Ao abordar as relações entre selos postais e história, a literatura filatélica ocupa-se, fundamentalmente, em situar a origem do moderno mecanismo tarifário dos correios, atendo-se também a outros detalhes técnicos como a evolução dos métodos de impressão e das características gráficas. Quanto ao simbolismo exibido nas estampas, é corrente a idéia segundo a qual os selos narram a História do país emissor por registrarem seus principais personagens, eventos e tradições, avaliação que transcende o meio filatélico e pode ser considerada de senso comum. Esta dissertação adota a perspectiva de análise sugerida pelo historiador britânico Eric Hobsbawn, que considera os selos postais um dos principais suportes materiais de que dispõe o Estado moderno para promover a massificação das tradições nacionais e, como tal, um indício privilegiado para se compreender as estratégias de elaboração da história oficial. Embora coloque o selo postal brasileiro em perspectiva cronológica ampla, para apreender-lhe a trajetória enquanto linguagem, a pesquisa privilegia o contexto em torno da transformação dos Correios em empresa pública pelo governo militar, em 1969. Um dos destacados aspectos da modernização da instituição foi transformação do selo postal brasileiro, cuja emissão foi reestruturada em termos qualitativos e quantitativos durante a década de 70, política complementada pela divulgação e incentivo à prática da filatelia. Nos selos emitidos a partir de então, observa-se a ampliação das matrizes de representação no que diz respeito à historicidade: além do usual registro da História tradicional, passam a compor o índice filatélico outras representações do passado, como a cultura popular e o folclore, além da propaganda das realizações governamentais, que remete ao futuro afinal tornado presente pelo governo militar. / When approaching the relations between mailing stamps and History, the philatelical literature has mainly dealt with pointing out the origins of the post offices modern tariff mechanisms, and has also payed attention to other technical details like the printing methods evolution and the graphic features. Concerning to the symbolism shown in the pictures, it’s usual the idea that the stamps narrate the country’s History, due the fact they register the country’s main characters, events and traditions. This valuation exceeds the philatelical milieu and can be considered as the common sense. This paper adopts the analysis perspective suggested by the British historian Eric Hobsbawn, who considers mailing stamps as one of the main material basis the modern State has to promote the national traditions massification. Therefore, it’s a privileged sign to understand the official History elaboration strategies. Although we place the Brazillian mailing stamps in a broad chronological perspective, to grasp its path as a language, this work privileged the context around the Correios transformation in a public company, by the military government in 1969. One of the emphazided features of the institution modernization was the Brazilian mailing stamps transformation, of which emission was reestructered in qualitatives and quantitatives terms during the 70’s. This policy was complemented by the spreading and incentive to the philatelical practice. On the stamps printed from that moment on, it’s possible to observe the enlargement of the matrices representation concerning to the historicity: beyond the usual register of the traditional History, other representations about the past started to compose the philatelical index, like the popular culture and the folklore; besides the government propaganda showing Brazil as a powerful country, announcing a future that had finally become present.

Made available in DSpace on 2016-04-27T17:26:51Z (GMT). No. of bitstreams: 1 Jairo Ferrandin.pdf: 1505220 bytes, checksum: fff418bd764935e649788a200a263405 (MD5) Previous issue date: 2010-10-08 / This work intends to resume the project of a phenomenological explanation of the Pauline letters concerning the original experience of primitive Christianity, drawn up by Heidegger in his course Einleitung in die Phänomenologie der Religion, in 1920-21. In it, the philosopher seeks to develop new means of access to religious phenomenon based on the notion of experience of life in its factual historicity. This is new reappropriation of tradition, not in the sense of objectivity and the repetition of content, theories and doctrines, but the destruction, which allows reconnecting from the experiences of the generation sense. The notion of facticity permeates all the peculiar characteristics that encompass the initial thought of Heidegger, particularly during their first academic activities. Will also enable the construction of new concept of philosophy, known originally as science or as hermeneutics of facticity, with sense and concepts - the formal indication - that distinguish the ideals of scientific objectivity. The resumption of Heidegger's project also has the intent to highlight how the religious