Danto thinks that the development of art history was over in 1964, because Andy Warhol's "Brillo Box" appeared. We can no longer make a distinction between this work of art and the real Brillo Box, which is just a commonplace object. However, the end of art does not mean we cannot make art anymore, nor does it mean that art has lost its value. It just means the concept of art is exhausted. No new style of art can emerge. There is no direction for art history to go on. Danto told us that there are two consequences of the end of art. One is we can find the essence of art and define art in terms of non-manifest properties. The other is pluralism. / Danto was influenced by Hegel's view of art history, he used "self understanding of art" to interpret the development of art, and he thought that the development of modernist art is to find out the essence of art. The end of art means that art can no longer understands itself, it should pass this mission to philosophy. Although generally speaking I agree with that the interpretation of art history given by Danto, I think the end of modernism does not necessarily mean the end of art, and also there is no need to interpret the development of modernist art only from the perspective of seeking the essence of art. Moreover, I do not accept the definition proposed by Danto. I want to argue that we can define art when there is no essence. Besides discussing the problems of the end of art and the definition of art, I have also discussed problems that are related to pluralism, such as evaluation of art and postmodernism. / 梁光耀. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 178-182). / Adviser: Chang Yuan Liu. / Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0599. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 178-182). / Liang Guangyao.

The current established historiography of the field of project management dates back to the 1950s and there is little known about the development of this field prior to the Second World War. Critical scholars within this field have challenged the timeline for project management. This historical research provides evidence of project practices prior to the twentieth century by introducing the activities of projectors, who are currently unacknowledged within the field of project management. The title of projector was assigned to initiators and/or promoters of the idiosyncratic activities that combined elements of public and private gain and were known in the period as projects. The research investigates the genesis of the ‘projector' name and maps out the activities of projectors and their involvement within English industrial and economic development. Projectors and their schemes are explored through three different foci. The first focus is archival, exploring a seventeenth-century project within the textiles industry carried out by the projector Walter Morrell. This analysis highlights a number of practices within Morrell's project similar to modern project management, and potentially informs the history of project management. The second focus is through the lens of the late seventeenth-century writer and projector Daniel Defoe, whose seminal publication on projects was reprinted multiple times and consequently shaped public opinion on projectors and the undertaking of projects, this focus was socio-historical. The third focus relates to public-private interest, which played an important role in projectors’ undertakings and strongly influenced the connotation of the title ‘projector’. This theme is examined through existing PhD theses of scholars who studied the activities of projectors in seventeenth-century England. These three foci inform the contribution this thesis makes to project management history. The originality of this work is in acknowledging the activities of projectors within seventeenth century England, which has implications for project management histories.

This dissertation traces the development of Charles A. Beard’s social, political, legal and historical thought. It covers his early education in Indiana, his cosmopolitan postgraduate studies at the University of Oxford, Cornell University and Columbia University, and professional work as political scientist and as expert on municipal government. By following thematically and chronologically the relationship between Beard’s historical writings and his early life as teacher of politics and government, this dissertation offers both a reinterpretation of the meaning of Beard’s interpretation of the origins of the U.S. Constitution and a glimpse of the shifting intellectual trends in political thinking that emerged during the Progressive era. Contrary to the idea that Beard was a moral absolutist interested in denouncing the interference of economic interests in government, this thesis argues that Beard developed a pluralistic, functionalistic, and anti-majoritarian conception of politics that was at odds with many Progressive thinkers. Most previous research on Beard has lacked archival research and has ignored Beard’s teachings on politics at Columbia University, thus projecting into Beard’s thought concepts and values he did not adopt. In this study Beard appears as an early advocate of a new pluralistic ethics and utilitarian morality that allowed him to picture the framers of the Constitution as modern pragmatic politicians interested in creating a strong government by the art of integrating the major economic interests of the society in the process of law-making. This dissertation also reveals a broader intellectual world informing Beard’s scholarly work and highlights his readings in modern sociology at DePauw and German sociological jurisprudence as two key factors in understanding Beard’s conception of law and politics. As such, it offers a much more complicated image of Beard’s thought and his intellectual world.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / O colono português Gabriel Soares de Sousa apresentou à corte de Felipe II da Espanha, por volta de 1587, um dos mais importantes registros sobre o Brasil quinhentista, o Tratado descritivo do Brasil em 1587, e o bem menos conhecido Capítulos de Gabriel Soares de Sousa contra os padres da Companhia de Jesus no Brasil. Esta tese apresenta uma análise da história destes manuscritos quinhentistas, examinado como chegaram até os seus formatos atuais e as suas leituras através dos tempos. / The portuguese settler Gabriel Soares de Sousa presented to the court of Philip II of Spain, around 1587, one of the most important records of the sixteenth century Brazil, the Treaty of Brazil in 1587, and the less well known chapters of Gabriel Soares de Sousa against the Company's priests of Jesus in Brazil. This thesis presents an analysis of the history of these sixteenth century manuscripts, examined how they got their current formats and their readings over time.

