Submitted by ADAIR UMBERTO SIMONATO JUNIOR null (ajsimonato@yahoo.com.br) on 2017-10-18T16:36:24Z No. of bitstreams: 1 Dissertação - final.pdf: 984695 bytes, checksum: 33d908c1e76cac177a0f2c46d52aa1a9 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-10-23T19:06:43Z (GMT) No. of bitstreams: 1 simonatojunior_au_me_mar.pdf: 984695 bytes, checksum: 33d908c1e76cac177a0f2c46d52aa1a9 (MD5) / Made available in DSpace on 2017-10-23T19:06:43Z (GMT). No. of bitstreams: 1 simonatojunior_au_me_mar.pdf: 984695 bytes, checksum: 33d908c1e76cac177a0f2c46d52aa1a9 (MD5) Previous issue date: 2017-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho realiza uma releitura do Manifesto dos Pioneiros da Educação Nova (1932) objetivando capturar as influências em seu texto da Revolução burguesa no Brasil, isto é, a formação de novas subjetividades reclamadas pela maturação do modo de produção capitalista, bem como o seu caráter não clássico. Para isso o trabalho se constitui de uma abordagem ontológica da esfera da educação objetivando desnudar as suas peculiaridades no tocante as suas funções para a reprodução social. Analisa-se o Manifesto de 1932 tendo em vista o contexto em que o mesmo foi gestado e o papel assumido pelos signatários do documento, os quais se atribuíam à missão, por meio da divulgação desse documento, de reformar a sociedade através da modificação das diretrizes educacionais assentadas em bases científicas. Vislumbrando no Estado o agente central da transformação da sociedade pela educação os Pioneiros da Educação Nova propuseram uma nova teleologia social, a qual comportava os necessários encaminhamentos ideais dos quais o Brasil carecia para tornar-se um país moderno. Em contrapartida, essa reforma social fetichizada pela educação seria realizada de modo a inovar práticas educacionais mediante a reprodução de velhas estruturas sociais, cujo objetivo era modernizar ao mesmo tempo em que harmonizaria o tecido social por meio da educação. / The present work carries out a re-reading of the Manifesto of the New Education Pioneers (1932) in order to capture the influences in its text of the bourgeois Revolution in Brazil, that is, the formation of new subjectivities called by the maturation of the capitalist mode of production, as well as its non-classic character. For that purpose, the work consists of an ontological approach of the educational sphere aiming at showing its peculiarities in relation to its functions for the social reproduction. The Manifesto of 32 was analyzed considering the context in which it was created and the role assigned by the signatories of the document, who assigned to themselves, through the disclosure of this document, the mission of reforming society through the modification of educational guidelines based on scientific bases. Glimpsing in the State the central agent of the transformation of society by education, the New Education Pioneers proposed a new social theleology, which entailed the necessary referrals that Brazil needed to become a modern country. On the other hand, this social reform idealized by the education would be carried out in order to innovate educational practices through the reproduction of old social structures, whose aim was to modernize at the same time as harmonizing the social fabric through education.

Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.