and Christian theology occupied a central place in the early development of the question of the sense of being, and what their possible contributions and directions decisive for the discussion of key issues generated the basic ideas of Sein und Zeit / O presente trabalho pretende retomar o projeto de uma explicação fenomenológica das cartas paulinas referentes à experiência originária do cristianismo primitivo, elaborado por Heidegger em seu curso Einleitung in die Phänomenologie der Religion, de 1920-21. Nele, o filósofo procura desenvolver nova modalidade de acesso ao fenômeno religioso partindo da noção de experiência fática da vida em sua historicidade. Trata-se de nova reapropriação da tradição, não no sentido de repetição de objetividades e conteúdos, de teorias e doutrinas, mas pela destruição, que permite reaproximar-se das experiências geradoras do sentido. A noção de faticidade perpassa o conjunto das características peculiares que circunscrevem o pensamento inicial de Heidegger, especialmente no período de suas primeiras atividades acadêmicas. Possibilitará também a construção de novo conceito de filosofia, denominada como ciência originária ou como hermenêutica da faticidade, com sentido e conceitos próprios - os indícios formais - que a distinguirá dos ideais da objetivação científica. A retomada deste projeto heideggeriano tem também o intento de salientar como a dimensão religiosa e a teologia cristã ocuparam lugar central no desenvolvimento inicial da questão do sentido do ser, e quais suas possíveis contribuições e indicações decisivas para a discussão de temas fundamentais geradores das ideias básicas de Sein und Zeit

Né à Calcutta en 1952, Vikram Seth occupe une place éminemment originale sur la scène littéraire postcoloniale. Manifestement animée par une force centrifuge, l’œuvre de Vikram Seth semble se renouveler perpétuellement : du récit de voyage au recueil de poésie, entre vers et prose, Seth revendique le droit à la métamorphose et épouse tour à tour une myriade de genres. Cette constellation générique manifeste l’aversion profonde de l’auteur pour l’uniformité et son rejet du cloisonnement. L’œuvre de Seth ne peut en effet être fixée ni génériquement, ni contextuellement : les ancrages successifs de l’auteur dans des décors poétiques radicalement différents laissent en effet transparaître la pluralité irréductible de ses amarres culturelles. Riche d’une multiplicité d’enracinements, cette œuvre polymorphe défie toute catégorisation. L’hétérogénéité de cette production littéraire masque cependant une pratique organisée du pastiche. Celle-ci s’impose comme une véritable dynamique de création : les œuvres de Seth puisent en effet leur "matière première" dans les textes canoniques de la littérature européenne, affichant une volonté souvent jugée démodée de retour à la tradition. Pourquoi Vikram Seth a-t-il aussi ostensiblement recours au pastiche, pratique traditionnellement dépréciée en Occident ? Si certains critiques dénoncent le caractère en apparence apolitique de cette écriture, le pastiche ne saurait se réduire ici à une reprise mécanique ou nostalgique de textes toujours déjà écrits, mais acquiert au contraire une dimension critique à travers la notion de "mimicry". Toute l’œuvre de Vikram met en relief le caractère radicalement énonciatif de la textualité, soulignant avec force l’historicité du langage. / Born in Calcutta in 1952, Vikram Seth occupies a highly original place on the postcolonial literary scene, owing to the dazzling variety of his work. Indeed, his career has been one of restless reinvention: skipping from economist to poet, to travel writer, to novelist-in-verse, to librettist, to translator and to children’s writer, Vikram Seth even tried his hand at biography in Two Lives (2005). His writing displays a deep-seated abhorrence of uniformity: every new book by Seth creates a fresh departure in genre and theme, and moves seamlessly from one geographical and cultural location to another, revealing a distinct cosmopolitan sensibility that makes Seth’s affiliations and cultural moorings all but impossible to fathom. Seth’s protean opus thus proves miraculously immune to any definitive categorization. In fact, however, the generic heterogeneity of Seth’s work masks a hidden unity, which lies in a deliberate use of pastiche: Vikram Seth treats Western canonical texts as raw material, in an ostensibly unfashionable attempt to go back to earlier models of literary tradition. Why does Seth strive to preserve the European literary legacy so ostentatiously through the use of pastiche, a practice that is traditionally belittled in the West? Although current critiques of Vikram Seth’s writing berate him for evading the politics of his own cultural, historical and political location, I will argue that pastiche acquires a critical dimension in Seth’s work through the notion of "mimicry". Vikram Seth’s work sheds light on the radically enunciative quality of textuality, throwing into sharp relief the historicity of language.