Orientador: Hélio Rebello Cardoso Cardoso Júnior / Banca: Milton Carlos Costa / Banca: Astor Antônio Diehl / Resumo: Fernand Braudel defende a pesquisa histórica que prioriza a longa duração. Os próprios fundadores da revista dos Annales já pensavam a história a partir de longos períodos, contrapondo-se à história política dos séculos XVIII e XIX, ainda que Fernand Braudel afirme que a história política não é exclusivamente factual, nem condenada a sê-lo. Para entendermos como Fernand Braudel chega a esta posição é necessário refletir sobre as influências que o levaram a tal, dentre as quais e, principalmente, a tradição dos Annales. Portanto, buscaremos analisar as considerações sobre o tempo histórico em Lucien Febvre e Marc Bloch e como estas considerações incidem na nova grade do tempo proposta por Fernand Braudel. Analisaremos o tempo histórico em suas dimensões de "temporalidade" e "duração", a "dialética da duração" e a forma como Fernand Braudel trabalha com o conceito de "estrutura". O estudo das perspectivas metodológicas do grupo dos Annales, onde se situa nosso projeto, figura como pré-requisito para a compreensão dos métodos da historiografia contemporânea, em especial os ligados à Nova História. Devido à sistematização da nova proposta temporal para as pesquisas históricas realizada por Fernand Braudel e, principalmente, ao seu mérito de articular o meio, cultura e sociedade em trabalhos balizados pela "dialética das durações", somos levados a tomar a sua obra como base para o atual trabalho. / Abstract: Fernand Braudel argues about the historical research which gives priority to long term. Even the founders of the Journal of Annales already thought history from long periods of time, contrasting to the political history of the eighteenth and nineteenth centuries, while Fernand Braudel has said that the political history is not only factual, or ordered to do so. To understand how Fernand Braudel reaches this position, we must reflect on the influences that led him to this, among them, and mainly from the tradition of the Annales. Therefore, we'll examine the comments about the historical time in Marc Bloch and Lucien Febvre and how these considerations relate to the new grade of time proposed by Fernand Braudel. We'll review the historical time in its dimensions of "temporality" and "duration", the "dialectic of duration" and how Fernand Braudel works with the concept of "structure". The study of the methodological perspectives from Annales group, which is our project, is a prerequisite to understanding the methods of contemporary historiography, in particular those linked to the New History. Due to the systematization of the new proposal about time for historical research conducted by the Fernand Braudel and, especially, the merit of articulating the environment, culture and society on works marked by the "dialectics of the time," we have to take his work as a basis for the current research. / Mestre

A tirania é um dos elementos mais marcantes das Histórias e da escrita da história das Histórias. Dentre as várias vertentes de estudo que debatem este aspecto da obra do autor de Halicarnasso, há uma querela específica que discute se ele tinha uma visão pejorativa ou neutra em relação à tirania. A partir, em especial, de meados do século XX, as novas tendências da historiografia passaram a valorizar aspectos marginalizados da história até então, e os estudos herodotianos passaram a ser (re)vistos em conformidade com essas mudanças. À luz desta tendência atual, que entende o texto herodotiano como unidade textual, proponho uma leitura desta controvérsia pelo viés da ambigüidade e da tragédia. Dentro desta perspectiva, reis e tiranos têm um importante papel na narrativa ao compor a forma através da qual Heródoto expressa seu pensamento político na obra, pensamento este relacionado com suas preocupações em torno do exercício do poder. / Tyranny is one of the most remarkable elements of the Histories and of Histories\' historiography. Among many academic approaches which discuss this aspect concerning the narrative of this Halicarnassos author, there is a specific discussion about the possibility of a pejorative or a neutral vision of tyranny. From the middle of the twentieth century on, the new historiographical tendencies have valued marginal aspects of history, so, the herodotean studies started to be reviewed according to these changes. In the light of this current tendency, that understands the herodotean text as a textual unity, I propose a reading of this controversy through the perspective of ambiguity and tragedy. In this perspective, kings and tyrants have an important role in the narrative by composing the form through which Herodotus expresses his political thought in his work, a thought related to his concerns with the exercise of power.