En ce qui concerne la littérature féministe, il s’y trouve un chevauchement important et intéressant entre le manifesto en tant que forme littéraire et la fiction utopique. Les deux se servent d’une image imaginée de l'avenir ou d'un meilleur état futur pour critiquer et dénoncer tant les conditions actuelles que celles du passée qui ont donné naissance à celles-là. Cette thèse aborde à la fois le manifesto et la fiction utopique / dystopique pour élaborer les conditions de l’espace essentiel des femmes et du féminin. Ce lieu utopique se veut plus qu'un endroit où aller ; il exprime les origines du féminin, lesquelles vont au-delà de ce qui est masculin en visant un épanouissement du féminin en dehors et au-delà de la stricte dichotomie masculin-féminin de la société patriarcale. J'examine d'abord les termes en usage puis je discute du manifesto comme une forme littéraire d'un intérêt particulier pour les écrivains féministes. Je passe ensuite en revue des théories de fiction utopique, lesquelles me conduisent à des possibilités fructueuses du langage pour assurer une voix aux femmes ainsi que l’expression du féminin. Je prends comme exemple le livre The Activist de Renée Gladman pour appuyer mes arguments concernant le pouvoir performatif du manifesto comme une forme qui s’empiète sur la fiction utopique dans le but d'imaginer l'espace du féminin. Dans la deuxième partie de la thèse, j’entre dans une utopie fictive dans le cadre d'une exploration personnelle de ce qu’est le féminin et son expression. Le récit emmène le lecteur au pays de Cwenaland. A chaque étape de la narration d’autres voix percent et découpent le texte. Certaines sont sous la forme d'une image ou d'un portrait, d'autres sont des cris ou des gémissements qui dérangent la voix narrative. Ces voix en tangente et en diagonale enracinent mon utopie fictive dans la diversité d'expérience et d'expression féminine. / There is considerable and interesting overlap between the manifesto as a literary art form and utopian fiction in regards to feminist writing. Both use an imagined image of the future or of a better future condition in order to criticize and denounce conditions in the present, and the past that gave rise to them. The thesis looks at both the manifesto and writings about utopia/dystopia in order to frame a place for female and the feminine. This utopian place is more than a place to go. It is a place that expresses what femininity is based on - more than simply that which is not masculine - and offers some kind of fulfillment outside and beyond the rigid masculine-feminine dichotomy of patriarchal society. I first examine terminology then I discuss the manifesto as a literary form of particular interest to women writers. I then review notions of utopian fiction, which leads me to the important opportunities that language offers to women to have a voice, and to express that which is feminine. I examine closely Renée Gladman’s book The Activist to support my arguments regarding the performative power of the manifesto as a form that overlaps with utopian fiction in imagining space for the feminine. In Part Two I imagine and describe a fictional utopia as part of a personal exploration of how to identify that which is expressive of the feminine. The narrative takes readers on a journey to Cwenaland. At each stage in the narrative other voices pierce and slice the prose. Some are in the form of an image or a portrait; others disrupt the narrative voice like a shout or a wail. These voices that are tangential and diagonal to the narrative ground my fictional utopia in the many levels of feminine experience and expression.

En ce qui concerne la littérature féministe, il s’y trouve un chevauchement important et intéressant entre le manifesto en tant que forme littéraire et la fiction utopique. Les deux se servent d’une image imaginée de l'avenir ou d'un meilleur état futur pour critiquer et dénoncer tant les conditions actuelles que celles du passée qui ont donné naissance à celles-là. Cette thèse aborde à la fois le manifesto et la fiction utopique / dystopique pour élaborer les conditions de l’espace essentiel des femmes et du féminin. Ce lieu utopique se veut plus qu'un endroit où aller ; il exprime les origines du féminin, lesquelles vont au-delà de ce qui est masculin en visant un épanouissement du féminin en dehors et au-delà de la stricte dichotomie masculin-féminin de la société patriarcale. J'examine d'abord les termes en usage puis je discute du manifesto comme une forme littéraire d'un intérêt particulier pour les écrivains féministes. Je passe ensuite en revue des théories de fiction utopique, lesquelles me conduisent à des possibilités fructueuses du langage pour assurer une voix aux femmes ainsi que l’expression du féminin. Je prends comme exemple le livre The Activist de Renée Gladman pour appuyer mes arguments concernant le pouvoir performatif du manifesto comme une forme qui s’empiète sur la fiction utopique dans le but d'imaginer l'espace du féminin. Dans la deuxième partie de la thèse, j’entre dans une utopie fictive dans le cadre d'une exploration personnelle de ce qu’est le féminin et son expression. Le récit emmène le lecteur au pays de Cwenaland. A chaque étape de la narration d’autres voix percent et découpent le texte. Certaines sont sous la forme d'une image ou d'un portrait, d'autres sont des cris ou des gémissements qui dérangent la voix narrative. Ces voix en tangente et en diagonale enracinent mon utopie fictive dans la diversité d'expérience et d'expression féminine. / There is considerable and interesting overlap between the manifesto as a literary art form and utopian fiction in regards to feminist writing. Both use an imagined image of the future or of a better future condition in order to criticize and denounce conditions in the present, and the past that gave rise to them. The thesis looks at both the manifesto and writings about utopia/dystopia in order to frame a place for female and the feminine. This utopian place is more than a place to go. It is a place that expresses what femininity is based on - more than simply that which is not masculine - and offers some kind of fulfillment outside and beyond the rigid masculine-feminine dichotomy of patriarchal society. I first examine terminology then I discuss the manifesto as a literary form of particular interest to women writers. I then review notions of utopian fiction, which leads me to the important opportunities that language offers to women to have a voice, and to express that which is feminine. I examine closely Renée Gladman’s book The Activist to support my arguments regarding the performative power of the manifesto as a form that overlaps with utopian fiction in imagining space for the feminine. In Part Two I imagine and describe a fictional utopia as part of a personal exploration of how to identify that which is expressive of the feminine. The narrative takes readers on a journey to Cwenaland. At each stage in the narrative other voices pierce and slice the prose. Some are in the form of an image or a portrait; others disrupt the narrative voice like a shout or a wail. These voices that are tangential and diagonal to the narrative ground my fictional utopia in the many levels of feminine experience and expression.

