Made available in DSpace on 2016-04-25T19:20:24Z (GMT). No. of bitstreams: 1 Fabiano de Oliveira Mina.pdf: 1438012 bytes, checksum: 353d26d5873fa7aec6980e2cd3956e33 (MD5) Previous issue date: 2012-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study, work under the Nicholas of Cusa s De Docta Ignorantia, aims to present an epistemology apophatic (denial knowledge) aiming at "function of denial", contributing to discussions relevant to the Theory of Knowledge, justified by the material produced little bias in this epistemological author and this work is compared to others in Brazil. Therefore, contributing to the appreciation of the Department of Religious Sciences. Fundamentally it is a theoretical analysis of the first two books in this same work, analyzing the limits of reason (ratio) before the intuition (intellectus), under the concepts Absolute Maximum, Privative Universe and Concrete Maximum, the relationship between Creator (One) and creature. The creation (explicatio) contained in God (complicatio) inevitably requires an "apophatic dialectic" that assumes the paradoxalidades in and of the world. Therefore, a Apophatic Philosophy". This requires that we become "ignorant scholars" / Esta dissertação, sob a obra De Docta Ignorantia de Nicolau de Cusa, tem como objetivo apresentar uma epistemologia apofática (conhecimento via negação) com vistas na função da negação , contribuindo para discussões pertinentes à Teoria do Conhecimento, justificado pelo pouco material produzido nesse viés epistemológico desse autor e obra se comparado a outros no Brasil. Portanto, contribuindo também para apreciação do Departamento de Ciências da Religião. Fundamentalmente é uma análise teórica dos dois primeiros livros dessa mesma obra, analisando os limites da razão (ratio) diante da intuição (intellectus), sob os conceitos Máximo Absoluto, Universo Privativo e Máximo Concreto, na relação entre Criador (Uno) e criatura. A criação (explicatio), contida em Deus (complicatio), inevitavelmente exige uma dialética apofática que assume as paradoxalidades no e do mundo. Portanto, uma Filosofia Apofática . Para isso é necessário que nos tornemos doutos ignorantes

Esta Dissertação cuja elaboração está focada em uma perspectiva histórico-dialética tem por objetivo analisar o processo de consagração do Patrimônio Cultural da Humanidade [UNESCO] e o Programa Monumenta [Municípios / Governo Federal / BID] a fim de identificar, em Diamantina cidade histórica do sertão mineiro através de uma análise crítica, como o par dialético preservação / mercantilização produz o espaço urbano em tela e como transforma a realidade e o imaginário do residente. Denominamos essa contradição como dialética da construção destrutiva, que envolve os bens culturais do mundo, na contemporaneidade. Esta dialética estabelece-se no próprio percurso de consagração do Patrimônio Mundial, quando temos, por um lado, a UNESCO, que luta pela preservação inconteste dos bens culturais e naturais do mundo, em contraposição à tendência contemporânea de mercantilização, banalização e destruição dos espaços da história, da memória, da cultura, da natureza e da vida, quando da implantação de um turismo negligente com a sociedade e com o lugar. Dialética da construção destrutiva que rebate sobre o espaço urbano, a cidade histórica viva enquanto totalidade, ao ser reconhecida, simultaneamente, como símbolo de cultura e de mercadoria. Assumimos uma postura crítica frente a simultaneidade da preservação e da mercantilização do patrimônio um processo contraditório dada a preponderância do caráter estético, fetichista, classista e de cenarização na apropriação das cidades históricas e na refuncionalização dos bens culturais, em detrimento ao seu valor de uso civilizatório. Analisamos esta realidade que se evidencia, incipientemente, em Diamantina (Patrimônio Mundial e mercadoria global), sobretudo, com a conquista da chancela da UNESCO e com a implantação do polêmico Programa Monumenta. Veremos que a cidade histórica, ao ser tomada pela indústria cultural por via de um turismo descompromissado com a sociedade e com o lugar, é destituída de sua particularidade no fortalecimento do sentimento de pertencimento ao lugar e na edificação da cidadania. Ante ao frénésie pela Lista do Patrimônio Mundial, que esboça a lógica mercantil que envolve os bens culturais, na atualidade, urge a implementação da gestão participativa dos lugares do patrimônio e o enfoque no planejamento da cidade histórica enquanto totalidade, não focado nos limites do núcleo tombado. Por fim, é no contexto da dialética entre o uso e a troca que se dá na apropriação do espaço urbano, e entre a preservação e a mercantilização do patrimônio cultural que direcionamos esta pesquisa, que identifica a fragmentação articulada propiciada pela dialética da construção destrutiva que impactua o território urbano de Diamantina, no sertão de Minas Gerais. / This dissertation - whose production is focused on a historical dialectic perspective - aims to analyze the process of consecration of the Cultural Heritage of Humanity [UNESCO] and Monumenta Program [Municipalities / Government / BID] to identify, in Diamantina historical city in Minas Geraiss backwoods through a critical analysis , as the dialectical pair preservation/ merchandising produces the urban space on screen and how changes the reality and the resident imaginary. We call this contradiction destructive dialectic of construction, which involves the cultural goods of the world, in the contemporary. This dialectic establishes itself in the path of the consecration of World Heritage, when we have, on the one hand, UNESCO, which fights for the preservation of cultural and natural worlds goods, as opposed to the contemporary trend of commercialization, trivialization and destruction of space of history, memory, culture, nature and life, where the deployment of a tourism careless with society and with the place. Dialectic of destructive construction that swings on the urban space, the historic city living as a whole, to be recognized as both the symbol of culture and commodity. We assume a critical posture in face of the simultaneity of the \"preservation\" and the commercialization of heritage - a contentious process - given the preponderance of the aesthetic character, fetishist, class and of giving background on ownership of historic towns and of giving refunction of cultural goods, rather than its value in civilization use. We analised this reality that there is, incipiently, in Diamantina (World Heritage and global commodity), especially with the conquest of the seal of UNESCO and with the deployment of the controversial Monumenta Program. We will see that the historic town, when taken by the \"culture industry\" through a tourism uncompromised with society and the place, is devoid of its particularity in the strengthening of the feeling of belonging to place and the edifying of citizenship. In face of the frénésie by the Worlds Heritage List, that outlines the commercial logic that envelops the cultural goods, in the present, urges the implementation of participatory management on places of the heritage and the approach of planning of the historical city as totality, not focused in the limits of the spot listed center. Finally, it is in the context of the dialectic between the use and exchange that occurs in the ownership of urban space, and between the \"preservation\" and the commercialization of cultural heritage that we directed this research, which identifies the articulated fragmentation provided by the dialectic of destructive construction that impacts the municipal area of Diamantina in the backwoods of Minas Gerais.

