations between the making of a form which possesses a rescue of formal elements (such as melodrama, naturalism, Italian neorealism and Czech New Wave) that have a utopian potential in their origin, and the search for themes that make the class struggle explicit. The refunctionalization of those aesthetical materials brings him closer to the Benjaminian conception of History and the political assumptions of the epic theater of Bertolt Brecht. The movies used as basis for the analysis are Land and Freedom (1995) and Carlas Song (1996), movies whose themes emphasize moments of real states of exception, such as the Spanish civil war and the Nicaraguan revolution. Besides, both films bring about the discussion over the role of political cinema, its possibilities and limitations inside the cultural industry and the socio-historical conjuncture of the end of the 20th century

Submitted by Maria Suzana Diniz (msuzanad@hotmail.com) on 2015-05-19T12:06:39Z No. of bitstreams: 1 arquivototal.pdf: 3135057 bytes, checksum: bc42a334d2220ffc9a6c951648de7843 (MD5) / Made available in DSpace on 2015-05-19T12:06:39Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3135057 bytes, checksum: bc42a334d2220ffc9a6c951648de7843 (MD5) Previous issue date: 2014-08-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Technological and industrial changes in recent times historically defined the transformations of capitalist societies. The development experienced by modernity brings along with itself the means of production, which increased in quantity, speed and diversity. Thus, the relationship between production and consumption has intensified and the market grew, increasing the number of goods available to the population. In this consumer and mass society, the body is gaining more prominence. The appreciation of the body physical appearance is the result of this overexposure in the public space, where the stereotype of a beautiful body, healthy body, shapely body is dictated by the fashion and beauty industry transforming it into an object of consumption. Although, this study aims to analyze the beauty category in its evolution, it changes the perspective on the body and consumer culture in contemporary society, with reference to the physical education professionals working in gyms in João Pessoa city. Regarding to the methodology, research approach is a dialectical-criticism, theoreticalpractical, with a predominantly qualitative analysis perspective. The research involved 14 physical education professionals, working in gyms in João Pessoa city. One semi-structured interview, recorded by the researcher and the instrument used for analysis was the content analysis which was performed. We conclude that behind a discourse of welfare and health, there is a whole ideology that appeals to an ideal of unattainable beauty, characteristic of contemporary society that survives of a overconsumption culture, leading individuals to a constant dissatisfaction. It means that body beauty today, this consumer society, keep the dominant Platonic ideals of order, symmetry, a beauty that is in the object, in appearance. Despite talking about health, quality of life, all this only justifies the way the gyms, surgeries, medications, disorderly quest to maintain an optimal pattern imposed by consumer society, where the physical education professional mostly continues playing the idea of beauty reduced to physical standards; and reduced health to the quest for the perfect body models reported in the media. / As mudanças tecnológicas e industriais ocorridas nos últimos tempos definiram historicamente as transformações das sociedades capitalistas. O desenvolvimento experimentado pela modernidade traz junto a si, o excesso dos meios de produção, que aumentaram em quantidade, velocidade e diversidade. Com isso, as relações entre produção e consumo se intensificaram e o mercado cresceu, aumentando a lista de mercadorias disponibilizadas à população. Nessa sociedade de consumo e massificação, o corpo vem ganhando cada vez mais destaque. A valorização da aparência física do corpo é fruto de sua excessiva exposição no espaço público, onde o estereótipo do corpo belo, do corpo saudável, do corpo escultural é ditado pela indústria da moda e da beleza transformando-a em um objeto de consumo. Desta forma, o presente estudo tem como objetivo analisar a categoria beleza em seu percurso histórico, as transformações da perspectiva sobre o corpo e a cultura do consumo na sociedade contemporânea, tomando como referência os profissionais de Educação Física que atuam em academias de ginástica na cidade de João Pessoal. Quanto à metodologia, é uma pesquisa de abordagem dialético-critica, de cunho teórico-prático, com uma perspectiva predominantemente qualitativa de análise. Participaram da pesquisa, 14 profissionais de Educação Física, atuantes em academias de ginástica na cidade de João Pessoa. Foi realizada uma entrevista semiestruturada, gravada pela própria pesquisadora e o instrumento utilizado para análise foi à análise de conteúdo. Concluímos que por trás de um discurso de bem-estar e saúde, existe toda uma ideologia que apela para um ideal de beleza inatingível, característica da sociedade contemporânea que sobrevive de uma cultura do consumo exagerado, levando os indivíduos a uma insatisfação constante. Ou seja, hoje a beleza corporal, nessa sociedade de consumo, predomina os ideais platônicos, da ordem, da simetria, de uma beleza que está no objeto, na aparência. Apesar de se falar em saúde, qualidade de vida, tudo isso apenas justifica a ida a academia, as cirurgias, os medicamentos, a busca desordenada para manter um padrão ideal imposto pela sociedade de consumo, onde o profissional de Educação Física, em sua maioria, continua reproduzindo a ideia de beleza reduzida a padrões corporais; e de saúde reduzida à busca pelos modelos de corpo perfeito divulgados na mídia.