Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-10-10T12:13:31Z No. of bitstreams: 1 Felipe Klafke Konzen._pdf.pdf: 825731 bytes, checksum: 0cd18bf4f9b0763863e0e2d5ba938a1e (MD5) / Made available in DSpace on 2018-10-10T12:13:32Z (GMT). No. of bitstreams: 1 Felipe Klafke Konzen._pdf.pdf: 825731 bytes, checksum: 0cd18bf4f9b0763863e0e2d5ba938a1e (MD5) Previous issue date: 2017-12-01 / Nenhuma / Com base na obra do filósofo brasileiro, Cláudio Henrique de Lima Vaz, Antropologia Filosófica I e II, e motivado pela aporia várias vezes milenar sobre o que vem a ser o homem, as sucessivas linhas traçam o percurso dialético proposto pelo autor com o intuito de perceber a construção categorial que permitem sua compreensão filosófica sobre o conceito de pessoa. O primeiro passo será o de revisitar rememorativamente os autores de maior influência no pensamento do filósofo em questão, trata-se de Platão, Aristóteles, Tomás de Aquino e Hegel. Posteriormente é feita uma primeira imersão na obra vaziana analisando as bases lógicas e dialéticas de sua proposta de discurso sistemático, momento necessário para a compreensão de sua metodologia reflexiva. Por fim cabe o percurso categorial por meio de uma dupla leitura metodológica, a inteligibilidade dita para – nós e a inteligibilidade em – si, que permitem a leitura adequada e metodologicamente coerente com a proposta da obra para com o conceito de pessoa. / Based on the work of the Brazilian philosoper, Cláudio Henrique de Lima Vaz, Philosophical Anthropology I and II, and motivated by the aporia many times millennial about what is the man, the successive lines trace the dialetic path proposed by the author in order to comprehend the categorial construction which allows its philosophical comprehension about the concept of person. The first step will be to revisit rememoratively the authors of bigger influence in the current philosophical thinking, who are Plato, Aristotle, Thomas Aquinas and Hegel. Posteriorly, a first immersion is done in the “vaziana” work, analyzing the logic and dialetal basis of his proposal of sistematic discourse, which is necessary to comprehend his reflexive methodology. Lastly, there is the categorial path through a double methodologic reading, the intelligibility said to – us and the intelligibility in – itself, which allow the adequate Reading and coherent methodology with the proposal of the work in relation to the concept of person.

Orientador: Sadao Omote / Banca: Júlio Romero Ferreira / Banca: Maria Salete Fábio Aranha / Banca: Olga Maria Piazentim Rolim Rodrigues / Banca: Rita de Cássia Tibério Araújo / Resumo: O objetivo deste estudo foi identificar as representações sociais presentes no universo de pensamento de alunos com deficiência e de professores habilitados em uma das quatro áreas de deficiência (auditiva, física, mental e visual). Mais do que conhecer o que pensam, nosso objetivo era decifrar como se dá o processo de construção de suas concepções, quais as influências que recebem, como lidam com as informações que lhes estão disponíveis e qual o papel desempenhado pela escola, na elaboração dessas teorias. Para conduzir este estudo, foram entrevistados 43 alunos com deficiência (auditiva, física, mental e visual) e 23 professores de educação especial. Para a análise dos dados contamos com consultores para avaliação do sistema de categorias analíticas e para o estabelecimento do grau de intersubjetividade, o que deu maior segurança e objetividade para a interpretação analítica. Em nossa análise, consideramos que o sistema de ensino continua a refletir, quase que diretamente, as relações de produção da sociedade, portanto, o professor, visto como um elo dessa cadeia, está também, como o aluno, excluído de qualquer processo de reflexão. Esse caráter despolitizado do ensino público e o descaso político-administrativo traz como conseqüência uma ação educativa pouco reflexiva. A escola parece não levar o aluno a transpor o limite do seu desenvolvimento natural. Ao contrário, aparentemente, está tão fragilizada como àqueles a quem atende, por conseqüência o aluno não sai do lugar, não avança nem no conhecimento, nem no desenvolvimento. Os alunos e professores encontram-se sem expectativas, parecem ter perdido o rumo da história e a essência humana que, do ponto de vista sócio-histórico, possui a possibilidade concreta de alterar a realidade objetiva. / Abstract: The aim of this paper was to identify the social representations between the context of deficient students and teachers specialized in one of the four deficiency areas (hearing, physical, mental and visual). Our goal was not only to know their thoughts but also to understand how the construction process of its conceptions happens, which are the influences they go through, how they work with the available information and which is the school function on elaborating these "theories". An interview with 43 deficient students (hearing, physical, mental and visual) and 23 deficient-children teachers was made to have data collection. The data analysis counted with consultants to evaluate the analytical categories systems and to establish the relation degree between the researcher and her consultants providing confidence and objectivity to the analytical understanding. In the analysis, the teaching system is considered to reflect on society's production relation, almost directly, therefore, the teacher, acting as a link of this chain, like the student, is also excluded of any reflection process. The non-political feature of public teaching and the political-administrative inattention result on a lack of reflection of the educational area. Apparently, the school is a much fragile as the ones who are attended by it. Consequently, the student has no progress in knowledge or in development. The students and the teachers have no expectation, they seem to have lost the history course and the human essence, which, according to the social-historic view, has real possibility of changing the objective reality. / Doutor

