Made available in DSpace on 2016-04-25T19:21:07Z (GMT). No. of bitstreams: 1 Dissertacao Gilberto Cabral da Silva.pdf: 1528100 bytes, checksum: 1cb9f67fd62cfb84861765c173eda720 (MD5) Previous issue date: 2005-08-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This Work intends an epistemological approach of David Hume s Dialogues Concerning Natural Religion by French philosopher Clément Rosset s category of tragic philosophy . We propose a new interpretative possibility of Hume s thought in the Dialogues, different form the naturalism and beyond the simple skepticism . The concept of tragic philosophy allows one to think the Dialogues Concerning Natural Religion as a work of tragic philosophy, in which the concept of nature is completely dissolved by the skeptic arguments. / Esta dissertação pretende uma abordagem epistemológica dos Diálogos sobre a Religião Natural de David Hume por meio da categoria de filosofia trágica , trabalhada pelo filósofo francês Clément Rosset. Propomos uma nova possibilidade interpretativa do pensamento de David Hume, diferente do naturalismo e além do simples ceticismo. O conceito de filosofia trágica permite pensar os Diálogos sobre a Religião Natural como uma obra de filosofia trágica, na qual é efetuada, através dos argumentos céticos, a completa dissolução do conceito de natureza .

Esta pesquisa intenciona investigar as contribuições de três fotógrafos norte-americanos David Zingg, George Love e Lew Parrella - para o fotojornalismo publicado na revista Realidade e de que forma seus trabalhos se diferenciam daquilo que se produzia no Brasil até o início da década de 1960. A importância da revista no período do regime militar, somada ao destaque que alguns dos fotógrafos contratados naquele momento pela Editora Abril obtiveram posteriormente em exposições de arte em museus e galerias, justificam este estudo, bem como a ausência de trabalhos sobre os três fotógrafos norte-americanos em questão. O recorte temporal desta dissertação vai desde a primeira edição da revista em abril de 1966 até a edição de dezembro de 1968 quando da homologação do Ato Institucional nº 5. Essa escolha deve-se ao fato de que ainda havia uma relativa liberdade de expressão, tanto no âmbito da fotografia quanto do texto, nesse período. Além disso, trata-se da fase de maior relevância social da publicação que em meio a ditadura militar levantou temas que confrontavam o regime. As principais fontes de pesquisa utilizadas foram os próprios exemplares da revista e a bibliografia recente produzida por ocasião do cinquentenário do Golpe de 1964. Embora a revista Realidade seja objeto de muitos estudos, o uso que fez da fotografia ainda não recebeu uma análise mais aprofundada, o que abre espaço para esta pesquisa, que se faz apoiada no cruzamento dos campos da história da fotografia e da política. / This research is intended to investigate the contributions of three American photographers - David Zingg, George Love and Lew Parrella - for the photojournalism published in Reality magazine, and in what way their jobs are different from what was produced in Brazil until the early 1960s. The importance of the magazine during the military dictatorship regime, added to highlight some of the photographers hired at the time by Editora Abril subsequently obtained in art exhibitions in museums and galleries are some of the elements that justify this study, as well as the lack of published researches focused on these three North American photographers. The time frame chosen for this dissertation is from the first issue of the magazine in April 1966 to the December 1968 edition, when the approval of the Institutional Act No. 5 is instituted in Brazil. This choice is due to the fact that during this period there was still a relative freedom of expression, both within the grafic as textual genres. In addition, it can be consdered the publication\'s biggest stage of social relevance, for during the military dictatorship it raised themes that confronted the regime. The main sources of research used were the copies of the magazine themselves and the recent bibliography on the occasion of the fiftieth anniversary of the 1964 coup in Brazil. Although Reality magazine is already the subject of many studies, it makes room for this research, which is supported at the intersection of the fields the history of photography and politics.

No description available.

