Ce mémoire-essai a pour objet d'étude la question de l'art et du vivant dans la société de communication. Notre intention est de montrer que le discours actuel sur la communication est symptomatique du malaise identitaire de la subjectivité contemporaine. Il projette des représentations du sujet qui dissolvent la possibilité de se connaître soi-même dans un horizon sensible et symbolique. Nous proposons d'illustrer cette fragmentation du sens de la finitude en analysant les nouveaux rapprochements entre l'art et la communication. Deux corpus artistiques servent d'appui à cette démarche, le bio art d'Eduardo Kac et l'art d'anatomie de Gunther von Hagens. L'étude de leurs oeuvres montre comment l'emprise de la communication sur la réalité brouille notre perception de la vie et de la mort et que la première victime de cette indifférenciation, c'est le corps. Notre premier chapitre, Considérations générales sur la communication dans la société qui porte son nom, consiste en la construction de repères pour analyser le déploiement de la logique à l'oeuvre dans la société de communication: le passage d'un idéal de vérité à un idéal opérationnel, l'économie du sensible au profit du virtuel et l'édification d'une idéologie de la transparence. Ces trois aspects de la logique communicationnelle permettent de comprendre comment l'idéal d'adaptation de soi en temps réel équivaut à la mort du sujet comme entité sensible. Dans le second chapitre, L'art contemporain: un atelier pour les nouvelles «formes de vie» dans la société de communication, nous expliquons comment la logique communicationnelle s'exprime en art contemporain. Alors que le discours de la démocratisation culturelle contribue à généraliser l'idée selon laquelle l'art est un événement qui peut avoir lieu partout et tout le temps, l'esthétique relationnelle s'efforce de rapprocher l'art et la vie à des degrés sans précédent. Il en résulte une conception de la création fort problématique: l'art devient une « forme de vie » incitant le sujet à prendre forme dans n'importe quoi. Le troisième chapitre, De l'atelier au laboratoire: les « formes de vie » de l'art transgénique, propose une illustration de la logique communicationnelle dans le bio art. Les oeuvres transgéniques d'Eduardo Kac sont emblématiques d'une « forme de vie » qui se réalise en temps réel. Elles font de la téléprésence et de la mutation les principes par lesquels on peut comprendre les possibilités émancipatoires du transfert informationnel. notamment dans la culture médiatique. Dans notre quatrième et dernier chapitre, De l'atelier à la morgue: quand l'art prend corps dans la société de communication, nous nous attardons sur la première victime de la fragmentation de la subjectivité sensible, le corps. L'art d'anatomie de Gunther von Hagens et son exposition-mère, Bodyworlds évoque le traitement qui lui est réservé dans la société de communication. Relégué au rôle de support à la circulation de l'information, le corps devient un organe de sensation et un dispositif de discours. Il importe peu de savoir s'il est vivant ou mort, pourvu qu'il communique. Il en va ainsi du sujet. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Communication, Sujet, Art, Esthétique, Société, Eduardo Kac, Biotechnologies, Gunther von Hagens, Art d'anatomie.

Denna uppsats undersöker hur grafisk formgivning påverkar image. Detta görs genom att se på Dagens Nyheter som exemplum på hur man kan jobba under formgivningsprocessen för att bygga image. Kopplingen mellan begreppet image och det retoriska begreppet ethos diskuteras och kopplas till det retoriska begreppet doxa. En fokusgruppsundersökning har använts som metod för att hämta inspiration till analysen. De teoretiska utgångspunkter på vilken uppsatsen primärt vilar är Daniel Chandlers sammanfattning av semiotikläran, Theo van Leeuwen och Gunther Kress tankar om sociosemiotik, Mats Rosengrens beskrivning av doxa, Jens Kjeldsens redogörelse för ethos, Peggy Brønn Simcic och Øyvind Ihlens förklaringar av image samt tankar om grafisk formgivning presenterade i boken Bild och form för informationsdesign med Rune Pettersson som redaktör. Resultatet av undersökningen visar att formgivningen av en tidning påverkar tidningens image men även dess ethos. Men formgivningen är endast en del i den kommunikationen som påverkar mottagaren. Undersökningen visar även att ethos upplevs olika beroende på doxa och därmed kan den inte med säkerhet fastslå hur tidningens ethos och image påverkas, endast att de gör det.