nÃo hà / A linguagem, como objeto da investigaÃÃo filosÃfica, à uma das temÃticas mais importantes herdadas do Ãltimo sÃculo. Benjamim toma este tema, em suas investigaÃÃes, para se contrapor Ãs tentativas filosÃficas de cientificizar a linguagem. Para Benjamim, em sua filosofia, a linguagem à objeto de si, dentro de uma anÃlise ontolÃgica, em que uma linguagem particular se eleva pela traduÃÃo à linguagem pura do nome. Esta anÃlise à amparada, conforme o prefÃcio de Origem do Drama Barroco, na tradiÃÃo dialÃtica platÃnica-hegeliana. Esta dissertaÃÃo tem como objetivo expor o desenvolvimento da filosofia da linguagem de Walter Benjamim, a partir de trÃs textos especÃficos: Sobre a linguagem Geral e a Humana â Ãber die Sprache Ãberhaupt und Ãber die Sprache des Menschen (1916), A Tarefa do Tradutor â Die Aufgabe des Ubersetzers (1921) e o prefÃcio da obra Origem do Drama Barroco AlemÃo - Ursprung des deutschen Trauerspiel (1924-25). A meta desta exposiÃÃo à mostrar que na filosofia benjaminiana a linguagem se dà no processo de desdobramento histÃrico da totalidade do real no ato de nomear humano.

Este trabalho tem como objetivo principal analisar as atividades experimentais como recurso de ensino-aprendizagem, com base na Teoria da atividade. As atividades experimentais têm sido apontadas por muitos professores e pesquisadores como responsável por diminuir as dificuldades e proporcionar uma aprendizagem mais prazerosa. Porém, pesquisas ainda não mostraram de maneira clara qual a relação entre a realização de atividades deste tipo e a aprendizagem. Diante da diversidade de sentidos atribuídos à atividade experimental buscamos entender como este tipo de atividade tem sido concebida. Este panorama geral nos permite entender o grande número de abordagens que se pode conseguir com este recurso. Com isso, evidenciamos problemas que têm sido associados a realização de atividades experimentais, os quais exploramos, sob a perspectiva cultural-histórica, suas origens. Nesta perspectiva, entendemos que a Física é uma manifestação da atividade do homem no mundo, isto é, não pode ser compreendida de maneira descontextualizada, fora das práticas humanas. Dessa forma, a educação deve proporcionar aos sujeitos a imersão nas práticas culturais já estabelecidas e fornecer a ele instrumentos de mediação, inclusive os da ciência, para que atue no mundo de maneira consciente. A atividade experimental, como parte dessa produção cultural, só adquire sentidos quando mergulhada em uma práxis, onde sujeitos compreendem seu papel na atividade, quando compartilham certos instrumentos mediadores comuns que os farão ter acesso ao mesmo objeto, ou seja, participar de uma mesma atividade. Como fruto desta atividade, após um processo de significação e ressignificação, de reconhecimento dos contextos de validade dos instrumentos mediadores, os sujeitos, de posse destes instrumentos, tem chance de atuar em outros contextos dando novos significados a sua vivência. / The main objective of this work is to analyze the experimental activities as tools for teaching and learning based on Activity Theory. The experimental activities have been pointed out by many teachers and researchers as responsible for reducing the difficulties and provide a more enjoyable learning. However, researches do not show clearly what is the relationship between perform such activities and learning. Facing the diversity of meanings attributed to the experimental activity we initially review the literature about the ways this type of activity has been designed. This overview allows us to understand the numerous approaches that can be achieved with this resource. Then, we highlight problems that have been associated with the use of experiments and we explore them from the cultural-historical perspective. From this point of view, we understand that physics is a manifestation of human activity in the world, i.e. cannot be understood decontextualized from the human practices. Thus, education should provide subjects\' immersion in the cultural practices already established and providing mediation tools, including science, to act consciously in the world. The experimental activity, as part of cultural production, only acquires meaning when imbibed into a practice where subjects understand their role in the activity, they share common mediating tools that will provide access to the same object, or part of the same activity. As a result of this activity, after a process of meaning and reinterpretation, the recognition of the contexts of validity of the mediators\' instruments, the subjects in possession of these instruments have a chance to perform in other contexts, giving new meaning to their living situation.

