Orientador: Maria Aparecida Segatto Muranaka / Banca: Newton Duarte / Banca: Víctor O. Martín Martín / Banca: Jones Dari Goettert / Banca: Marcos Antonio de Oliveira / Resumo: Esta tese trata das políticas educacionais para o ensino fundamental do campo em Rondônia a partir de 1990 e dos projetos educacionais da Via Campesina, especialmente do MST, explicitados no Movimento Por uma Educação do Campo. O método utilizado nesta investigação foi o materialismo histórico-dialético, que permitiu analisar as relações que determinam o fenômeno pesquisado, desvendando suas principais contradições. A análise centra-se nas políticas públicas impostas pelo imperialismo e nas relações semifeudais e semicoloniais do capitalismo burocrático brasileiro. Capitalismo burocrático é o tipo de capitalismo engendrado pelo imperialismo nos países atrasados, ou seja, semifeudal e semicolonial, mediante o domínio do imperialismo sobre toda a sua estrutura econômica e social. A semifeudalidade iniciou-se na colonização do Brasil e pode ser comprovada pela existência do latifúndio de velho e novo tipo e das formas mais precárias de trabalho predominantes no campo. Dentre outras formas, a ação do imperialismo faz-se presente na Amazônia por meio de seus organismos multilaterais, especialmente o Banco Mundial, com o objetivo de exercer a dominação ideológica e o controle do território. Dentre essas políticas destacam-se as de caráter geopolítico, como os projetos de reforma agrária e as políticas educacionais para educação dos camponeses/as, pois o campo é um espaço estratégico aos interesses do capital. O estudo busca na história e na legislação o tratamento dado pelo capitalismo burocrático brasileiro à educação do campo, até hoje negada, como demonstram os dados atuais. A pesquisa identifica as políticas do Banco Mundial, como os programas do Fundescola presentes em todos os municípios de Rondônia, que se fundamentam no neoprodutivismo (neopragmatismo e neotecnicismo) propagados no Brasil pelo ideário pósmoderno, a partir da década... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis will examine the educational policies for primary rural education in the Rondônia after 1990s and the educational projects of Via Campesina, especially those of the Movement For Rural Education from the MST. The method used in this investigation was the historical and dialectical materialism that allowed us to analyze the relationships that determine the phenomenon studied, revealing its major contradictions. The analysis focuses on public policies imposed by imperialism and also semi-feudal and semi-colonial relations of the Brazilian Bureaucratic Capitalism. Bureaucratic Capitalism is the capitalism engendered by imperialism in the backward countries, or in other words, semi-feudal and semi-colonial dominated by imperialism on all its economic and social structure. The semi-feudal was initiated in the settling of Brazil, and can be proven by the existence of the latifundium of old or new kind and different precarious forms of employment prevailing in the rural space. Among other ways, the action of imperialism is present in the Amazon through its multilateral organizations, especially the World Bank in order to exercise ideological domination and control of the territory. Among these policies there are the geopolitical character, such as agrarian reform projects and educational policies to the education of peasants, because the rural area is a strategic place for the interests of capitalism. This research examines in the history and legislation, the treatment offered by the Brazilian bureaucratic capitalism to the rural education, so far denied, as evidenced by the current data. This study identifies the World Bank policies, such as FUNDESCOLA programs, presents in all municipalities of Rondônia, which are based on neo productivism (neo pragmatism and neo technicality) propagated by postmodern ideal after the 1990s in Brazil. Most of rural schools were closed... (Complete abstract click electronic access below) / Doutor

Cette thèse a deux préoccupations principales : la présentation des peintures communément nommées farangi sāzi, et la carrière de l'artiste Ἁli Qoli Jebādār. Littéralement « faire » ou « construire » « à la manière européenne », l'expression peintures farangi sāzi désigne certaines productions de la peinture iranienne datant de la fin du XVIIe siècle. Ces peintures emploient visiblement les techniques du clair-obscur et de la perspective, et représentent de nouvelles scènes qui ne s'appuient pas toujours sur la littérature classique iranienne. Il semblerait cependant que le qualificatif du farangi sāzi s'agisse d'une expression orale assez flexible qui pourrait avoir été appliquée à plusieurs activités non associées à la tradition artisanale iranienne. Ces peintures ont été réalisées en majorité sous le règne de Shāh Soleymān (1666-1694). On