The trumpet has always maintained a central role in the jazz genre. However, throughout the history of chamber music the trumpet was overlooked until the mid-twentieth century when brass chamber music and mixed chamber ensembles rose to popularity. An infiltration of the popular American style, jazz, into classical chamber music changed composers' treatment of the trumpet. This thesis focuses on the role and treatment of the trumpet in selected jazz-influenced classical chamber works in order to highlight that the trumpet's prominence in jazz helped to establish its place in twentieth-century chamber music. A brief history of classical brass chamber music and the origins and development of jazz is given. Trumpet performance techniques and compositional practices idiomatic to the different jazz style periods, ranging from ragtime to cool jazz, are given. These techniques are then traced through selected chamber music works of Stravinsky, Martinu, Schuller, Babbitt, and Wilson. Selected works were chosen based on the degree of jazz influence and are representations of the jazz style period they emulate. A comparison of how classical composers in Europe and the United States viewed the trumpet in jazz, in regards to chamber music, is detailed over the course of the twentieth century.

Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T04:39:34Z (GMT). No. of bitstreams: 1 Nunes_JorgeArmando_D.pdf: 40510055 bytes, checksum: 15340895ad61419f735225c78e66fc9a (MD5) Previous issue date: 2014 / Resumo: Em 1865, quando estava com 24 anos de idade, Dvorák escreveu um Concerto para Violoncelo com acompanhamento de piano que, apesar de ter recebido duas versões orquestrais posteriores à sua morte, permanece até hoje em situação de obscuridade. Escrito em uma época na qual o compositor dava seus passos iniciais na trilha que o conduziria à notoriedade internacional, se mantém até hoje à sombra do Concerto op. 104 em si menor, considerada pelos violoncelistas como a obra magna do gênero, dentro de um restrito repertório solístico existente para este instrumento. Este trabalho, através de múltiplas abordagens enfocando aspectos editoriais, históricos, analíticos e interpretativos, tem o objetivo de trazer ao conhecimento dos intérpretes e do público uma obra que, na versão de Günther Raphael, recebeu a formatação necessária para que passasse a apresentar uma organização formal digna do período de maturidade deste compositor / Abstract: In 1865, when was 24 years old, Dvorák composed a Cello Concerto with piano accompaniment that, in spite of two orchestral versions after the composer¿s death, still remains in a situation of obscurity. Written at a time wherein the composer was taking their first steps in the trail that would lead him to international notoriety, until today remains in the shadow of the Concerto in B minor, op.104, considered by the cellists such as the magnum opus of the genre for this instrument. This work, through multiples approaches focusing editorials, historical, analytical and interpretative aspects, has the purpose of bring to the attention of the interpreters and public a work that, in Raphael¿s version, received the necessary formatting to presents a formal organization worthy of the maturity period of the composer / Doutorado / Praticas Interpretativas / Doutor em Música

[EN] Doctoral thesis: Third stream jazz: influence on the current scene of jazz in Valencia. Abstract: The dialectic between classical music and jazz schools is a long-standing issue; which would need a historical revision due to the recent addition of the higher education of jazz at the conservatory of Valencia, which operate in parallel way looking each other with suspicion. In the second half of the 20th century Gunther Schuller coined the term third stream to define a new aesthetic somewhere between jazz and contemporary classical music, since the beginning of century XXI is taking root with force in the current landscape of the Valencian's jazz. Since the work with strings ensembles of Daniel Flors and David Pastor, the approach to the jazz of the brass quintet Spanish Brass Luur Metalls, the recreations of the work of Impressionist composers by Ximo Tébar and Daniel Picazo, Diego de Lera and Felipe Cucciardi's Trío, the inclusion of new orchestral templates to the jazz ensembles by Albert Sanz and his Russafa Ensemble, the emergence of the symphonic music of Jesús Santandreu purely third stream, the