O presente trabalho propõe-se a analisar a controvérsia da experimentação animal por meio do método da dialética materialista a partir de duas unidades que compõem a temática: o teor dos argumentos usados por diferentes atores na controvérsia e as contradições que engendram os sistemas de atividade dos sujeitos. Por meio da dialética, buscou-se superar a dualidade dos argumentos apresentados, na busca por novas formas de divulgação científica. Sem julgar a validade e o mérito das argumentações, foram analisados o discurso de duas pesquisadoras, dois ativistas, um político e um representante do Conselho Nacional de Controle de Experimentação Animal. A partir do arcabouço estrutural da Teoria da Atividade, proposto por Engeström, buscamos compreender onde se localizam as contradições mais evidentes no discurso dos sujeitos e discutir como ações de divulgação científica poderiam propiciar um ambiente favorável para a superação dessas contradições e o desenvolvimento qualitativo do sistema de atividade. Por essa razão, queremos trazer, para esta investigação, as conferências de consenso como ferramenta inovadora de comunicação da ciência, em uma abordagem deliberativa e com participação ativa da sociedade, que nos auxilie no avanço desses conflitos. / This study proposes to analyze the controversy of animal experiments by the method of materialist dialectics from two units that make up the theme: the content of the arguments used by different actors in the controversy and contradictions that engender the activity systems subject. Through the dialectic, he sought to overcome the duality of the arguments made in the search for new forms of science communication. Without judging the validity and the merits of the arguments, we analyzed the speech of two researchers, two activists, a politician and a representative of the National Council for Animal Experimentation Control. From the structural framework of Activity Theory, proposed by Engeström, we try to understand where there are the most obvious contradictions in the discourse of subjects and discuss how science communication actions could provide a favorable environment for overcoming these contradictions and the qualitative development of the system activity. For this reason, we want to bring to this research, consensus conferences as an innovative communication tool of science, in a deliberative approach and active participation of society, to assist in the advancement of these conflicts.