O estudo a seguir investiga as origens e o contexto histórico de um conceito historiográfico, a saber, a chamada tese do conflito entre a ciência e a religião. Segundo esta tese, a prática científica possuiria uma indisposição natural e recíproca para com as práticas religiosas, levando-as a um conflito inevitável e historicamente verificável. Os próceres dessa interpretação foram John William Draper (1811-1882), James Young Simpson (1811-1870) e Andrew Dickson White (1832-1918), sobre o qual este trabalho se debruça. White foi, dentre os três, o único que ocupou cadeiras universitárias de ensino de História, sendo considerado um dos primeiros historiadores profissionais dos Estados Unidos da América. Ao longo de décadas elaborou uma série de artigos que, compilados, lhe renderam sua Magnum opus em dois volumes, A History of the Warfare of Science with Theology in Christendom. A pesquisa se concentra em três eixos fundamentais: a) o contexto biográfico religioso de Andrew White, sua maturação filosófica e sua atuação como professor universitário, bem como o contexto histórico mundial e local no qual a obra foi produzida, rebuscando especialmente sua relação com a Universidade de Cornell; b) uma verticalização analítica dos conceitos históricos e epistemológicos empregados por White, procurando esquadrinhar as especificidades dos termos religião, ciência e teologia, bem como a retórica discursiva do autor; e finalmente c) uma apreciação histórica do desenvolvimento da Crítica Bíblica na Europa e nos Estados Unidos da América e de sua influência na obra de A. D. White. O trabalho revela de que forma o contexto político e mental do século XIX propiciou o surgimento de metáforas bélicas em diversos âmbitos, oferece razões históricas e sociais que explicam a origem do suposto conflito entre a ciência e a religião, apresenta um mapeamento conceitual da obra de White e a relevância da ascensão da Crítica Bíblica como um caminho para assegurar a secularização da prática científica. / The following study investigates the origins and the historical context of a historiographical concept, namely, the so called conflict thesis between science and religion. According to this thesis, scientific practice is endowed with a natural and mutual indisposition regarding religious practices, bringing them to an inevitable and historically verifiable conflict. The champions of this interpretation were John William Draper (1811-1882), James Young Simpson (1811-1870) and Andrew Dickson White (1838-1918), this work dwelling upon the latter. White was, among the three, the only one to occupy university chairs of History teaching, and is considered one of the first professional historians of the United States of America. Throughout decades he elaborated a series of articles that, after compilation, rendered his Magnum opus in two volumes, A History of the Warfare of Science with Theology in Christendom. This research focuses in three fundamental axis: a) the religious biographical context of Andrew White, his philosophical maturation and his procedure as university professor, as well as the world and local historical context under which the work was yield, rummaging specially its relation to Cornell University; b) an analytical and vertical exposition of the historical and epistemological concepts employed by White, so as to scan the specificities of the terms religion, science and theology, as well as the discursive rhetoric of the author; and finally c) a historical appreciation of the development of Biblical Criticism in Europe and United States of America and its influence upon the work of A. D. White. The work reveals in which way the political and mental context of the 19th century propitiated the emergence of martial metaphors in diverse spheres, offers historical and social reasons that explain the origin of the supposed conflict between science and religion, presents a conceptual mapping of Whites work and the relevance of Biblical Criticism as a way to secure the secularization of the scientific practice.