a donc souligné l'existence d'une dualité entre les courtisans et l'entourage proche du shāh ou son sérail, au sein du pouvoir safavide à cette époque. Bien qu'il n'existe pas de trace écrite sur le patronage artistique de la Maison du roi, on a essayé d'indiquer la piste possible d'un mécénat de cette Maison royale. La deuxième partie de la thèse a été consacrée à Ἁli Qoli Jebādār et à la question de ses signatures, ses peintures, et aux modalités de sa carrière en général. Ainsi, on a souligné les points les plus emblématiques de la littérature concernant l'artiste et on a étudié les structures visuelles et théoriques de ses peintures. Dans la dernière partie, on a émis de nouvelles hypothèses sur la carrière et les origines incertaines de Ἁli Qoli Jebādār. / This thesis has two main concerns: the presentation of commonly named Farangi Sazi paintings, and Ἁli Qoli Jebādār artistic career. Literally "make" or "build" in "the European manner", this term refers to some productions of the Iranian painting dating from the late 17th century. These paintings use visibly chiaroscuro and perspective, and show new scenes which do not always rely on Iranian classical literature. It seems however, that the expression of Farangi Sazi is a fairly flexible oral one, which could have been applied to several activities not associated with the Iranian craft tradition.These paintings were done mostly during the reign of Shah Soleiman (1666-1694), where existed a duality between the courtiers and the household of the Shah. Although there is no written evidence on the artistic patronage of the Royal household, we tried to indicate its possible track.The second part of the thesis was devoted to Ἁli Qoli Jebādār and the question of his signatures, his paintings, and the terms of his career in general. Thus, the most emblematic points of the literature about the artist have been stressed out. We have also studied the visual and theoretical structures of his paintings. In the last part, we issued new assumptions about career and uncertain origins of Ἁli Qoli Jebādār.

Die Erforschung der deutschen Philosophie um 1700 hat in den vergangenen beiden Jahrzehnten starke Impulse erfahren; es wurden bisher unbekannte Diskussionen und Richtungen entdeckt, darunter der Eklektizismus. Der Eklektizismus war in den letzten Jahrzehnten des 17. und den ersten Jahrzehnten des 18. Jahrhunderts Gegenstand einer europaweiten Debatte, besonders unter Deutschlands Universitätsphilosophen. Inhaltlich geht es um eine Neubestimmung der Philosophie im versöhnenden Ausgleich der Ansprüche von Antike und Moderne, von Aristotelismus und Cartesianismus, deren Konflikt die Problemlage der Akademiker um 1700 allgemein charakterisierte. Figuren der Eklektizismus-Debatte sind durch kontextualisierende Forscher wie Horst Dreitzel oder Michael Albrecht ans Tageslicht geholt worden, in deren Arbeiten das doxographische Bild der Philosophie im späten 17. und im frühen 18. Jahrhundert geweitet und gedehnt wird, so daß heute eine breite (nicht nur philosophische) Kultur das historiographische Feld dort belebt, wo traditionell Wilhelm Gottfried Leibniz und Christian Wolff die Geschichte der Philosophie fast allein repräsentierten. Ersetzt oder ergänzt der Eklektizismus unser traditionelles Bild der frühmodernen Philosophie?

Erst durch Jacob Brucker ist die Geschichte der Philosophie als ganze auch methodisch reflektiert dargestellt worden. Daß seine Geschichtsschreibung zugleich ein Anwendungsgebiet für die Urteilskraft (iudicium) ist, wird vor allem durch die Art und Weise deutlich, wie Brucker das antike Modell der Sektenabfolge modifiziert und kompensiert. Wesentlich für das Gelingen seiner Neuordnung der Philosophiegeschichte mittels einer Grobgliederung in drei Perioden und einer Kleingliederung nach (häufig monographisch behandelten) Philosophen und Philosophengruppen ist bei Brucker die Berufung auf die 'eklektische Philosophie', die in der Vorrede und in den letzten beiden Bänden ganz unübersehbar auch seinen eigenen Anspruch ausdrückt. Die Präferenz für 'das Eklektische' dient dabei keiner philosophischen Parteilichkeit, die das Bruckersche Urteil gelegentlich zum Kommentar werden läßt, vielmehr scheint sie sowohl die historische Gesamtansicht, die Gliederung und auch die kritische Analyse im einzelnen zu regieren. Mit einer Untersuchung dessen, was bei Brucker 'eklektisches Philosophieren' heißt, kommt man daher den Baugesetzen des monumentalen historischen Werkes nahe, das Brucker in deutscher Sprache als 'Kurtze Fragen aus der philosophischen Historie' (8 Oktavbände 1731-37) und lateinisch als 'Historia Critica Philosophiae' (5 Quartbände 1742-44, ein Ergänzungsband 1767) veröffentlicht hat: Eine bis ins 19. Jahrhundert äußerst einflußreiche und im 18. Jahrhundert unübertroffen gebliebene Aufarbeitung des historischen Wissens über Philosophie und Philosophen.

