Esta tese é centrada na trajetória do arquiteto Gerhard Bormann, profissional atuante no Ceará como arquiteto e professor da Escola de Arquitetura da UFC durante as décadas de 1960 e 1970. A análise da sua obra, doutrina acadêmica e a própria biografia do arquiteto são tomadas como passagem à compreensão de uma produção arquitetônica coletiva, relacionada à difusão da arquitetura moderna no cenário local. No intento de ampliar o conhecimento sobre este tema, o trabalho procura identificar agentes, recuperar debates, compreender aspectos da dinâmica urbana, além de analisar exemplares arquitetônicos significativos do período, de autoria diversa. A sobreposição das propostas elaboradas por Bormann e por seus contemporâneos, que aponta ora para convergências, ora para singularidades, revela o momento de tensão e complexidade que cerca estas produções, realizadas na fricção entre influxos externos modernizantes e condicionantes locais. Como mediadores deste processo, buscam um posicionamento que possa, a um só tempo, validar tal assimilação, realizar as transformações necessárias e conferir pertinência e legitimidade às suas novas formulações, tanto em relação ao lugar, quanto à cultura arquitetônica moderna. / This PhD dissertation is based on the trajectory of Gerhard Bormann, an architect and a professor at the School of Architecture of the Federal University of Ceará, Brazil, during the 1960s and 1970s. The analysis of his work, academic doctrine, and biography are taken as a means for understanding a collective architectural production related to the diffusion of modern architecture in the local scene. Having as a goal to broaden the knowledge on this subject, this work seeks to identify agents, retrieve debates, understand aspects of urban dynamics, and analyze significant architectural examples of the period, produced by different architects. The overlap of the proposals made by Bormann and his contemporaries, sometimes pointing to convergences, sometimes to singularities, reveals the moment of tension and complexity that surrounds these productions which are performed in the friction between external modernizing inflows and local conditions. As they are mediators of this process, they aim to, at the same time, validate that assimilation, perform the necessary transformations and give legitimacy to their new formulations, both in relation to the place and the culture of modern architecture. Keywords: modern

Zugl.: Bonn, Universiẗat, Diss., 2007.

Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

The thesis consists of two parts. The first one deals with Gentzen's consistency proof of 1935, especially with the impact of his cut elimination strategy on the complexity of the proof. Our analysis of Gentzen's cut elimi- nation strategy, which eliminates uppermost cuts regardless of their comple- xity, yields that, in his proof, Gentzen implicitly applies transfinite induction up to Φω(0) where Φω is the ω-th Veblen function. This is an upper bound and Φω(0) represents an upper bound on heights of cut-free infinitary deriva- tions that Gentzen constructs for sequents derivable in Peano arithmetic (PA). We currently do not know whether this is a lower bound too. The first part also contains a formalization of Gentzen's proof of 1935. Based on the formalization, we see that the transfinite induction mentioned above is the only principle used in the proof that exceeds PA. The second part compares the performance of Gentzen's and Tait's cut elimi- nation strategy in classical propositional logic. Tait's strategy reduces the cut-rank of the derivation. Since the propositional logic does not use inference rules with eigenvariables, we managed to organize the cut elimination in the way that both strategies yield identical cut-free derivations in classical propositional logic.