Avec le soulèvement de 1946 (février-mars) débute en Égypte une crise politique qui dure jusqu’à la mise en place du système nassérien (1952-1954) où se mêlent velléités de changement social et d’indépendance. Les 18 et 19 janvier 1977, l’insurrection spontanée, contre la diminution des subventions publiques sur vingt-cinq produits de consommation, révèle le rejet massif du nouvel ordre moral que Sadate souhaite imposer. Les manifestants rappellent le Président de la République aux promesses nassériennes que la défaite de 1967 dans la guerre contre Israël a fait voler en éclat. Réflexion sur les façons de vivre et de transmettre l’expérience révolutionnaire, cette thèse présente, depuis Alexandrie, les épisodes insurrectionnels de 1946 et de 1977 qui ont secoué les grandes villes d’Égypte. Au travers d’une enquête orale auprès de militants alexandrins et des sources de nature diverses, les événements sont présentés tantôt sous l’angle du temps court, tantôt dans leur conjoncture.C’est à distance de la chronologie, dans les interstices des différents registres d’énonciation (témoignages et discours politiques, récit d’histoire ou de fiction, etc.), que cette thèse explore les traces du « trésor » : expérience collective de la liberté chère au poète René Char, « rejetée » par ceux qui la vivent une fois qu’elle se termine. On voit se dessiner des notions, des institutions et des expériences collectives au travers desquels se forgent, dans la seconde moitié du XXe siècle, l’idée du changement social, de ses limites et les moyens par lesquels des personnes ordinaires peuvent y participer. / The uprising of 1946 (February-March) initiates a political crisis in Egypt that lasts until the implementation of the Nasserian system (1952-1954) and involves both hopes of social change and national independence. The spontaneous uprising that happens in January 18th and 19th 1977 against the reducing of price subsidies of 25 consuming products, reveals a massive rejection of the new moral order that Sadat wishes to impose. The demonstrators remind their President to the Nasserian promises that the 1967’s defeat in the war against Israel demolished.This thesis seeks to develop a reflexion on the ways of living and transmitting the revolutionary experience based on the events of the Egyptian urban uprisings of 1946 and 1977 from the point of view of Alexandria. It presents the events in the short time and in their conjunctures through an oral inquiry among Alexandrian activists and sources of several natures, as part of constant concern for documenting the effects of scale between individual history and collective history, as well as the historicity of insurrection.Away from linear chronology, in the interstices between the categories of expression (testimonies, stories and political discourses, history and fiction, etc.), this research explores the tracks of the “treasure”, a word that the poet Rene Char uses to describe a collective experience of liberty, rejected by whom lives it as soon as it ends. It reveals a network of notions, institutions and collective experiences which defines social change, its limits and the ways by which ordinary people get involved in it, through the second part of the XXth century.

Cette thèse se propose de mettre en relief des enjeux esthétiques et théoriques encore inaperçus du décor filmique, en prenant pour exemple le travail de Luchino Visconti, dont le cinéma fournit un cadre privilégié pour mener une telle recherche. Cinq grands films en costumes situés dans un XIXe siècle tardif, entre 1860 et 1911, constituent le corpus de l’étude, que vient compléter l’horizon réflexif des mises en scène de théâtre. On se donne pour tâche de relever et de faire ressortir les fonctions descriptive, historique et dramaturgique du décor. Le concept de scène ouvre ce décor XIXe à son extension la plus large : de l’espace au temps, du plus matériel au moins évidemment perceptible, du visuel au sonore. Le décor est cette scène, à la plasticité et la malléabilité remarquables, sur laquelle se met en place une poétique indissociable des perspectives temporelles. Comme scène, le décor est là où l’émergence du XIXe se noue, se joue et se structure selon trois niveaux : l’historicité, le drame, le temps. De la reconstitution historique à l’imagerie du siècle, des rhétoriques XIXe à la dramaturgie passionnelle, de la mise en scène du temps aux décors-temps en passant par les fictions et la corporéité du décor : voilà vers quelle poétique les scènes du décor acheminent le spectateur. Le distendant jusqu’à ses limites les plus élargies (le temps et ses mouvements, son anachronisme et sa fragmentation, ses fractures et sa musicalité), la réflexion aborde pour finir le décor XIXe comme cette forme cinématographique aspirant à une autre visibilité : telle une présence qui « inquiète le regard » (D. Païni). Cette approche du décor permet alors de repenser le travail de Visconti dans la modernité. / This doctoral thesis aims at highlighting aesthetic and theoretical aspects of film sets, throughout the work of Luchino Visconti. Five great costume films taking place in the late nineteenth century, between 1860 and 