Die Frage, wie Musiktheorien unterschiedlicher Provenienz und Charakteristik auf eine Weise miteinander verknüpft werden können, die ebenso aus fachwissenschaftlicher wie aus wissenschaftstheoretischer Perspektive akzeptabel erscheint, gewinnt für die zunehmend ausdifferenzierte Musiktheorie der Gegenwart mehr und mehr an Bedeutung. Der Beitrag geht dieser Frage nach, indem er erstens diverse Strategien des Umgangs mit theoretischer Diversität in der Analyse referiert und kritisiert, zweitens auf das Inkommensurabilitätsproblem verweist, das sich im Rahmen von Theorierezeption stellt, drittens fünf Thesen zur modifizierenden Theorierezeption diskutiert und viertens Metatheorie als Instrument eines unabschließbaren Prozesses der Selbstreflexion von Theorie konzeptualisiert. / The question of how theories of different origin and characteristics can be combined in a way that seems acceptable for music theorists as well as for philosophers of science is gaining more and more importance for the increasingly differentiated music theory of the present day. The article examines this question first by describing and criticizing various strategies of dealing with theoretical diversity in analysis; second, by referring to the incommensurability problem arising in the context of theory reception; third, by discussing five theses on modified theory reception; and finally, by conceptualizing metatheory as an interminable process of selfreflection of theory.

Stockholm County is a post-industrial Swedish region characterized by high levels of mobility and technologization as well as ethnic and religious diversity. Among its religious minorities exist various strands of charismatic Christianity, some of which originate from the Pentecostal revival of the early 20th century and some of which belong to more recent movements. The aim of this ethnographic study is to examine how affiliates of the multicultural charismatic Christian congregation New Life Church practice religiosity within the context of their personal daily lives, within the framework of the general congregation and in terms of their involvements with other religious organizations in the area of Stockholm. Beginning with the assumption that the practice of contemporary religiosity and the development of a religious identity are part of an ongoing process of habituation, the study describes how practitioners cultivate a form of charismatic piety characterized by certain embodied orientations, patterns of ritualization and narrative genres. To shed further light on this process, it draws upon a variety of theories concerning ritualization, embodiment, performance, narratives and materiality. Apart from this, the study also constitutes an attempt to explore and measure the impact on the practitioners’ religiosity of late modern developments such as urbanization, detraditionalization and global mobility as well as the growing absorption in consumerism, emotional intimacy and the unfolding of the “authentic” inner self. While pursuing these ends, the study also calls into question previous assumptions about charismatic Christianity in Sweden, most particularly the assumption that today’s practitioners remain inclined to be entirely faithful to one given institution and its system of beliefs and practices. Indeed this view is directly challenged herein by the finding that contemporary charismatics are far more inclined to eclectically appropriate elements and models of thoughts from various contexts of origin as well as to affiliate with and/or visit multiple Christian institutions.