fusion of the Valencian's traditional music with jazz of Ramón Cardo and the large format of Perico Sambeat's choral jazz, Valencian's jazz, as a symptom of modernity, are taking a new direction which claims a new status to the same level as the classical music concert. The main conclusion of this study tries to stress the obvious approach of our local jazz to contemporary classical music in this first decade of the century XXI as a symptom of modernity: an approach that coincides historically with the incorporation of the jazz studies at the conservatory of Valencia. / [ES] Tesis doctoral: Tercera corriente jazzística (third stream): influencia en el panorama actual del jazz en Valencia. Resumen: La dialéctica entre escuelas de música clásica y jazz es un tema ya antiguo; que por otro lado necesitaría de una revisión histórica a la vista de la incorporación de los estudios superiores de jazz en el conservatorio de Valencia, puesto que ambas corrientes se desenvuelven de un modo paralelo mirándose aún con recelo. En la segunda mitad del siglo XX Gunther Schuller acuñó el término third stream para definir una nueva estética a medio camino entre el jazz y la música clásica contemporánea, que desde principios del siglo XXI se está arraigando con fuerza en el panorama actual del jazz valenciano. Desde los trabajos con ensembles de cuerdas de Daniel Flors y David Pastor, el acercamiento al jazz del quinteto de metales Spanish Brass Luur Metalls, las recreaciones de la obra de compositores impresionistas por parte de Ximo Tébar y del Daniel Picazo, Diego de Lera, Felipe Cucciardi Trío, la inclusión de nuevas plantillas orquestales a los ensembles de jazz por parte de Albert Sanz y su Russafa Ensemble, la eclosión de la obra sinfónica de Jesús Santandreu netamente third stream, la fusión de la música tradicional valenciana con el jazz de Ramón Cardo y el jazz coral de gran formato de Perico Sambeat, el jazz valenciano, como síntoma de modernidad, está tomando un nuevo rumbo que reivindica un nuevo estatus al mismo nivel que la música clásica de concierto. La conclusión principal del presente trabajo trata de recalcar el evidente acercamiento de nuestro jazz local a la música clásica contemporánea en esta primera década del siglo XXI como síntoma de modernidad: un acercamiento que coincide históricamente con la incorporación de los estudios superiores de jazz en el conservatorio de Valencia. / [CAT] Tesi Doctoral: Tercer corrent jazzístic (third stream): influència en el panorama actual del jazz a València. Resum: La dialèctica entre les escoles de música clàssica i el jazz és un assumpte ja vell. D'altra banda seria necessari una ressenya històrica davant la incorporació dels estudis superiors de jazz en el conservatori de València, ja que ambdós corrents es desenvolupen d'una manera paral·lela mirant-se fins i tot amb recel. A la segona meitat del segle XX Gunther Schuller va encunyar el terme third stream per definir una nova estètica a mig camí entre el jazz i la música clàssica contemporània, que des de principis del segle XXI està arrelant amb força dins del panorama actual del jazz valencià. Des de l'obra amb conjunts de cordes de Daniel Flors i David Pastor, l'aproximació al jazz del quintet de metall Spanish Brass Luur Metalls, les recreacions de l'obra dels compositors impressionistes per Ximo Tébar i el Daniel Picazo, Diego de Lera, Felipe Cucciardi trio, la inclusió de noves plantilles orquestrals a les formacions de jazz per Albert Sanz i el seu Russafa Ensemble, l'eclosió de l'obra simfònica de Jesús Santandreu purament third stream, la fusió de la música tradicional valenciana amb el jazz de Ramón Cardo i el jazz coral de gran format de Perico Sambeat, el jazz valencià, com a símptoma de modernitat, està prenent una nova direcció que reclama un nou estatus al mateix nivell que la música clàssica de concert. La principal conclusió d'aquest estudi pretén emfatitzar l'aproximació evident del nostre jazz local a la música clàssica contemporània en aquesta primera dècada del segle XXI com a símptoma de modernitat: una aproximació que coincideix històricament amb la incorporació dels estudis superiors de jazz al conservatori de Valencia. / Pruñonosa Furió, J. (2016). Tercera corriente jazzística (third stream): influencia en el panorama actual del jazz en Valencia [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/74246 / TESIS

Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.