1911, complemented by the reflexive horizon of theatre stagings, constitute the corpus of the analysis. Descriptive, historical, and dramatic features of the film sets are identified and highlighted. The notion of scene enables us to consider the nineteenth century sets through a broad spatial and temporal scope; from the more substantial to the least clearly perceptible; from vision to audition. The film set is considered as a stage, with its characteristic plasticity and malleability, whereby the poetics is set up, indivisible from temporal perspectives. As a stage, the film set is the place where the emergence of the nineteenth century gets structured according to three levels: historicity, drama, and time. From the reconstruction of history to the imagery of the century, from the nineteenth century’s rhetoricity to the passionate drama, from the staging of time to temporal-settings, through film sets’ fictions and corporeality: this is the poetics towards which film sets’ scenes carry on the viewer. Distending the film set to its most extended limits (its time and movements, its anachronism and fragmentation, its fractures and musicality), towards the end, the reflection tackles the nineteenth century film sets as a cinematographic form aspiring to a new type of visibility — similar to a presence which "worries the sight" (D. Païni). This wide approach of the film set enables us to analyse Visconti’s work through the lens of modernity.

Ao abordar as relações entre selos postais e história, a literatura filatélica ocupa-se, fundamentalmente, em situar a origem do moderno mecanismo tarifário dos correios, atendo-se também a outros detalhes técnicos como a evolução dos métodos de impressão e das características gráficas. Quanto ao simbolismo exibido nas estampas, é corrente a idéia segundo a qual os selos narram a História do país emissor por registrarem seus principais personagens, eventos e tradições, avaliação que transcende o meio filatélico e pode ser considerada de senso comum. Esta dissertação adota a perspectiva de análise sugerida pelo historiador britânico Eric Hobsbawn, que considera os selos postais um dos principais suportes materiais de que dispõe o Estado moderno para promover a massificação das tradições nacionais e, como tal, um indício privilegiado para se compreender as estratégias de elaboração da história oficial. Embora coloque o selo postal brasileiro em perspectiva cronológica ampla, para apreender-lhe a trajetória enquanto linguagem, a pesquisa privilegia o contexto em torno da transformação dos Correios em empresa pública pelo governo militar, em 1969. Um dos destacados aspectos da modernização da instituição foi transformação do selo postal brasileiro, cuja emissão foi reestruturada em termos qualitativos e quantitativos durante a década de 70, política complementada pela divulgação e incentivo à prática da filatelia. Nos selos emitidos a partir de então, observa-se a ampliação das matrizes de representação no que diz respeito à historicidade: além do usual registro da História tradicional, passam a compor o índice filatélico outras representações do passado, como a cultura popular e o folclore, além da propaganda das realizações governamentais, que remete ao futuro afinal tornado presente pelo governo militar. / When approaching the relations between mailing stamps and History, the philatelical literature has mainly dealt with pointing out the origins of the post offices modern tariff mechanisms, and has also payed attention to other technical details like the printing methods evolution and the graphic features. Concerning to the symbolism shown in the pictures, it’s usual the idea that the stamps narrate the country’s History, due the fact they register the country’s main characters, events and traditions. This valuation exceeds the philatelical milieu and can be considered as the common sense. This paper adopts the analysis perspective suggested by the British historian Eric Hobsbawn, who considers mailing stamps as one of the main material basis the modern State has to promote the national traditions massification. Therefore, it’s a privileged sign to understand the official History elaboration strategies. Although we place the Brazillian mailing stamps in a broad chronological perspective, to grasp its path as a language, this work privileged the context around the Correios transformation in a public company, by the military government in 1969. One of the emphazided features of the institution modernization was the Brazilian mailing stamps transformation, of which emission was reestructered in qualitatives and quantitatives terms during the 70’s. This policy was complemented by the spreading and incentive to the philatelical practice. On the stamps printed from that moment on, it’s possible to observe the enlargement of the matrices representation concerning to the historicity: beyond the usual register of the traditional History, other representations about the past started to compose the philatelical index, like the popular culture and the folklore; besides the government propaganda showing Brazil as a powerful country, announcing a future that had finally become present.