[pt] O estudo do Grande Templo Israelita do Rio de Janeiro buscou trazer, a partir da análise do projeto arquitetural, a análise das grandes sinagogas do século XIX na Europa, que se tornarem símbolos da Emancipação Judaica ao representarem instrumentos das simbioses culturais que ocorreram no Ocidente entre o judaísmo e as culturas dominantes. Diante dos debates sobre a arte e arquitetura judaica que se ampliaram na trilha dos movimentos nacionalistas do século XIX, os edifícios sinagogais apontaram para a busca de elementos arquitetônicos que pudessem fundamentar na possível origem oriental e semita. Assim influenciando tardiamente o projeto do Grande Templo que foi elaborado somente no final da década de 1920. A forma organizacional da comunidade de imigrantes e a contratação do arquiteto italiano de influência eclética foram determinantes para a concepção com grande complexidade e singularidade em uma estrutura moderna com elementos ornamentais das sinagogas europeias que aludiam a possível origem judaica mourisca e oriental. / [en] The study of the Great Israelite Temple of Rio de Janeiro brought, from the analysis of the architectural design, the analysis of the great synagogues of the nineteenth century in Europe, which become symbols of the Jewish Emancipation as representing instruments of cultural symbioses that occurred in the West between Judaism and dominant cultures. Before the debates about art and Jewish architecture that extended the trail of the nationalist movements of the nineteenth century, the synagogue buildings pointed to the pursuit of architectural elements that could justify the possible eastern and Semitic origin. So influencing the Great Temple of the project that was prepared only at the end of the 1920s.The organizational form of the immigrant community and the hiring of Italian eclectic architect were determinant in the design with great complexity and uniqueness in a modern structure with ornamental elements of European synagogues that alluded to possible Moorish and oriental Jewish origin.

Elève à l’école des Beaux-arts de Paris, premier prix de Rome à l’âge de 23 ans, Théodore Ballu (1817-1885) prolonge sa formation à l’Ecole française de Rome, et en Grèce, avant même l’ouverture de l’Ecole française d’Athènes. Sa carrière d’architecte, longue d’une trentaine d’années, est exceptionnelle. Auteur d’un quart des églises parisiennes construites sous le Second Empire, de l’Hôtel de Ville de Paris en collaboration avec Deperthes, et de plusieurs édifices ou monuments civils, il est un représentant majeur de l’éclectisme architectural. Ses édifices religieux auront une influence sur ses contemporains et sur la jeune génération d’architectes. Formé par son père et par Auguste Magne, Albert Ballu (1849-1939) a une carrière multiple et internationale : auteur du palais de justice néo-classique de Charleroi et de celui plus éclectique de Bucarest, il adapte ses autres productions aux techniques architecturales du tournant du XXe siècle. Architecte diocésain et architecte en chef des monuments historiques, il s’investit beaucoup en Algérie, jusqu’aux années 1920, où il fouille les grands sites romains, restaure les édifices religieux et construit des édifices variés. Chef de file de la valorisation de l’Algérie romaine et musulmane, il est l’architecte restaurateur de très nombreux édifices diocésains et monuments historiques, spécialement dans les départements des Charentes, en Bretagne et en Corse. Il se spécialise, aussi, dès 1889, dans la construction de pavillons d’expositions universelles. Résultant d’une étude détaillée de la vie et de l’oeuvre de ces architectes, cette thèse évalue leur importance dans la mise en place de modèles architecturaux et dans l’orientation des restaurations architecturales des années 1850 à 1920. / Théodore Ballu (1817-1885) was a pupil at the Ecole des Beaux-arts in Paris who won the Prix de Rome at the age of 23. He continued his studies at the French Academy in Rome and then in Greece, even before the opening of the French Academy in Athens. His thirty year career as an architect was exceptional. He designed a quarter of the Parisian churches constructed during the Second Empire. He was a major representative of architectural eclecticism, collaborating with Deperthes on the Hotel de Ville in Paris and working on several other public buildings and monuments. His religious constructions would influence his contemporaries and the next generation of architects. Albert Ballu (1849-1939) was trained by his father and by Magne. He had a varied international career, including designing the neo-classical Charleroi courthouse as well as the more eclectic one in Bucharest. He adapted his other productions to the architectural techniques at the turn of the twentieth century. As a diocesan architect and chief architect for historic monuments, he was heavily involved in Algeria until the 1920’s. Here he explored the great Roman archaeological sites, restored religious buildings and constructed various others. A leader in the movement to increase the status of Roman and Muslim Algeria, he was the restoring architect of large numbers of diocesan buildings and historic monuments, especially in the Charentes departments, as well as in Brittany and in Corsica. As early as 1889 he also specialised in the construction of pavilions for great exhibitions. The result of a detailed study of the lives and works of these architects, this thesis evaluates their importance in establishing architectural models and the direction of architectural restorations between 1850 and 1920.