[pt] O tema da presente pesquisa é A Igreja, povo reunido por Deus para o seu Reino: um estudo comparativo entre Gerhard Lohfink e Joseph Ratzinger. Está inserida nas atividades de pesquisa do Programa de Pós-graduação em Teologia da PUC-Rio, área de concentração Teologia Sistemático-Pastoral, linha de pesquisa Fé e Cultura, projeto de pesquisa A Teologia de Joseph Ratzinger e o Magistério de Bento XVI. Efetivamente, o problema aqui explorado se situa entre os grandes temas do quadro eclesiológico e, com essa formulação temática, fundamentalmente pretendemos o seguinte: explorar tanto a compreensão sobre o significado da proclamação de Jesus do Reino de Deus, que emerge do pensamento de Gerhard Lohfink e Joseph Ratzinger, no contexto da pesquisa recente sobre Jesus, como também a hermenêutica – fundamentos e princípios, desenvolvimento das reflexões e implicações teológicas – elaborada por esses autores, no que se refere ao conteúdo da mensagem de Jesus, prestando especial atenção ao modo como interpretam a relação entre o Reino de Deus e a Igreja; destacar, por meio da comparação dos resultados obtidos durante a pesquisa, alguns aspectos comuns ao pensamento de Gerhard Lohfink – no contexto da pesquisa sobre o Jesus histórico e, mais especificamente, sobre sua proclamação do Reino de Deus na sua relação com a Igreja – com a compreensão que Joseph Ratzinger possui, sobre o tema; identificar consequências e implicações do tema para diferentes áreas da teologia; e aprofundar questões relativas ao tema, especialmente, em relação à cristologia, à eclesiologia e à pastoral, por exemplo, com alguma ênfase, quanto às relações do tema com a sinodalidade eclesial, o ecumenismo e o diálogo interreligioso. / [en] This research has as its theme The Church, a people gathered by God for his Kingdom: a comparative study between Gerhard Lohfink and Joseph Ratzinger. It is part of the research activities of the Postgraduate Program in Theology at PUC-Rio, in the area of concentration Systematic-Pastoral Theology, research line Faith and Culture, research project The Theology of Joseph Ratzinger and the Magisterium of Benedict XVI. In fact, the problem explored here is situated among the great themes of the ecclesiological framework and, with this thematic formulation, we fundamentally intend the following: explore both the understanding of the meaning of Jesus proclamation of the Kingdom of God, which emerges from the thought of Gerhard Lohfink and Joseph Ratzinger, in the context of recent research on Jesus, as well as the hermeneutics - foundations and principles, development of reflections and theological implications - elaborated by these authors, with regard to the content of Jesus message, paying particular attention to the way they interpret the relationship between the Kingdom of God and the Church; to highlight, by comparing the results obtained during the research, some common aspects of Gerhard Lohfink s thinking - in the context of research on the historical Jesus and, more specifically, on his proclamation of the Kingdom of God in its relationship with the Church - with Joseph Ratzinger s understanding of the theme; to identify consequences and implications of the theme for different areas of theology; and to delve into questions of theology; and deepen issues related to the topic, especially in relation to Christology, ecclesiology and pastoral care, for example, with some emphasis on the relationship of the topic with ecclesial synodality, ecumenism and interreligious dialogue.

At certain moments in the creative development of an artist, experimentation leads to creative acts that on their face can appear negative because they are the actions of a young artist responding to the establishment. This thesis is an investigation of such works: a spoiled print, an erased drawing, a set of artist proofs stained by paint, and a painting wiped away with turpentine. Despite these negations, each of these works was pivotal to the career of its respective artist, and they were immediately cited by their makers as works of consequence. The four selected art works did not influence one another and the circumstances surrounding their creation are also distinct. Each work and artist developed independently from one another, in distinct spaces and times. However, there are notable parallels among the works. Each was created as the artist transitioned into the mature phase of his career. Additionally, each of the works is a layering of distinct images. The sub-images relate to an external artist, style, or dogma, and the superimposed image relates to the artist’s own work and his mature style. Further, each of the works is an indexical record of the artist’s activity. Each emphasizes the artist’s hand in the making of the super-image’s mark and even goes so far as to highlight the performative nature of the mark making. The marks of the super-image are so pronounced as the subject of each work and the performative element so emphasized that the artist himself is drawn into the work’s subject matter. In short, I investigate whether these images function as a commentary, a critique, a declaration, or simply as part of a process and a dialogue between the artist and his artistic environment. / text

Diss.--Frankfurt am Main--Johann Wolfgang Goethe-Universität, 2000. / Bibliogr. p. 219-237. Index.

Texte remanié de: Inaugural-Dissertation--Theologische Fakultät--Freburg im Breisgau--Albert-Ludwigs-Universität, 2001. / Bibliogr. p. 207-218.

Texte remanié de: Dissertation--Philosophische Fakultät III-Geschichte, Gesellschaft und Geographie--Universität Regensburg, 1998. / Bibliogr. p. 455-480.