<p>Begreppet counterinsurgency har fått stor uppmärksamhet efter 2001 och USA:s militäraengagemang i Afghanistan och Irak. USA har bedrivit ett gediget utvecklingsarbete sedan dess och en ny doktrin för just counterinsurgency presenterades 2006. Redan 1964 utkom fransmannen David Galula med en bok i ämnet. Det har alltså funnits teorier om counterinsurgency sedan dess. Sovjetunionens engagemang i Afghanistan under 1980-talet slutade med att den afghanska kommunistregimen kollapsade. Viljan att vinna konflikten borde ha funnits där och precis som USA har dragit erfarenheter, borde något ha gjorts för att försöka vinna konflikten även på 1980-talet. Syftet med denna studie är att undersöka om de parter som försökte besegra den afghanska motståndsrörelsen gjorde det på ett sätt som kom att likna Galulas teorier om counterinsurgency. Konflikten har analyserats utifrån Galulas teori om upprorsbekämpning med både politiska och militära medel. Analysen har visat att Sovjetunionen och den afghanska kommunistregimen inte utvecklade sitt sättatt hantera konflikten i en riktning som motsvarade Galulas teorier. Den primära politiska orsaken var att regimen förlitade sig på förtryck för att försöka avskräcka motståndssympatier. Detta tillvägagångssätt ledde istället till ökat stöd för motståndsrörelsen. Militärt saknades medlen att befästa närvaro i nya områden där regimen kunde ha börjat utöva inflytande. I förlängningen innebardet att regimen saknade förmåga att bredda sin inflytandesfär.</p> / <p>The term counterinsurgency has received a lot of attention since 2001 and the U.S commitment in Afghanistan and Iraq. The U.S has conducted thorough developmental work since then and a new doctrine on counterinsurgency was presented in 2006. As early as 1964, the Frenchman David Galula issued a book on the subject, and there have existed theories on counterinsurgency ever since. The Soviet Union’s commitment in Afghanistan during the 1980s ended with the collapse of the Afghan communist regime. The will to win the conflict should have been present there, and in the same way that the U.S have capitalized on their experiences something ought to have been done to try to win the conflict during the 1980s. The purpose of this study is to examine whether the parties involved in the fight against the Afghan resistance acted in a way that resembles Galula’s theories on counterinsurgency. The conflict has been analyzed with Galulas theories on how to defeat an insurgency by both political and military means. The analysis has shown that the Soviet Union and the Afghan communist regime did not develop their way of handling the conflict in a way which is consistent with Galula’s theories. The primary political cause was that the regime put its trust in oppression in their attempts to discourage resistance sympathies. This approach resulted in an increase in support for the Afghan resistance rather than the support of the regime. Militarily, the lack of means to secure the regime’s political presence in new areas meant that the regime was unable to broaden its sphere of influence.</p>

No description available.

This study addresses the question of what is affecting political trust in Europe. Political trust is vital for creating system legitimacy, which is needed for a democracy to be stable and effective. Over the years many theories about what is determining political trust have been developed, though no consensus of which theory that has the most effect has been reached. This paper will examine the effect that social capital and economic fairness evaluations have on political trust in Europe and if these effects can be seen to change depending on how long the countries has had democratic institutions. 27 countries were included in the study; these were divided into four regions depending on their time with democratic institutions. The theories used when looking at what could be effecting political trust are the social capital theory, defined by Robert Putnam in his studies of the system changes in Italy and the United States, and the economic fairness theory, used by Kluegel &amp; Manson in their research on the post-communist states in Eastern Europe. The division of countries based on time with democratic institutions was done based on the two forms of political support defined by David Easton. The survey material used in the study is taken from the 2012 European Social Survey (ESS). The study concludes that both social capital as well as economic fairness evaluations have an effect on political trust, though how strong the effects are varies depending on the region of research and on which parts of the two theories that is tested. Though by far the strongest impact is in all four European regions seen when looking at how the citizens evaluate the economic system. The time since a country formed democratic institutions could not be found to have an effect on political trust.

Thesis (MA (Hons)) -- University of Western Sydney, Nepean, 1997. / Bibliography : leaves 73-75.

Thesis (Ph. D.)--University of Chicago, Dept. of Philosophy, Dec. 2002. / Includes bibliographical references (p. 260-280) Also available on the Internet.

Syftet med denna analys är att främja COIN teorier (counter insurgency) som applicerats som en upprorsåtgärd under boerkrigen. Uppsatsens fokus kommer vara på vikten av dynamiken inom COIN teorierna. Begreppet omfattar åtgärder som vidtas av regeringen i en nation kring hanteringen av uppror. I denna analys kommer även viktiga aspekter av David Kilcullens syn på just teorierna inom COIN och dess användande i boerkrigen att granskas. Kilcullens teorier kring COIN fokuserar främst på den mänskliga säkerheten. Således är det möjligt att påstå att denna analys kommer främst att fokusera på de kritiska boerförhållanden som rått i Sydafrika. Processen utgår bland annat ifrån en kvalitativ textanalys av litteratur som beskriver skeendet. Teorin om kulturskillnader ger ett antal nyckelindikatorer samt källor som används i analysen av materialet. Resultatet visar att det taktiska beslutsfattandet under striderna främst baserades på nyttjande av COIN. Slutligen förs ett resonemang kring teorins taktiska handlande och nytta, samt huruvida analysen visar på gynnande eller destruktiva faktorer i vald taktik av upprorsbekämpning. / The purpose of this analysis is to promote the COIN theories  that were applied as a single insurgency operation during the Boer Wars. The essential dynamics of  COIN (counter insurgency) will be considered as the analysis also includes actions taken by a nation´s government to contain or suppress counterinsurgency. As well as key aspects of David Kilcullens analysis being specifically concentrated on the COIN theories and its use in the Anglo-Boer Wars, Kilcullens COIN theories also focuses on human security. This analysis will mainly focus on the critical Boer wars taking place in South Africa. It also contemplates the question of why modern COIN theory was considered an alternative in the Anglo-Boer Wars. The process is based on a qualitative textual analysis of relevant literature that vividly describes the action of the war. The theory of cultural differences provides a number of key indicators and sources used in the analysis of the material. The results show that the tactical decision-making used during the conflict was mainly based on COIN theories. Furthermore, a discussion of the operational theory and its usefulness will be presented in this analysis, and whether the analysis identifies a beneficial or destructive scene of chosen COIN tactics.