Oswald de Andrade publicou em 1928, na Revista de Antropofagia, seu Manifesto Antropófago - híbrido de ensaio polêmico, paródia literária, manifesto filosófico, revisão histórica, panfleto de provocação, mito antropológico e roteiro fragmentado. Este estudo procura abordar o manifesto em sua complexidade conceitual, formal, artística e cultural. Percorrendo seus 51 aforismos, onde o autor articula história, filosofia, antropologia, psicologia, economia, política, uma multiplicidade de temas e personagens, pretendemos ainda descobrir diálogos de Oswald com autores e textos, investigando as fontes por ele explicitadas (bem como sondar aquelas não aparentes), ao longo da exposição de ideias e princípios no Manifesto Antropófago. Nessa visada crítica, destacamos especialmente três pensadores que marcaram profundamente as formulações de Oswald de Andrade, a saber: Montaigne, Freud e Nietzsche. Nesse sentido, tais pensadores também serão alvo de algumas reflexões neste mapeamento crítico do Manifesto Antropófago. Embora o tema da Antropofagia seja palmilhado em toda a obra do autor, este estudo centra-se primordialmente no texto de 1928. Assim, o propósito será explorar um a um o conteúdo de seus aforismos, buscando na medida do possível articular relações com outros textos do autor e com autores com os quais dialoga, acreditando que o Manifesto Antropófago representa a coluna vertebral do corpus antropofágico da obra de Oswald de Andrade. / Oswald de Andrade published in 1928, in the Revista de Antropofagia, his Manifesto Antropófago (Anthropophagous Manifest) a hybrid of a controversial essay, literary parody, philosophical manifest, historical review, provoking pamphlet, anthropological myth and fragmented script. The present study broaches the manifest along its conceptual, formal, artistic and cultural complexities. Throughout its 51 aphorisms, in which the author debates history, philosophy, anthropology, psychology, economics, politics, multiple themes and characters, we intend to find dialogues between Oswald and other authors and texts, uncover the sources made explicit by him (as well as investigate unapparent ones), within the exposition of the ideas and principles of the Manifesto Antropófago. In this critical view, we call attention to three theorists who deeply influenced Oswald de Andrades own thoughts: Montaigne, Freud and Nietzsche. In this sense, these thinkers will also be the focus of some reflections in this critical study of the Manifesto Antropófago. Although the anthropophagy theme is a constant idea all over the authors work, this study is mainly based on the text of 1928. Therefore, the purpose will be to explore the contents of the aphorisms one by one, seeking as far as possible to find relations with the authors other texts and with other authors with whom he dialogues, believing that the Manifesto Antropófago is the backbone of the anthropophagic corpus of Oswald de Andrades work.