From Europe to the Nation examines how six influential American journalists - John Gunther, Freda Kirchwey, Arthur Krock, Walter Lippmann, Anne O’Hare McCormick, and Dorothy Thompson - viewed and interpreted for their American audience the series of European events from Hitler’s ascension to power in Germany to the attack on Pearl Harbor. My study describes the interpretative frameworks through which these journalists viewed and explained what happened, namely a shared faith in the superiority of American politics and policies, a belief in the moral supremacy of the “new world” over the “old world,” a view of a racially-stratified world dominated by Anglo-Saxons, and a gendered worldview based on the binary opposites of masculine and feminine. These journalists used different interpretative frameworks in response to different events, shifting, overlapping and eventually coalescing in time. As events in Europe became increasingly dire following the Fall of France and threatened directly the national security of the United States, the interplay of these guiding assumptions prompted the rise to dominance of a shared viewpoint: what was at stake was the future of a West tom between civilization and barbarism. The civilization versus barbarism discourse had a clear propaganda value, in that it was used by journalists to support American participation, if not outright intervention, in the European war. This approach pinpoints the historical process of ideology creation. This ideology was elastic and highly effective, utilized for propaganda purpose not just for American intervention, but also to rally the home-front throughout the war and to legitimize Cold War American foreign policy. This study stresses the importance of recognizing the agency of journalists in the development of the concept because of their critical role as intermediaries between the crises occurring on the other side of the Atlantic and the American public’s understanding of what these events meant for the United States. / Thesis / Doctor of Philosophy (PhD)

Made available in DSpace on 2016-04-26T20:24:26Z (GMT). No. of bitstreams: 1 AlexandreMoraes.pdf: 3285095 bytes, checksum: a9618ae3404e8033c5dedbf7e22f7ea6 (MD5) Previous issue date: 2006-06-05 / This work aims to analyze the theory of the Enemy Criminal Law in the light of the conception and methodology of GÜNTHER JAKOBS. It is the most controversial Criminal Policy of current times, but has been gradually entwining itself with rules, jurisprudence and legislations based on the classic-illuminist model. In order to assess legitimacy of a Criminal Law of such nature, which legal scholars have called the third pace of Criminal Law , we initially pointed out some traces of the context of the post-industrial society and outlined the new criminal claims of the modern world, with a clear-cut intention to show that the complexity of the contemporary society has been, for a long time, imposing changes on the criminal dogmatics, even prior to the formalization of JAKOBS concept. Based on the acknowledged complexity of modern society, we presented NIKLAS LUHMANN s systems theory, which was JAKOBS point of departure for the theoretical construction of his Law of Normality The Citizen s Criminal Law . By praising the functional distinction of (Political, Economic, Legal etc.) systems, LUHMANN advocates that the function of Law would be that of consistently stabilizing standardized expectations. This would be precisely the primary function of the penalty advocated by JAKOBS systemic functionalism. Thus, through the presentation of the systemic functionalism s new paradigms, it is possible to understand the theory of punishment in the Citizen s Criminal Law , which JAKOBS calls positive general prevention . By analyzing the conceptions about the purpose of punishment and once we finally outlined an overview of the Criminal Law of Normality, whose primary function is that of reaffirmation of Law itself in such a way as to ensure the configuration of society, we formally present his theory of the Enemy Criminal Law , with an indication of origin, concept, meaning, philosophical construal, normative distinction between person and enemy and, above all, we outlined their major features, emphasizing the role of early relief in Criminal Law, the use of disproportionate punishments and the relativization of criminal and procedural warranties. We furthermore stressed how the theory arose in a first plane, as a criticism in response to the discovery of criminal legislations and policies that were already making use of such parameters and, in a second plane, how the criticism turned into something held by JAKOBS as inevitable, reinforced by terrorist attacks perpetrated throughout the world. Moreover, similar precedents or institutions have been contemplated, contextualizing