Lördagen den 26:e maj år 2018 sätts första spaden i marken för ett av vår tids största bostadsprojekt. Årstafältet, en i dag lantlig lunga i närmaste Söderort, skall under de nästkommande tolv åren bebyggas till två femtedelar med bostäder och i en avsevärt mer urban kontext erbjuda boende till 15 000 nya stockholmare – ett bostadsprojekt vars omfattning motsvarar hela Nynäshamns befolkning, eller en femtedel av Kungsholmens. Den nya detaljplanen, vars motto är "en plats för möten" och vars ledord är "variation", förordar att den nya bebyggelsen skall präglas av variation i höjder, former och stilar. I enlighet med detaljplanens ledord och kandidatarbetets program har vi gestaltat en skolbyggnad för 540 elever i åldrarna 10 till 16 år, som med en postmodern, eklektisk ansats förenat element och inspiration från många olika stilbildningar, och där de varierande miljöernas utformning ej underordnar sig någon enskild arkitektonisk princip, utan också i sig utgör en plats för möten – mellan tider, stilar, material och element. Esplanadskolan har utformats som ett postmodernt skolpalats, där kunskapens enastående värde och institutionens oerhörda vikt befästs i sin monumentalitet. Esplanadskolan riktar sig utåt till såväl den nya som befintliga stadsdelar som ett landmärke och symbolbyggnad, där en stor del av lokalerna är öppna för allmänheten utanför skoltid, och avser i sina inre rumsligheter att erbjuda skolungdomen intresseväckande och varierande lokaler, med ett vinterträdgårdsatrium, en monumental spiraltrappa och en fresnelprismatisk ljusobelisk som sammanbindande nav. / On Saturday May 26th, A.D. 2018, the ground work is initiated for one of our time’s most expansive housing projects. Årstafältet, a predominately natural park in southern Stockholm, will during the next twelve years be urbanized to two fifths of its total area, giving context for an entirely new urban quarter, accomodating 15 000 new Stockholmers. The scale of the housing project is comparable to the whole population of Nynäshamn, or one fifth of Kungsholmen’s. The new zoning plan has the motto “a place for meetings”, and its main principle is “variation”. The zoning plan requests that the new buildings should be characterized by a variation in different heights, forms and styles. In accordance with the main principle of the zoning plan, and with the program of the degree project, we have designed a school building for 540 pupils in the ages of 10 to 16 years, which embodies a postmodern, eclectical approach, in uniting diverse architectural elements and inspiration from many different historical styles, and in the standpoint that the diversity of elements and physical environments is not subordinated to any one architectural principle. The school is in itself a place of meetings – between epochs, styles, materials and elements. Esplanade Elementary School has been designed as a postmodern, monumental school, where the awesome dignity of knowledge, as well as the massive importance of the school as a societal institution, is fortified in the architecture’s monumentality. Esplanade Elementary School directs itself as a landmark and symbol to both old and new contexts in its urban vicinity, opening up its doors for the public in many aspects outside of school hours. It also aspires to offer its pupils physical environments which evoke their immersive interest and in its diversity allow for the phenomenological compatibility of equally diverse environmental preferences. The main elements which make up the directional essence of the interior environments are the Botanical atrium, the monumental spiral staircase and the Obelisk of Light, composed of hundreds of naturally and artificially lighted fresnel prisms.