Le présent travail a pour but d’élucider, sous le nom de « figures de la temporalité », les modalités du temps telles qu’elles se présentent dans l’herméneutique de Gadamer. Notre point de départ réside dans l’idée que la compréhension est événement, et qu’en elle quelque chose du passé vient « parler » au présent, par-delà toute distance temporelle. Liée à la structure événementielle de l’expérience du comprendre, la thématique du temps s’impose à chaque grand axe de la pensée gadamérienne, que ce soit l’ontologie de l’œuvre d’art, le rapport à la tradition ou la constitution langagière et dialogique de notre être-au-monde.Pour expliciter la participation du temps aux structures essentielles de l’expérience herméneutique, nous revisitons trois sphères fondamentales de celle-ci, mises en lumière par Gadamer dans Vérité et méthode. Nous commençons par l’analyse de la temporalité éminente de l’œuvre d’art en tant qu’elle fait apparaître la problématique de l’interprétation temporelle du sens. Nous l’élargissons ensuite à la totalité de l’expérience herméneutique, en l’interrogeant à partir des notions de présence et d’historicité. Ce qui nous conduit enfin à mettre en lumière l’inachèvement constitutif de l’expérience du sens, saisie dans son essence dialogale. Le temps représente pour nous moins un objet de recherche qu’une grille de lecture, permettant de mettre au jour le caractère temporel et historique de l’être du sens et la finitude de l’expérience du comprendre. Nous espérons montrer, par notre recherche, que le dégagement de la question du temps chez Gadamer pourrait fournir un élément essentiel à la compréhension de l’ensemble de sa pensée et contribuer à l’éclaircissement du concept herméneutique de vérité. / The present work aims, under the name of “figures of temporality”, to elucidate the modalities of time as they appear in Gadamer’s hermeneutics. Our point of departure lies in the idea that understanding is an event, and that something of the past in it comes to “speak” to the present, beyond any temporal distance. The theme of time is linked to the event structure of the experience of understanding and is presented in each major axis of Gadamerian thought, such as the ontology of the work of art, the relationship to tradition or the linguistic and dialogical constitution of our being-in-the-world.To explain the participation of time in the essential structures of hermeneutical experience, we revisit its three fundamental spheres, highlighted by Gadamer in Truth and Method. We begin with the analysis of the eminent temporality of the work of art insofar as it reveals the problematic of the temporal interpretation of meaning. Then we extend it to the totality of the hermeneutical experience, by questioning it through the notions of presence and historicity. It leads us finally to show the unclosed character of the experience of meaning, grasped in its dialogical essence. Here time is less a research object than a grid of reading, making it possible to reveal the temporal and historical character of the being of meaning and the finitude of the experience of understanding. Our research is intended to show that the emergence of the question of time in Gadamer could provide an essential element for the comprehension of his entire thought and contribute to the clarification of the hermeneutical concept of truth.

Bien que de nos jours nous parlons aisément du monde lui-même en le différenciant de la nature, nous sommes tentés de croire que le «monde» où nous nous engageons est la nature immédiate, celle des objets inanimés. Cependant, nous sommes également tentés de défendre l'idée selon laquelle le monde est historico-culturel. Dans notre étude, nous analysons les conceptions hégéliennes et heideggériennes de l'historicité du monde. Deux questions principales dirigent notre étude : 1. Comment doit-on aborder la différence entre ce qui est toujours déjà là (la nature) et le monde ? 2. Et dans quelle mesure faut-il imputer au sujet (ou à l'esprit ou au Dasein) le pouvoir de donner forme au monde ou le pouvoir de constituer le monde? A partir de ces deux questions notre étude cherche à mettre en évidence ce qu'est l'historicité du monde chez Hegel et Heidegger. Enfin nous comparons leur conception de l'historicité du monde. / Though, in our time, we readily speak of the world as distinct from nature, we are nevertheless tempted to believe that the "world" in which we engage is the immediate nature consisting of inanimate objects. However, we are also tempted to defend the idea that the world is historical. In our study, we analyze the Hegelian and Heideggerian conceptions of the historicity of the world. Two main questions will guide our study: 1. How should we approach the difference between what is always already there (nature) and the world ? 2. And to what extent does the subject (or spirit or Dasein) have the power to shape and constitute the world? From these questions, our study tries to expIain what the historicity of the world is in Hegel and Heidegger and then to compare their conception of the historicity of the world.