old and recent criminal policies to cope with ordinary and organized crime, such as those of the movements Law & Order , Zero Tolerance and the theory of broken windows , the author s Criminal Law that advocated the level of risk to the detriment of the Criminal Law of fact based on liability, the criminological classification of the perpetrator as professional , customary and by tendency , in addition to the use of safety measures to criminally imputable and dangerous individuals. The criticisms to the German jurist s conception were presented from a number of standpoints from non-compliance with Constitutional Principles to the inconsistency with JAKOBS methodological support itself so that we could eventually face the hard task to review the legitimacy of a third-pace Criminal Law in Democratic States, as well as the risks of ignoring its existence with subtle suggestions of confronting the issue on a short and long-term basis / O trabalho tem por objeto a análise da teoria do Direito Penal do Inimigo , segundo a concepção e metodologia de GÜNTHER JAKOBS. Trata-se da Política Criminal de maior polêmica da atualidade, mas que vem se entrelaçando paulatinamente, em todo o mundo, com regras, princípios e legislações pautadas pelo modelo clássico-iluminista. Para se aferir a legitimidade de um Direito Penal desta natureza, denominado pela doutrina de terceira velocidade do Direito Penal , indicamos, inicialmente, alguns traços do contexto da sociedade pós-industrial e delineamos as novas demandas penais da modernidade, com a clara intenção de demonstrar que a complexidade da sociedade moderna já vem impondo, há tempos, transformações à dogmática penal, antes mesmo da formalização da concepção de JAKOBS. A partir da constatada complexidade da sociedade moderna, apresentamos a teoria dos sistemas de NIKLAS LUHMANN, ponto de partida de JAKOBS para a construção teórica de seu Direito da normalidade o Direito Penal do Cidadão . LUHMANN, preconizando a diferenciação funcional dos sistemas (Político, Econômico, Jurídico etc.), defende que a função do Direito será estabilizar congruentemente expectativas normativas. Esta será justamente a função primordial da pena defendida pelo funcionalismo de JAKOBS. Assim, apresentando os novos paradigmas do funcionalismo sistêmico, compreende-se a teoria da pena no Direito Penal do Cidadão , que JAKBOS denomina de prevenção geral positiva . Analisando-se as concepções acerca da finalidade da pena e traçado, finalmente, o panorama do Direito Penal da normalidade, cuja função primordial é a reafirmação do próprio Direito de modo a garantir a configuração da sociedade, apresentamos formalmente sua teoria do Direito Penal do Inimigo , com indicação da origem, conceito, significado, construção filosófica, diferenciação normativa de pessoa e inimigo e, sobretudo, delineamos suas principais características, destacando a antecipação da tutela penal, a adoção de penas desproporcionais e a relativização de garantias penais e processuais. Ademais, acentuamos como a teoria surgiu, em um primeiro plano, como crítica diante da constatação de legislações e políticas criminais que já vinham se utilizando destes parâmetros e, em segundo lugar, como a crítica se transmudou em algo tido por JAKOBS como inevitável, reforçado pelos atentados terroristas ocorridos em todo o mundo. Além disso, antecedentes ou institutos semelhantes foram explorados, contextualizando antigas e recentes políticas criminais de enfrentamento da criminalidade comum e organizada, como o movimento Lei e Ordem , a Tolerância Zero e teoria das janelas quebradas , o Direito Penal do autor que preconizava a periculosidade em detrimento do Direito Penal do fato pautado na culpabilidade, a classificação criminológica do delinqüente como profissional , habitual e por tendência , além do uso de medidas de segurança a indivíduos penalmente imputáveis e perigosos. As críticas à concepção do jurista alemão foram apresentadas sob os mais variados enfoques do desrespeito a Princípios Constitucionais às incongruências com o próprio suporte metodológico de JAKOBS -, para, ao final, enfrentarmos a difícil tarefa de analisar a legitimidade de um Direito Penal de terceira velocidade em Estados Democráticos, assim como os riscos de se ignorar sua existência, com singelas sugestões de enfrentamento da questão a curto e médio prazo