A partir de um levantamento do conceito de conceito na filosofia e da polissemia da noção de generalização em várias áreas do conhecimento, chegamos à conclusão de que a última questão não se encontra problematizada na literatura consultada. Tal fato pode ser reflexo de considerações do senso comum sobre o processo de generalização, fazendo com que não haja \"razão aparente\" para discuti-lo. A grande maioria dos trabalhos tem por generalização o processo indutivo em si ou a conclusão a partir dele. Outros trabalhos, particularmente referentes às obras de Vigotski, associam generalização à descontextualização. Segundo nossa reflexão, tais modos de ver a generalização podem ser encontrados em trabalhos de fundamentação da Teoria do Perfil Conceitual (MORTIMER, 1994a, 1994b, 1995, 1998, 2000). A partir de referenciais teóricos ligados ao materialismo dialético, à psicologia histórico-cultural e à complexidade, discutimos as limitações do modelo de perfil e propomos de que maneira a noção de generalização entendida sob uma abordagem dialético-complexa de ensinoaprendizagem é capaz de trazer nova luz à dinâmica das zonas do perfil e à relação sujeito-objeto. / From an investigation about the concept of concept in philosophy and the polysemy of generalization in several knowledge areas, we have reached the conclusion that the last topic is not problematized in the literature studied. Such a fact may be a reflex of common sense consideration concerning the process of generalization, making people conclude that there is no \"appearant reason\" to discuss it. The vast majority of the works investigated understand generalization as the inductive process per se or the conclusion obtained from it. Other works, particularly referring to Vigotski´s ideas, associate generalization to decontextualization. According to our reflections, such ways to consider generalization have been found in works basing the Conceptual Profile Theory (MORTIMER, 1994a, 1994b, 1995, 1998, 2000). From theoretical frameworks related to dialectic materialism, cultural-historical psychology and complexity, we discuss the limitations of the conceptual profile model and we talk about the way in which generalization, seen under a dialectic-complex approach of the teaching-learning process, is able to shed some light to the dynamics of the conceptual profile zones and to the subject-object relation.