A compreensão dos processos de aprendizagem de conceitos no campo da estereoquímica e o desenvolvimento de uma estratégia didática que favoreça sua aprendizagem foram os principais objetivos desse trabalho. A compreensão desse campo exige o domínio de uma rede de conceitos abordados nas disciplinas de Química Orgânica básica tanto no Ensino Médio quanto no Ensino Superior nos cursos de química, farmácia, biomedicina, bioquímica dentre outros. O ensino de estereoquímica e seus desafios têm sido discutidos há décadas, sendo que a complexidade na resolução de problemas no espaço tridimensional tem sido considerada como uma das principais fontes de dificuldades de aprendizagem. Assim é clara a necessidade de utilizar estratégias em sala de aula que favoreçam o desenvolvimento das habilidades relativas à visualização tridimensional. Mas existe outra barreira a ser transposta na sala de aula: a motivação do aluno para a aprendizagem. Alguns alunos adquirem certa resistência à Química devido à falta de contextualidade na abordagem dos conteúdos. Assim o problema norteador nessa tese é: como tornar mais eficiente o ensino e a aprendizagem da estereoquímica com foco no Ensino Médio? O aporte teórico desse estudo está alicerçado nas teorias cognitivistas de Vygotsky e Vergnaud em função de que ambas consideram a representação como elemento principal na aquisição de conhecimentos, fato que está diretamente relacionada com a questão da visualização e que essa aquisição é dependente do contexto, ou seja, o estudante aprende o que para ele tem significado. Particularmente a Teoria dos Campos Conceituais de Gerard Vergnaud ocupa-se em entender melhor quais são os problemas de desenvolvimento específicos de um determinado campo de conhecimento e atribui ao professor o papel de promover oportunidades para que os alunos superem suas dificuldades desenvolvendo assim formas mais eficientes de trabalhar os conteúdos. Para responder essa questão investigamos, incialmente, estudantes do nível superior, bem como livros de ensino médio e superior. A partir dos dados coletados elaborou-se uma unidade de ensino baseada em uma estratégia didática baseada na tríade alfabetização tridimensional, histórica e contextual que visa à aprendizagem integrada dos diferentes aspectos. A unidade didática foi avaliada por professores de Química de diferentes níveis de ensino para finalmente, na última etapa de coleta de dados, investigar a compreensão de estudantes de Ensino Médio sobre o campo conceitual para diagnosticar o nível de compreensão conceitual, histórica e contextual e verificar o aprimoramento dessa compreensão após uso da unidade de ensino. As análises realizadas durante a pesquisa nos levam a crer que o uso de uma estratégia baseada na tríade alfabetização tridimensional, histórica e contextual pode tornar mais eficiente o ensino e a aprendizagem da estereoquímica uma vez que promove o aprendizado dos conceitos de forma mais abrangente facilitando o desenvolvimento das habilidades tridimensionais necessárias além de uma enculturação dos estudantes nos aspectos sócio-históricos-culturais que são tão fundamentais ao estudo da estereoquímica, e porque não dizer, da Química como ciência. / Understanding the learning processes of concepts in the field of stereochemistry and the developing a teaching strategy that favors their learning were the main objectives of this work. Understanding this field requires mastery of a concept network taught in basic organic chemistry disciplines both in high school and in higher education in chemistry courses, pharmacy, biomedical, biochemical and others. The teaching of stereochemistry and its challenges have been discussed for decades and the complexity in problem solving in the tridimensional space has been considered as one of the main sources of learning difficulties. Hence, it is clear the need to use teaching strategies in the classroom that encourages the development of tridimensional abilities. But there is another barrier to be overcome in the classroom: student motivation for learning. Some students develop a certain resistance to learning chemistry due to lack of contextualization in the content approach. So the guiding problem in this thesis is: how to make stereochemistry teaching and learning more efficient in high school? The theoretical contribution of this study is grounded in the cognitive theories of Vygotsky and Vergnaud because both authors consider representations as the main element in the acquisition of knowledge. This fact is directly related to the issue of visualization and that this acquisition is dependent on the context, meaning that the students actually learn what is meaningful for him. Particularly Vergnaud's theory of conceptual fields is concerned in understanding better what are the specific development problems of a particular field of knowledge and gives the teacher the role of promoting opportunities for students to overcome their difficulties thus developing more efficient ways of teaching specific contents. To answer this