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Direito, Programa de Pós-Graduação em Direito, 2018. / Submitted by Fabiana Santos (fabianacamargo@bce.unb.br) on 2018-08-16T21:10:25Z No. of bitstreams: 1 2018_FranciscoSalesdaSilvaMartins.pdf: 644501 bytes, checksum: b66cde1b91c53771279ddf5b77586d63 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-20T20:32:04Z (GMT) No. of bitstreams: 1 2018_FranciscoSalesdaSilvaMartins.pdf: 644501 bytes, checksum: b66cde1b91c53771279ddf5b77586d63 (MD5) / Made available in DSpace on 2018-08-20T20:32:04Z (GMT). No. of bitstreams: 1 2018_FranciscoSalesdaSilvaMartins.pdf: 644501 bytes, checksum: b66cde1b91c53771279ddf5b77586d63 (MD5) Previous issue date: 2018-08-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Esta dissertação tem como finalidade analisar o conceito de regime transnacional da internet desenvolvido por Gunther Teubner a partir da realidade da governança da internet. Primeiramente, serão abordados os elementos da teoria das constituições civis e, em seguida, será explicado o que é a lex digitalis. Em um segundo momento, haverá a apresentação do conceito de governança da internet, sendo explicado os aspectos técnicos que possibilitam o funcionamento da rede mundial de computadores, tais como DNS, protocolo TCP/IP etc. Em seguida, são apresentados os agentes que atuam no campo dessa governança, focando-se principalmente nas empresas, nos Estados e nas instituições. Por fim, apresenta-se algumas críticas sobre a teoria de Teubner, apontando os limites e as possibilidades dela. A tese aqui defendida é a de que o conceito de regime jurídico transnacional da internet de Teubner não é adequado, pois funda praticamente todas as suas premissas a características da ICANN, que, além de não possuir autonomia plena no campo da governança da internet, é apenas mais uma das diversas instituições atuantes neste setor. Para fundamentar melhor a tese de Teubner, seria mais interessante que houvesse mais pesquisas em relação aos outros players da governança da internet. / This dissertation aims to analyze the concept of the Internet transnational regime, developed by Gunther Teubner, confronting it with the reality of internet governance. Firstly, the elements of the societal constitutionalism theory will be approached, and then the concept of lex digitalis will be explained. In a second moment, there will be a presentation of the internet governance concept, explaining the technical aspects that make possible the operation of the network, such as DNS, TCP/IP protocol etc. Next, it will be presented the agents who work in the internet governance field, focusing mainly on companies, states and institutions. Finally, some criticisms are presented on Teubner's theory, pointing out the limits and possibilities of it. The main thesis here is that Teubner's concept of transnational Internet legal regimes is not adequate because it is necessary to investigate beyond ICANN's characteristics, searching to understand the other internet governance players.

[pt] A análise das ideias de Günther Anders e a relação destas com teses de pensadores contemporâneos preocupados com a questão das mudanças climáticas é o objeto deste trabalho, baseado sobretudo em seu livro mais significativo, Die Antiquiertheit des Menschen (A Obsolescência do Homem). Ainda pouco divulgado nos meios acadêmicos e praticamente inédito no Brasil, Anders cria conceitos filosóficos densos e carregados de consequências morais e políticas, ao descrever e buscar entender a perplexidade e o horror diante da possibilidade de aniquilamento da humanidade pela própria humanidade, que tornou-se evidente após os campos de extermínio nazistas e o lançamento das bombas atômicas sobre Hiroshima e Nagasaki, em 1945. Conceitos como tempo do fim , defasagem prometeica , cegueira apocalíptica e prorrogação (délai) se mantêm atuais e pertinentes (ainda que com algumas diferenças inevitáveis), para se pensar um problema igualmente inescapável e onipresente: a crise ambiental global devida ao aquecimento do Sistema Terra, decorrente da queima de combustíveis fósseis pela ação humana, a qual se acelerou exponencialmente desde a Revolução Industrial. / [en] The present dissertation aims to analyse some of Gunther Anders ideas, extracted mainly from his most important book Die Antiquiertheit des Menschen (The Outdateness of Human Beings), referring them to those of other contemporary philosophers. Still very much unknown in the Brazilian academic world and mostly unpublished in Brasil, Anders, in his effort to understand the perplexity and horror of those facing the possibility of the anihilation of humanity by humanity itself, which became evident after the nazist s extermination camps and the launching of the atomic bombs on Hiroshima and Nagasaki, in 1945, creates many philosophical concepts with important moral and political consequences. Concepts such as Endtime , Promethean discrepancy , apocalyptic blindness and delay are still up to date and relevant (although with some inescapable differences) when thinking of such an astounding and omnipresent problem as the global environmental crisis due to the heating of the Earth System caused by the human action of burning fossil fuels, which has exponentially increased since the Industrial Revolution.