La présente thèse se propose de faire une lecture esthétique du politique dans le cinéma de Jean-Luc Godard de 1969 à 2014, en essayant de démontrer que l'esthétique du politique dans son cinéma s'exprime par un renouveau de la pensée dialectique de l'image.Cette conception de la dialectique godardienne de l'image est influencée par la philosophie althussérienne des « Appareils idéologiques d'Etat » et constitue un profond renouvellement des concepts hégéliens et marxistes de la dialectique, au sens où la dialectique godardienne de l'image est une dialectique sans synthèse, qui se caractérise par une pensée du troisième plan développé à partir du rapprochement inédit de deux images, qui entretiennent un rapport à la fois « lointain et juste » sur le mode de la métaphore surréaliste et du collage.La période du Groupe Dziga Vertov représente chez Godard un foyer de réflexions esthétiques et politiques, ainsi que d'expérimentation, où il met en place véritablement cette pensée politique et dialectique de l'image, qu'il va ensuite approfondir dans les autres périodes : initiation de la dialectique entre image et son dans la période du Groupe Dziga Vertov ; dialectique entre image et langage influencée par les systèmes de la télévision et de la publicité, dialectique de la technique vidéo et du cinéma dans la période Sonimage, images dialectisées dans l'esthétique de la relève et la pensée du contre-champ et du hors-champ dans les Histoire(s) du cinéma, esthétique dialectique de la mise en ruine dans l'exposition Voyage(s) en Utopie, esthétique dialectique du désastre dans Adieu au langage et Trois désastres..Ces différentes esthétiques dialectiques de l'image se retrouvent d'une période à l'autre, si bien que ces périodes entretiennent des rapports d'interaction différentielle sur le mode de la dialectique godardienne.Du reste la pensée dialectique godardienne nous conduit à dépasser l'approche traditionnelle que les études universitaires ont des rapports entre les différentes périodes de l'œuvre de Jean-Luc Godard – période du Groupe Dziga Vertov (1969-1972), période du Groupe Sonimage (1972-1979), période des Histoire(s) du cinéma, période Péripheria, période de la collaboration avec Fabrice Aragno et Nicole Brenez… –, conçus en termes soit de rupture, soit de continuité. En réalité, de 1969 à 2014, tout se passe comme si la filmographie de Jean-Luc Godard progressait de façon dialectique et hélicoïdale à la manière de la philosophie de l'histoire de Giambattista Vico, fondée sur des moments de ruptures et de continuités, et faisant de l'esthétique du politique, une esthétique de la complexité, qui repose sur une série d'« images-pensées » et une pensée dialectique et rhizômatique ouverte.La pensée esthétique et politique de Godard est comprise dans cette tension dialectique entre un mouvement vers l'avant et un regard rétrospectif ouvrant le champ des possibles d’un véritable socialisme cinématographique / The present thesis proposes to make an aesthetic reading of politics in Jean-Luc Godard's cinema from 1969 to 2014, by trying to demonstrate that the aesthetics of politics in his cinema is expressed by a renewal of the dialectical thought of the image. This conception of the Godardian dialectic of the image is influenced by the Althusserian philosophy of the "ideological apparatuses of state" and constitutes a profound renewal of the Hegelian and Marxist concepts of dialectics applied to the cinematographic paradigm, in the sense that the godardian dialectic of the image is a dialectic without synthesis, which is characterized by a thought of the third shot developed from the unusual rapprochement of two images that maintains a relationship both « far and right » in the mode of surrealist aesthetics of metaphor and collage.The period of the Dziga Vertov Group represents in Godard’s filmography a space of aesthetic and political reflections, as well as of experimentation, where it really sets up this political and dialectical thought of the image, which it will then deepen in the other periods: initiation of the dialectic between image and sound in the period of the Dziga Vertov Group; dialectic between image and language influenced by the television and advertising systems, dialectic of video technique and cinema in the Sonimage period, images dialectised and political thought of the reverse shot and off-screen in the History (s) of cinema, dialectical aesthetics of ruining in the exhibition Voyage (s) in Utopia, dialectical aesthetics of disaster in Farewell to language and Three disasters …These different dialectical aesthetics of the image are found from one period to another, so that these periods maintain relations of differential interaction on the mode of Godardian dialectic. Moreover, Godard's dialectical thought leads us to question the traditional approach that the university studies have to the relations between the different periods of the work of Jean-Luc Godard (period of the Dziga Vertov Group (1969-1972), period of the Sonimage group (1972-1979), period of the History (s) of the cinema, period Peripheria, period of the collaboration with Fabrice Aragno and Nicole Brenez ...), conceived either in terms of rupture or continuity.In reality, from 1969 to 2014, everything happens as if the filmography of Jean-Luc Godard progressed dialectically and helically in the manner of the philosophy of history of Giambattista Vico, defined by moments of rupture and continuity and making the aesthetics of politics an aesthetics of complexity, based on a series of "thought-images" and an open dialectical and rhizomatic thought.Godard's aesthetic and political thought is included in this dialectical tension between a forward movement and a retrospective gaze opening the field of possibilities of a true cinematographic socialism.

As a whole, this work serves to illuminate the tragic as a fundamental human phenomenon and an objective fact that is distinct not only from comedy and irony but from other forms of calamity and modes of failure. I consider three distinct sources of philosophical knowledge on tragedy. The first is tragic drama and literature, the second is the theory of the tragic and the third source consists of the employment of the concept of tragedy to discuss events or characters that one encounters in life. I carefully draw upon the first two sources to thicken the elaborations of four different facets of the third. In this process, I extrapolate Szondi’s notion that tragedy is a specific dialectic in a specific space. In the course of this work, I place a greater emphasis upon this general concept of the tragic as opposed to a poetics of tragedy. The dissertation bears out, however, that it is ultimately poetics - and not the dialectic as general concept - that provide us with the richer insights into tragedy as it unravels in life. The specific dialectic of tragedy unravels so as to cause the irreplaceable loss of something of great value. This provides me with a structuring element that ties the four central chapters together. In terms of content, I emphasize also upon the tragic flaw as a set of character traits (manifested by an individual or some form of collective) which keep tragedy in place. The consideration of the figure of Willy Loman allows me to examine the tragedy of failure of expectations which is a distinct category of the tragic and yet it oscillates such that ties together the other themes. A central idea that emerges from an analysis of the overlapping themes is that prior to tragedy is the investment of the deepest inner resources into a process. This investment gives rise to identity and to expectations. As a tragedy unfolds, the source of the identity or of expectation becomes also the birth place or the generator of all threats to this identity and the collapse of long nurtured expectations.