question we investigated, firstly, college students, as well as high school and college didactic books on the subject. Using the analysis of the data collected we prepared a teaching unit based on a teaching strategy based on a triad of three-dimensional, historical and contextual literacy that aims the integrated learning of those different aspects. The teaching unit was evaluated by chemistry teachers from different educational levels and finally, the last data collection stage investigate the understanding of high school students about the conceptual field to assess the level of conceptual, historical and contextual understanding, and to investigate the improvement of this understanding after using the teaching unit. The analyzes carried out during the research lead us to believe that the use of a strategy based on three-dimensional, historical and contextual literacy triad can promote a more efficient teaching and learning of stereochemistry. In our point of view, this happens because the teaching unit promotes the learning of concepts in a broader fashion allowing not only the development of the necessary tridimensional skills as well as a enculturation of students in socio-historical-cultural aspects that are so fundamental to the study of stereochemistry, and possibly, Chemistry as a science.

Ao abordar as relações entre selos postais e história, a literatura filatélica ocupa-se, fundamentalmente, em situar a origem do moderno mecanismo tarifário dos correios, atendo-se também a outros detalhes técnicos como a evolução dos métodos de impressão e das características gráficas. Quanto ao simbolismo exibido nas estampas, é corrente a idéia segundo a qual os selos narram a História do país emissor por registrarem seus principais personagens, eventos e tradições, avaliação que transcende o meio filatélico e pode ser considerada de senso comum. Esta dissertação adota a perspectiva de análise sugerida pelo historiador britânico Eric Hobsbawn, que considera os selos postais um dos principais suportes materiais de que dispõe o Estado moderno para promover a massificação das tradições nacionais e, como tal, um indício privilegiado para se compreender as estratégias de elaboração da história oficial. Embora coloque o selo postal brasileiro em perspectiva cronológica ampla, para apreender-lhe a trajetória enquanto linguagem, a pesquisa privilegia o contexto em torno da transformação dos Correios em empresa pública pelo governo militar, em 1969. Um dos destacados aspectos da modernização da instituição foi transformação do selo postal brasileiro, cuja emissão foi reestruturada em termos qualitativos e quantitativos durante a década de 70, política complementada pela divulgação e incentivo à prática da filatelia. Nos selos emitidos a partir de então, observa-se a ampliação das matrizes de representação no que diz respeito à historicidade: além do usual registro da História tradicional, passam a compor o índice filatélico outras representações do passado, como a cultura popular e o folclore, além da propaganda das realizações governamentais, que remete ao futuro afinal tornado presente pelo governo militar. / When approaching the relations between mailing stamps and History, the philatelical literature has mainly dealt with pointing out the origins of the post offices modern tariff mechanisms, and has also payed attention to other technical details like the printing methods evolution and the graphic features. Concerning to the symbolism shown in the pictures, it’s usual the idea that the stamps narrate the country’s History, due the fact they register the country’s main characters, events and traditions. This valuation exceeds the philatelical milieu and can be considered as the common sense. This paper adopts the analysis perspective suggested by the British historian Eric Hobsbawn, who considers mailing stamps as one of the main material basis the modern State has to promote the national traditions massification. Therefore, it’s a privileged sign to understand the official History elaboration strategies. Although we place the Brazillian mailing stamps in a broad chronological perspective, to grasp its path as a language, this work privileged the context around the Correios transformation in a public company, by the military government in 1969. One of the emphazided features of the institution modernization was the Brazilian mailing stamps transformation, of which emission was reestructered in qualitatives and quantitatives terms during the 70’s. This policy was complemented by the spreading and incentive to the philatelical practice. On the stamps printed from that moment on, it’s possible to observe the enlargement of the matrices representation concerning to the historicity: beyond the usual register of the traditional History, other representations about the past started to compose the philatelical index, like the popular culture and the folklore; besides the government propaganda showing Brazil as a powerful country, announcing a future that had finally become present.