Avec le dernier roman La Bascule du souffle (Prix Nobel) écrit 4 mains avec Oskar Pastior, l’écrivaine allemande d’origine roumaine Herta Müller ouvre à une recherche inédite. La romancière aborde avec le roman un tabou historique et testimonial qui s'impose comme une œuvre de portée universelle. L’écrivaine appartient à la 1.5 génération (Ruban Suleiman), qui exprime ses souvenirs non-vécus par le biais du passé, par l’entremise de l’imaginaire (Marianne Hirsch). Avec le roman comme document de la mémoire collective et culturelle, par l'esthétique de la remémoration, la romancière s’inscrit dans une « communauté de pensée » (C.Coquio) des auteurs-témoins de la première génération (Charlotte Delbo, Robert Antelme, Primo Levi, Jorge Semprún, Jean Cayrol), en mettant à mal les critères moraux et esthétiques sur les camps d’exterminations et les camps de travail forcé, le Stalinisme et le Nationalisme. Notre thèse comme recherche sur les procédés littéraires de la romancière rejoint celle sur les formes d’écriture des écrivains-témoins de l’expérience des camps, comme d'Oskar Pastior. Notre analyse du texte participe à la mise en relief de la fonction esthétique de la contrainte oulipienne employée comme pharmakon au double sens de remède et de poison.La recherche sur le roman anticipe l’avancée des études sur l’oulipien Oskar Pastior et nourrit ainsi, d’une manière réciproque, un regard nouveau sur l’œuvre de la poétesse allemande de renommée mondiale. / With her latest novel Atemschaukel/The Hunger Angel (Nobel Prize) of Herta Müller co-written with Oskar Pastior, the Romanian-born German writer opens up a new line of research. With Atemschaukel/ The Hunger Angel she broaches an historical and testimonial taboo that emerges as a work with universal reach. The writer belongs to the 1.5 generation (Ruban Suleiman) who express memories not experienced in the past through imagination (Marianne Hirsch). Documenting the collective and cultural memory through the aesthetic power of recollection, the novelist belongs to the ‘community of thought’ (Catherine Coquio) of first generation ‘postmemory’ authors (like Charlotte Delbo, Robert Antelme, Primo Levi, Jorge Semprun, Jean Cayrol) by undermining moral and aesthetic criteria about the extermination and forced labour camps, Stalinism, and Nationalism. As research into the literary devices of the novelist, this thesis ties in with analysis of the forms of writing used by witness-authors coming from experience of the camps, like this of Oskar Pastior. Interpreting constraint (Formzwang) in his aesthetic fonction, this investigation concludes by declaring the constraint as a pharmakon in both senses of the word: remedy and poison. The research on this novel anticipates further development of studies on the Oulipian Oskar Pastior, and so in a reciprocal manner sheds new light on the work of the world-famous German poet.

Ce travail se propose d'interroger le problème des limites de la représentation du cinéma de l'âge classique (1920-1960) à partir de l'esthétique organique-pathétique conçue par Sergueï Eisenstein dans la Non-Indifférente Nature, qu'il nomme « formule de l'extase ». Après avoir montré l'existence d'une double nature de l'extase chez Eisenstein (en même temps eidétique et régressive), ce travail montre les analogies de cette formule avec la mise en forme de l'excès de pathos (thématique et formel) dans l’œuvre de trois cinéastes hollywoodiens, King Vidor, Josef von Sternberg et Orson Welles. / This piece of work aims to inquire the topic of the limits of representation in the cinema of classical era (1920-1960) on the basis of the organic-pathetic esthetics conceived by Sergei Eisenstein in The Nonindifferent nature, which he names “formula of ecstasy”. After having shown the existence of a double (that is, eidetic and regressive at the same time) nature of ecstasy in Eisenstein, this piece of work will focus on the analogies between this formula and the shaping of the excess of (thematic and formal) pathos in the works by three Hollywood filmmakers: King Vidor, Josef von Sternberg and Orson Welles.

How does material production become socially recognised in capitalism? This is a fundamental question to be addressed in capitalist production, since material production takes place privately and independently in a global and atomistic system. This thesis shows that the question is tackled by Marx in the first three chapters of Capital. The process of social recognition of material production is that of the realisation of work carried out privately and independently as part of the social labour. For Marx this occurs through the private and independent work becoming objective social labour as the substance of the value of commodities, and through the latter finding its necessary developed mercantile expression in the price form of commodities. Therefore, private and independent work becomes social labour through the recognition of its product as equivalent to a certain amount of money. The thesis argues that Marx’s answer is powerfully insightful but flawed because it did not succeed in fully characterising the historical specificity of commodity. Commodity is not merely the differentiated unity of use value and value but of use value and mercantile use value, and of labour value and mercantile value. The former dialectic is immediate and distinguishes between the utility of commodity as a direct means of consumption or production and that as a means of exchange, fully determining the behaviour of the private and independent commodity producer. The latter dialectic is objective and distinguishes between commodity as the embodiment of the social labour necessary to reproduce it and as the embodiment of command over social labour, enabling the adjustment of the productive structure. Both dialectics are mediated by the mercantile form of value, which allows the indirect expression of labour value as the gravitational force of the system. The theory of commodity offered in this thesis, unlike that of Marx, consistently hinges on the atomistic private and independent commodity producer. The thesis shows that commodity production is the organisation of society’s labour for its material reproduction, just as in any previous mode of production. The discovery of the generic aspect of commodity production breaks the false immediate link between production and supply, and that between the labour theory of value and both the supply-side-determined theory of price and the single-factor theory of production. The thesis also shows that the mercantile form of value is what allows society’s labour to become an objective and autonomous materially abstract substance regulating the adjustment of the productive system under the form of material signals. This is the specific aspect of a global mode of production comprised of free and independent individuals. The mercantile form of value is thus Adam Smith’s invisible hand. Finally, the thesis analyses some implications of the framework with regard to the analysis of monetary phenomena, capital accumulation and sustainable development, and reviews the most popular Marxian topic in Economics: the transformation of values into prices of production.