Made available in DSpace on 2014-07-29T16:17:39Z (GMT). No. of bitstreams: 1 Dissertacao Maurineide Alves da Silva.pdf: 991986 bytes, checksum: 111fb6a28f609b9364d02765fa3f1a9a (MD5) Previous issue date: 2011-09-27 / The United States is a country of tradition belligerent. It is common to find in their public squares and monuments statues of military figures, in addition to reserve specific days to honor them, military parades and ceremonies are displayed in various regions of the country and numerous film productions are performed representing the U.S. involvement in world conflicts. It is felt that the war is part of its fundamental characteristics. Seeking to understand the aspects that have built this tradition and thus marked the history of the United States military interventions around the world, without limiting ourselves to explanations that emphasize only the imperialist interests, but taking into account ideological and dogmatic aspects, we reach a ideology formulated in the nineteenth century, in order to justify the U.S. right to intervene in another nation: the ideology of Manifest Destiny. The three ideas that form the three show Manifest Destiny of American beliefs that are part of their national identity and profoundly marked its history: Puritanism, democracy and capitalism. To peer into the permanence of these three beliefs motivating the U.S. military interventions in the XXI century and still seek mainly new elements that enrich our historical understanding of the American society in his belligerent relations with other regions of the world, analyze imagery of a document period, the film Black Hawk Down (Black Hawk Down, Hidley Scott, 2001), which refers to U.S. military intervention in Somalia in 1993 and eventually present the vision of its directors on the subject. As one of the forms of cultural expression more representative of the United States, the film ends up a material extremely rich set of information about the beliefs and customs United States. / Os Estados Unidos são um país de tradição beligerante. É comum encontrar em suas praças públicas estátuas e monumentos de figuras militares, além de reservarem dias específicos para homenageá-los; desfiles e cerimônias militares são exibidos em diversas regiões do país e inúmeras produções cinematográficas são realizadas representando a participação norte-americana em conflitos mundiais. Percebe-se que a guerra faz parte de suas características fundamentais. Buscando entender os aspectos que construíram tal tradição e, consequentemente, marcaram a história dos Estados Unidos com intervenções militares por todo o mundo, sem nos limitarmos a explicações que ressaltam apenas os interesses imperialistas, mas levando em consideração aspectos dogmáticos e ideológicos, chegamos a uma ideologia formulada no século XIX, com o objetivo de justificar o direito norte-americano de intervir em outra nação: a ideologia do Destino Manifesto. As três idéias que formam o Destino Manifesto mostram três crenças do norte-americano que fazem parte de sua identidade nacional e que marcaram profundamente sua história: o puritanismo, a democracia e o capitalismo. Para perscrutar a permanência dessas três crenças motivando as intervenções militares norte-americanas ainda no século XXI e principalmente buscar elementos novos que enriqueçam a nossa compreensão histórica sobre a sociedade norte-americana em sua relação beligerante com outras regiões do mundo, analiso um documento imagético desse período, a produção cinematográfica Falcão Negro em Perigo (Black Hawk Down, Hidley Scott, 2001), que se reporta à intervenção militar norte-americana na Somália em 1993 e acaba por apresentar a visão de seus realizadores sobre o tema. Sendo uma das formas de manifestação cultural mais representativa dos Estados Unidos, o cinema acaba por configurar um material extremamente rico de informações a respeito das crenças e costumes norte-americanos.