GÓES , Alan Eduardo dos Santos. O cinema nos filmes de David Lynch: uma análise sobre a reflexividade e mise en abyme em Mulholland Drive e Inland Empire. 2016. 154f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Comunicação, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-02-08T14:13:59Z No. of bitstreams: 1 2016_dis_aesgoes.pdf: 13267754 bytes, checksum: e316ec7dca161b11554b762c35da5509 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-02-09T10:51:04Z (GMT) No. of bitstreams: 1 2016_dis_aesgoes.pdf: 13267754 bytes, checksum: e316ec7dca161b11554b762c35da5509 (MD5) / Made available in DSpace on 2017-02-09T10:51:04Z (GMT). No. of bitstreams: 1 2016_dis_aesgoes.pdf: 13267754 bytes, checksum: e316ec7dca161b11554b762c35da5509 (MD5) Previous issue date: 2016 / This study aims to analyze the agency modes of reflective films proposed by the north-american artist David Lynch, with greater attention to both movies Mulholland Drive and Inland Empire. Besides, some discussions will be redeemed on cinematic apparatus, since its conceptual proposition by Baudry, through updates as proposed by Metz and some recent notions such as those presented by André Parente. The outlook on the cinematic apparatus are related to the concepts of mise en abyme, operated by André Gide and subsequently developed by Dällenbach, and applied to the films of David Lynch by the work of Fatima Chinita; and the metacinematographic reflectivity and metafilmic reflectivity, presented by Metz, as well. It will present another issues that orbit the filmography of the director and researches on the topic oftenly, namely: the dispossession of artistic languages, conflicts between a genre cinema and an independent film and the surrealistic art movement. These discussions help us to understand some secondary traits of our research that pervade both the trajectory of the author as the films under our observation. The analyze of both movies are based on the routes listed above and, where possible, articulated with transdisciplinary thoughts that allow us to explore specific aspects, especially with cyberculture, studies of film theory and psychoanalysis. The relationship of these different theoretical perspectives endow the artifices to deepen narrative, technical and aesthetic instances of Mulholland Drive and Inland Empire. The management of those aspects apparently fragmented, in theory and in the works of the north-american filmmaker, are reflected in the structure of this work, with noncumulative and non-sequential chapters for each treated subject. Finally, the conceptual operations proposed to analyze the chosen corpus of moving images allow us to defend that reflectivity is a structural element in the David Lynch film works and, in general, in some parts of contemporary cinema. / Este trabalho se propõe a analisar os modos de agenciamento do cinema reflexivo proposto pelo artista estadunidense David Lynch, com atenção maior para as obras Mulholland Drive e Inland Empire. Para isso, serão resgatadas discussões sobre o dispositivo cinematográfico, desde a proposição por Baudry, passando por atualizações como as propostas por Metz e noções mais recentes como as apresentadas por André Parente. As perspectivas sobre o dispositivo são relacionadas com o conceito de mise en abyme; operacionalizado por André Gide, posteriormente desenvolvido por Dällenbach, e aplicados aos filmes de David Lynch por Fátima Chinita; bem como os de reflexividade metacinematográfica e reflexividade metafílmica, apresentados por Metz. São ainda trabalhadas algumas questões que costumam orbitar a filmografia do cineasta e as pesquisas referentes ao tema, sendo estes: a desterritorialização das linguagens artísticas, os conflitos entre um cinema de gênero e um cinema independente e o surrealismo. Estas discussões nos ajudam a compreender traços secundários de nossa pesquisa que perpassam tanto a trajetória do autor quanto os filmes em observação. As análises dos filmes são fundamentadas nos percursos apresentados acima e, quando possível, articuladas com pensamentos transdisciplinares que nos possibilitem explorar aspectos específicos, principalmente com estudos da cibercultura, das teorias cinematográficas e da psicanálise. A relação dessas diferentes correntes teóricas nos munem de artifícios para aprofundar instâncias narrativas, técnicas e estéticas de Mulholland Drive e Inland Empire. O ordenamento desses aspectos aparentemente fragmentados, na teoria e nas obras do cineasta estadunidense, traduzem-se na própria estrutura do trabalho, com capítulos referentes a cada tema e não-cumulativos e sequenciais. Por fim, as operações conceituais propostas à análise das imagens em movimento do corpus escolhido nos permitem defender que a reflexividade é um elemento estruturante nos trabalhos do cinema de David Lynch e, de modo geral, em partes do cinema contemporâneo.