Die Arbeit beschreibt die humanistische Reform des 'Triviums', also der grammatischen, dialektischen (logisch-argumentativen) und rhetorischen Ausbildung, wie sie sich in dem Zeitraum von 1480 bis 1540 an Schulen und Universitäten durchsetzte. Die Arbeit ist dabei sowohl historisch wie systematisch angelegt, indem sie die Lehrinhalte der jeweiligen Kunst an ausgewählten Lehrbüchern darstellt, gleichzeitig aber unter ständigem Rückbezug auf die scholastisch-mittelalterliche Tradition die humanistischen Neuerungen davon abgrenzt. Im Zentrum stehen Werke von Lorenzo Valla, Rudolf Agricola, Erasmus, Juan Luis Vives und Philipp Melanchthon. Es stellt sich dabei heraus, daß die humanistischen Neuerungen in erster Linie die Praxisbezogenheit des Triviums betreffen, erst aus dieser ergeben sich dann die inhaltlichen Neuerungen. Unter Praxisbezogenheit ist dabei sowohl die Ableitung von Grammatik, Dialektik und Rhetorik aus der Beobachtung ihrer immer schon vorgängigen Anwendung zu verstehen, als auch ihre Anwendung zum Zweck der sprachlichen, argumentativ-logischen und rhetorischen Analyse. D.h. das grammatische, dialektische und rhetorische Regelwerk wird auf deskriptivem Wege gewonnen, um wiederum in der Analyse auf die Praxis zurückgewendet zu werden. Dieser Analyse werden dabei von alltäglichen Äußerungen, politischen, religiösen oder sonstigen sachlichen Texten bis hin zu literarischen Werken alles unterzogen. In einem letzten Teil stellt die Arbeit drei solcher Analysen vor und versucht sich schließlich selbst an einer dialektisch-rhetorischen Analyse dreier dramatischer Bearbeitungen der Parabel vom verlorenen Sohn.

The aim of this thesis is to analyse sustainable development as a political challenge at the local level of governance. It explores how local organisation for sustainable development (LA21, a short form of local Agenda 21) is influenced by economic conditions in contemporary society, as well as the specific conditions in the local context. The empirical focus is activity relating to LA21 in four Swedish municipalities (Kungsör, Sala, Trollhättan and Örebro). In analysing the challenge of sustainable development, the economic development model of contemporary society is used as a theoretical starting-point. It is argued that the promotion of economic growth is crucial in determining the parameters of environmental policy; indeed, environmental policy can be described as a result of a dialectic contradiction between economic and ecological concerns. As theoretical tools, I define three perspectives on how to deal with ecological problems. Economism represents the ideological foundation of the present growth economy, and sees environmental problems as something secondary to the goal of creating economic growth. Ecomodemism represents an effort to implement sustainable development through reforming the growth economy. Social ecology promotes the substitution of the growth economy with another economic model in realising sustainable development. The analysis shows that LA21 has in a number of ways raised the profile of environmental concerns in the four municipalities examined. Their LA21 action programmes express a radical (social ecological) political agenda for sustainable development. The municipal strategies have also gradually widened their scope to, for example, include more complex and controversial issues. However, most of the participating actors consider LA21 as a reform strategy for sustainable development, rather than an ideological challenge to the present economic growth model. The political leaderships tend to be influenced by ecomodernist ideas, and usually also consider LA21 as an economic development project. When in conflict with environmental concerns, economic growth policies tend to be prioritised. Conflicts over growth-related projects also tend to reduce the legitimacy of LA21 among citizens. In the four studied municipalities, LA21 gradually reaches a critical point at which further deepening (corresponding to the goals of action programmes) is unlikely unless local actors change their perceptions of ecological problem-solving. / <p>ISBN 91-7305-041-5 (ogiltigt nummer) finns angiven i tryckt bok.</p> / digitalisering@umu

Satire might not inspire physical action—the physical act of picking up a sign to picket the government—but it moves an audience towards a state of mental action by confronting audiences with the interdictions and iniquities it fears the most. The rhetorical qualities of satire need to be acknowledged to fully understand how satire functions. To look at an example of contemporary satire, like The Onion, and see how it functions as a tool to create knowledge, three concepts can be borrowed from the rhetorical tradition: (1) Plato’s dialectic as a rhetorical model for Donald Griffin’s “Rhetoric of inquiry and provocation” ; (2) Aristotle’s means of persuasion and Han Tzu’s recognition of the imbalanced power-dynamics inherent in discussing dissentient views to see how satire’s audience and its controversial or unmentionable content is inextricably intertwined, making humor a satirist’s primary mean of persuasion; and lastly, (3) the Sophists’ understanding of situational truths and how it informs the cultural standards and institutions that satire contends. A satirist wishes to create, through the use of laughter, a space for questioning the worst qualities of society and humanity, provoking inward reflection in order to challenge the cultural rationalization that informs societal behavior.