薩爾曼•魯希迪的《摩爾人的最後嘆息》運用想像與史實描繪出一個印度家族的故事。這個四代家族所經歷的時間橫跨整個二十世紀，一般說來在這個世紀前半部分大多數國家經歷了殖民統治與帝國主義，而在後半部分則面臨去殖民與國家主義的風潮。因此，書中論及的這些殖民與後殖民的經驗也引發了一些重要的議題，像是混雜、多元文化，和國家主義。霍米•巴巴提出‘閾限空間’這個概念有助於對這本小說做深入的評價與賞析，特別是能促進對以上三個議題更深入而具體的認知。霍米•巴巴將許多概念納入‘閾限空間’這個總括性術語的討論範圍，因此本論文將從中擷取三個概念來論述這本小說，分別是混雜、文化差異、及國家意識。 本論文的導論先闡釋霍米•巴巴‘閾限空間’這個概念並且發掘魯希迪這本小說中許多重要的後殖民議題。這些議題與‘閾限空間’ 這個概念的關係密不可分，因此這個概念所延伸論及的理論便可用於理解並賞析這本小說。接下來的三章將分別以混雜、文化差異、及國家意識來發掘並建立《摩爾人的最後嘆息》與‘閾限空間’這概念之間的關係。第二章將藉由霍米•巴巴對殖民者與被殖民者之間的矛盾關係的論述進而深入理解小說中意欲呈現的殖民混雜與後殖民混雜。這種矛盾的關係理論上與他者化的過程有關聯，在這過程中身分認同與主體化不論是在後殖民理論還是此本小說中都是值得商榷的議題。第三章利用霍米•巴巴的‘文化差異’來重新檢視並且重新定義所謂的多元文化。魯希迪在小說中巧妙地將現在的印度重疊在過去由摩爾人統治的西班牙之上，這種後殖民的羊皮紙影像便可藉由文化差異與多元文化的概念得到更具體的意義。此外，閾限空間也是一種不同文化的接觸地帶，這樣的中介地域也有助於理解魯希迪在流行文化與高等文化間所採的折衷主義。第四章則著重於探討霍米•巴巴如何發展閾限空間與國家意識的理論關係，還有國家與敘事之間的關係。此章也將利用國家與敘事的關係來理解魯希迪是如何在這本小說中運用許多文學技巧在小說世界中重構國家形象，尤其是文本互涉的材料與歷史的指涉這樣的技巧。 最後的總論將重申在本論文中提及的一些重要的論點，藉由重申這些論點來總結論文提及的一些重要概念的大意，並且讓魯希迪的《摩爾人的最後嘆息》與巴巴的‘閾限空間’這個文本與理論相互闡釋並佐證的關係更為清楚。 / Salman Rushdie’s The Moor’s Last Sigh delineates, fictively and historically, a family saga in India. The four-generation family approximately spans the twentieth century that, generally speaking, has gone through colonization and imperialism in the first half as well as de-colonization and nationalism in the second half. Accordingly, they bring forth a few significant issues, such as hybridity, multiculturalism, and nationalism. Homi Bhabha’s idea of ‘liminal space’ is conducive to the evaluation of the novel, and expressly to the discussion of the above three concepts in a more specific way. He subsumes a lot of ideas under the umbrella term ‘liminal space’, so this thesis is to extract three ideas—hybridity, cultural difference, and nationness—to elaborate on the novel. The introductory chapter expounds Bhabha’s idea of ‘liminal space’ and also explores a few post-colonial issues in the novel. The issues in question are related to Bhabha’s idea of ‘liminal space’, from which some key ideas are derived so as to appreciate the fictional world Rushdie constructs in the novel. The following three chapters are respectively based on the three liminality-related ideas, whereby to find the relation of the novel with Bhabha’s ‘liminal space’. The second chapter is to obtain a deeper apprehension of colonial and post-colonial hybridity through Bhabha’s argumentation concerning the ambivalent relationship between colonizer and colonized. The ambivalent relationship is theoretically associated with the othering process. In the process, identification and subjectification are moot questions not only in post-colonial theory but in the novel as well. The third chapter is intended to make use of Bhabha’s idea of ‘cultural difference’ to review and redefine what the word ‘multiculturalism’ is like. In turn, it helps to shed much more light upon Rushdie’s palimpsesting modern India over Moorish Spain. In addition, liminal space refers to a contact zone of cultural difference that elucidates Rushdie’s eclecticism between popular culture and high culture in the novel. The fourth chapter is to discuss the way Bhabha colligates liminal space and the idiolect ‘nationness’ and the way he relates the idea of nation to narration. The relationship between nation and narration is applied to the understanding of how Rushdie utilizes literary techniques, especially intertextual materials and historical allusions, for a re-construction of a nation in a fictional world. The conclusive chapter is to reiterate some important arguments that are germane to the above key concepts and to the reciprocal clarification between Bhabha’s ‘liminal space’ and Rushdie’s The Moor’s Last Sigh.