A presente tese visa analisar e compreender as relações entre os textos e as imagens contidas no livro didático de autoria de Antonio José Borges Hermida Compêndio de História do Brasil, editado pela Companhia Editora Nacional entre os anos de 1962 e 1975, sendo estas relações reveladoras de um discurso de determinado conhecimento histórico. Para este trabalho foi realizado estudo bibliográfico sobre a história da disciplina de História, a cultura escolar e o contexto político para a sustentação das análises de produção, editoração e circulação do livro, em todas as suas 60 edições, como suporte mercadológico, ideológico e cultural. O Compêndio de História do Brasil, de Borges Hermida, foi aqui analisado como um produto industrial e em sua condição de fonte a ser estudada para a compreensão de parte de uma História da Educação e da História do Ensino de História, assim como para entendimento e estudo de uma História do Livro (didático). O livro, como produto de uma indústria cultural, é fruto da intervenção de diversos sujeitos e autores e um elemento material de conceito complexo, devendo ser também concebido como corpo documental histórico; o nome de seu autor, embora este não se faça presente em todas as suas etapas de formação e produção, deve servir como atrativo comercial em uma perspectiva de maiores vendagens. O discurso historiográfico do autor, expresso pelo texto escrito, é ponto crucial da análise, assim como as imagens utilizadas nos diversos contextos. Além do conteúdo histórico divulgado através dos textos e das imagens, também foram objeto de análise as suas características formais representadas pela forma de sua organização, tipografia e editoração, entendidas como partes integrantes do discurso histórico e didático estabelecido pela obra. As análises dos elementos editoriais e historiográficos possibilitaram uma melhor compreensão da constituição dos diálogos entre o texto e as imagens divulgadas pelo livro como um produto material. O Compêndio, por largo período de tempo, foi o difusor de um conhecimento e de determinado discurso histórico expresso em suas páginas através do trabalho de diversos profissionais da área editorial, das imagens que reproduzem o trabalho de dezenas de pintores e desenhistas e, principalmente, através das palavras de seu autor, Antônio José Borges Hermida. / This thesis aims to make an analysis and understanding the relations between texts and the images contained in didactic book written by Antonio Jose Borges Hermida, Compêndio de História do Brasil, published by Companhia Editora Nacional between 1962 and 1975, considering these relations, indicative of a determinate discourse of historic knowledge. To this study a bibliographic study was carried, approaching the ways of History as a school discipline, the school culture and the political context that gives support to the production analysis, publication and circulation of the book, in all these 60 editions, as merchandising, ideological and cultural support. The Compêndio de História do Brasil, by Borges Hermida was analyzed as an industrial product an in his condition of source to be studied to the comprehension of a part of the history of education and of the history of teaching History, as well as to understanding and study of a didactic book study. The book, as an industrial cultural product is fruit from the intervention of several individuals and authors and a material element of complex elements, bringing the necessity to be conceived as an historical documental body; the authors name, although it doesnt appear in all the stages of formation and production, should serve as a commercial appeal in larger sales. The authors historiographical discourse, expressed by the written text, is a crucial point of the analysis, as well the images used in the various contexts. Besides the historical content publicized through the texts and images, also were object of analysis, their formal characteristics represented by their lay out organization, typography and editing, seen as integrant parts of the historical and didactical discourse established by the project. The analysis of editorial and historiographical elements allowed a better comprehension of the establishment of dialogues between the text and the images that were publicized by the book as a material product. The Compendio, for a long time, was a diffuser of knowledge and of a determinate historical discourse expressed in his pages through the work of several professionals of the editorial area, of the images that reproduce the art of dozen of painters and draftsmen and, mainly, through the words of his author, Antonio José Borges Hermida.

Este trabalho, inserido no âmbito da Historiografia Linguística, visa a investigar as manifestações do prescritivismo na produção metalinguística de Gladstone Chaves de Melo. O corpus analisado abrange de A atual decadência da língua literária, ensaio com que Melo inicia sua produção científica, a Na ponta da língua, coletânea de artigos em que o filólogo e outros autores elucidam questões gramaticais e ortográficas. O método utilizado é aquele proposto por Swiggers (1990), para quem há dois tipos de procedimento historiográfico, os quais não se excluem: a focalização do contexto e a investigação do conteúdo. A fundamentação teórica tem como base a noção de horizonte de retrospecção, estabelecida por Auroux (2006), e, sempre que o material de estudo o permite, faz-se uso das proposições de Bakhtin (1999) e de Benveniste (1995). Comprova-se que, na produção metalinguística do autor, o prescritivismo manifesta-se em quatro fases: 1) Traços prescritivistas na descrição dialetológica, estágio em que o pesquisador realiza uma síntese das características dialetais brasileiras; 2) O estabelecimento da gramatização, fase em que o filólogo elabora uma gramática, formalmente constituída; 3) Os contornos prescritivos do novo semblante científico, etapa em que o autor se dedica à produção de um manual de Estilística; 4) A prescrição ululante, estágio em que o discurso prescritivista do pesquisador culmina, ao se enquadrar no gênero artigo jornalístico. Conclui-se que, em todos os tipos de estudo linguístico aos quais se dedicou, Melo empenhou-se em defender uma norma: a língua dos clássicos luso-brasileiros. / The aim of this work, inserted in the field of Linguistic Historiography, is to investigate the manifestations of prescriptivism in Gladstone Chaves de Melos metalinguistic production. The corpus at issue here ranges from A atual decadência da língua literária, the article with which Melo initiated his scientific production, to Na ponta da língua, a collection of articles in which the philologist and other authors elucidate grammatical and orthographical issues. The methodology is based on the theoretical studies by Swiggers (1990), who proposes two types of historiographical analysis that do not exclude each-other: focusing on context and content investigation. The theoretical part of this thesis is based on the retrospective horizon as established by Auroux (2006) and, whenever the material on focus allows, Bakhtins (1999) and Benvenistes (1995) propositions are also approached. The research comes to the conclusion that in the authors metalinguistic production prescriptivism manifests itself in four phases: 1) Traces of prescriptivism in the dialectological description, in which the author synthesizes the Brazilian dialectal characteristics; 2) The establishment of grammatization, in which the philologist proposes a formally constituted grammar; 3) The prescriptive contours of the new scientific appearance, in which the author aims at the production of a manual of Stylistics; 4) The obvious prescription, in which the authors ultimate prescreptivist discourse fits the journalistic article genre. It is the conclusion of this work that, in all kinds of linguistic studies made by Melo, he dedicated himself to defend one norm: the language of the Luso-Brazilian classics.