<p>This essay seeks to explore the societal institution of caste from a socio-spatial perspective. The focus is on everyday routine of individuals and on the places this routine is connected with. A special interest is the access that different people have to different places. For this purpose, information has been collected from interviews and observations with women of different caste belonging in the area of Assi, Varanasi, India. A time-geographical approach has been used. It is argued that caste, which is a social concept, and space, which is a geographical dimension, are related to each other in a socio-spatial dialectic. The conclusion is that not all castes do have access to the same kinds of places, i.e. some religious or public spaces. Although caste is not the only factor that influences, it still has a major impact on people’s actions and feelings of belonging.</p>

This study within organization theory takes a process perspective and focuses on how the dialectic interaction between the structuring and improvisational parts of organizing is handled in construction sites. In studies of organizing where reality is seen as socially constructed with focus on the subjective source of organizations reality, the individuals understanding of the identity and the rolecan be seen as central to interpret the social processes. Depending on how the actors understand their role in the context, the acting/interacting is going to beinfluenced. In times when the different orders of organizing have contrastingcontents the understanding of the role and the context is going to challenge. The actors then have to consider and reconsider the understanding of the role.To make the identification perspective possible to study a theoretical framework is constructed where community, meetings, insecurity and sense making arehighlighted as important aspects in the identification process. The empirical partis based on narratives from ten construction clients. The narratives were initiatedby descriptions of four situations, describing four occurrences, which provide four different attitudes to how the dialectic interaction between different ordersof organizing can be handled. The analysis of the narratives is based on how theactors in there argumentation express doubt and faith. Expression of doubt andfaith is used as tools to make the identification process concrete to be possible tostudy in a fruitful way.The study points out how doubt and faith are used to create pictures of the actors understanding of the role and its context. The analysis gives three identificationpatterns. The characteristics and content of the patterns are different whichinclude a difference between the understandings of the tension in the dialecticinteraction of different organizing orders. We can therefore say that the threepatterns give different starting points for action and interaction. Finally the implications of the results from the study are discussed in relation to management accounting and organizational change. / QC 20100811

This essay seeks to explore the societal institution of caste from a socio-spatial perspective. The focus is on everyday routine of individuals and on the places this routine is connected with. A special interest is the access that different people have to different places. For this purpose, information has been collected from interviews and observations with women of different caste belonging in the area of Assi, Varanasi, India. A time-geographical approach has been used. It is argued that caste, which is a social concept, and space, which is a geographical dimension, are related to each other in a socio-spatial dialectic. The conclusion is that not all castes do have access to the same kinds of places, i.e. some religious or public spaces. Although caste is not the only factor that influences, it still has a major impact on people’s actions and feelings of belonging.

This dissertation considers how the party-state of the People’s Republic of China has been mobilizing various forms of interpellation in an attempt to sustain a continuous imagination of a particular community defined on the terms of a shared “Chinese” national identity. As well, the research considers how these forms of interpellation have been challenged by a range of complex diasporic viewer responses. Taking media productions of the Mainland China television industry as my point of reference, I have studied in detail, multiple productions of the widely popular, complex program, the Spring Festival Gala (SFG) produced by China Central Television. Though not without its contradictions, this show has employed various interpellative strategies, persistently and continuously hailing viewers into the subject position of loyal members of an enduring “Chinese Nationality.” However, interpellation is one thing, subjectification within it is another. To better grapple with the cultural citizenship of transnationalized Chinese, this dissertation also considers observations regarding the receptions of the SFG by diasporic “Chinese subjects” who now live in Canada. While their continuous imagining of the “Chinese Nationality” helps to better understand the complex mechanisms which contribute to the retaining power of interpellation, their moments of “de-imagining” also shed light on the problems and difficulties of such interpellation. These moments are considered as possible openings to the formation of fluid, multiple Chinese subjectivities that lay the groundwork for a “flexible citizenship” (Ong, 1993; 1999) for all “Chinese,” furthering the endeavor to go beyond certain nationalist and/or statist visions of identity, subjectivity, and citizenship.