Na epopéia homérica, a ágora, a assembléia do povo, constitui espaço privilegiado de interação social, servindo de cenário para a figuração de eventos importantes para a condução da trama, tanto da Ilíada quanto da Odisséia. No âmbito dos estudos homéricos, aqueles que se dedicam à análise histórica dos poemas têm feito largo uso desses episódios, na busca de chegar a explicações coerentes a respeito dos modos de operação da sociedade retratada na narrativa. Qual seria o papel das assembléias na sociedade homérica? Qual seria a constituição social do povo presente nessas reuniões? Seria ela conformada aos moldes de uma sociedade de caráter patriarcal ou refletiria as instituições das nascentes póleis arcaicas? Ou seria pura ficção, um amálgama de elementos contraditórios, não retratando uma sociedade que tivesse tido existência fora dos textos? O principal obstáculo para o encaminhamento dessas questões encontra-se na própria natureza dos textos homéricos. Elas são caras à nossa forma de perceber o mundo, mas não encontram eco no texto. Os poemas não apresentam registros que possibilitem respostas precisas para elas. Quando as questões que animam a interpretação buscam a clara delimitação das instâncias organizacionais da sociedade figurada na Ilíada e na Odisséia, a memória preservada, no registro épico da ágora homérica, apresenta-se para nós permeada de ambigüidade e indefinições, que, para serem rompidas, necessitam de esquemas de referências que possibilitem contextos a partir dos quais se possa empreender a análise. No presente trabalho, apresentam-se reflexão sobre a forma como a crítica especializada tem contornado tais problemas de interpretação e proposta de hermenêutica das cenas de assembléia na épica, tendo como fio condutor as questões da conformação da ágora como elemento definidor do estatuto da vida civilizada; da oposição entre assunto público e privado; e da natureza social do povo presente nas assembléias / In Homeric epic poems, the ágora, the assembly of the people, constitutes a privileged space of social interaction. It serves as stage set for portraying important events for plot conduction, both in the Iliad and the Odissey. In scope of Homeric studies, those engaged in historical analysis of the epic poems have made wide use of these episodes in search of coherent explanations, regarding the operational ways of the society portrayed throughout the narrative. Which would be the role of the assemblies in the Homeric society? Which would be the social constitution of the people present in these meetings? Would it be conformed to the moulds of a society of patriarchal character or would it reflect the institutions of the rising archaic pólis? Or would it be pure fiction, an amalgam of contradictory elements, not portraying a society that had had existence out of the texts? The main obstacle for the guiding of these questions meets in the proper nature of the Homeric texts. They are so dear to the way we perceive the world, but they don\'t find any echo in the text. The poems do not present registers that make possible accurate answers for the asked questions. When the questions that liven up the interpretation search the clear delimitation of the organizational instances of the society depicted in the Iliad and in the Odyssey, the memory preserved in the epic register of the Homeric ágora comes out pervaded by ambiguity and unclear settings, that, to be breached, need design of references that make possible contexts from which the analysis can be undertaken. This work presents a reflection on the form as the specialized critic has contoured such problems of interpretation and a proposal of hermeneutics of the assembly scenes in the epic, having as conducting wire the questions related to the conformation of the ágora as defining element of civilized life; the opposition between public and private subject; and the social nature of people present in the assemblies