Oswald de Andrade publicou em 1928, na Revista de Antropofagia, seu Manifesto Antropófago - híbrido de ensaio polêmico, paródia literária, manifesto filosófico, revisão histórica, panfleto de provocação, mito antropológico e roteiro fragmentado. Este estudo procura abordar o manifesto em sua complexidade conceitual, formal, artística e cultural. Percorrendo seus 51 aforismos, onde o autor articula história, filosofia, antropologia, psicologia, economia, política, uma multiplicidade de temas e personagens, pretendemos ainda descobrir diálogos de Oswald com autores e textos, investigando as fontes por ele explicitadas (bem como sondar aquelas não aparentes), ao longo da exposição de ideias e princípios no Manifesto Antropófago. Nessa visada crítica, destacamos especialmente três pensadores que marcaram profundamente as formulações de Oswald de Andrade, a saber: Montaigne, Freud e Nietzsche. Nesse sentido, tais pensadores também serão alvo de algumas reflexões neste mapeamento crítico do Manifesto Antropófago. Embora o tema da Antropofagia seja palmilhado em toda a obra do autor, este estudo centra-se primordialmente no texto de 1928. Assim, o propósito será explorar um a um o conteúdo de seus aforismos, buscando na medida do possível articular relações com outros textos do autor e com autores com os quais dialoga, acreditando que o Manifesto Antropófago representa a coluna vertebral do corpus antropofágico da obra de Oswald de Andrade. / Oswald de Andrade published in 1928, in the Revista de Antropofagia, his Manifesto Antropófago (Anthropophagous Manifest) a hybrid of a controversial essay, literary parody, philosophical manifest, historical review, provoking pamphlet, anthropological myth and fragmented script. The present study broaches the manifest along its conceptual, formal, artistic and cultural complexities. Throughout its 51 aphorisms, in which the author debates history, philosophy, anthropology, psychology, economics, politics, multiple themes and characters, we intend to find dialogues between Oswald and other authors and texts, uncover the sources made explicit by him (as well as investigate unapparent ones), within the exposition of the ideas and principles of the Manifesto Antropófago. In this critical view, we call attention to three theorists who deeply influenced Oswald de Andrades own thoughts: Montaigne, Freud and Nietzsche. In this sense, these thinkers will also be the focus of some reflections in this critical study of the Manifesto Antropófago. Although the anthropophagy theme is a constant idea all over the authors work, this study is mainly based on the text of 1928. Therefore, the purpose will be to explore the contents of the aphorisms one by one, seeking as far as possible to find relations with the authors other texts and with other authors with whom he dialogues, believing that the Manifesto Antropófago is the backbone of the anthropophagic corpus of Oswald de Andrades work.

The main objective of my diploma thesis is to analyze and evaluate the Political Movement ANO positioning within the political parties system of the Czech Republic by using a methodological framework approach. The thesis provides an analysis of electorate shifting and selected political parties manifestos as well as their comparison with the Political Movement ANO. Timewise, my focus is on the period prior to the election to the Chamber of Deputies of the Parliament of the Czech Republic in 2017. As for analytical purposes, the Hierarchical Bayesian Modeling has been used. This statistical model helps to get the respective values and to show the electoral vote changes between the last two parliament elections (to Chamber of Deputies). The author uses quantitative and qualitative research for comparison and analysis of programmatical convergency as defined in the election manifestos of various political parties. For manifestos quantification a coding scheme by a Comparative manifesto project group has been applied. The reason for using the above mentioned scheme is that it provides a structured methodology to quantify the domains that the political parties do focus the most in their manifestos. The aim of the analytical part of the thesis is to define how and especially from where the Movement ANO...

Agile software development methods are characterized by developer’s empowerment through self-organization, incremental requirements and constant knowledge sharing. Despite some effort to elaborate how successfully agile methods can be applied in co-located development teams, little is known on how the same is done when the development teams are distributed. Our research focus is to uncover factors that influence the successful application of agile methods in distributed development teams using a software development company as our case study. With three distributed teams applying different agile methods, we conducted focused ethnography alongside interviews to comprehend what and how various factors under distributed development teams influence successful agile methods application. It seems, all that matters is team structure, team spirit, effective communication, product requirements, and knowledge sharing. The team structure has more influence than other factors and therefore our suggestions for successful application of agile methods in distributed software development is to focus on the development team, above all factors. The analysis shows that the development methods themselves have little to do with the successful application of agile methods in distributed software development teams.

Very little research in software engineering has focused on the model of a programmer working alone. These so-called cowboys are disdained for not working in teams to build software. In reality many cowboys work by themselves due to the circumstances of their work environment, not because they are unable or unwilling to work with well with others. These solo programmers could benefit from a methodology to assist them in consistently developing reliable software on time and within budget while satisfying the customer's needs. Cowboy was designed to help fill this void. This agile-based system incorporates the benefits of agile methodologies into a lightweight, customer-centered approach to software development for the lone developer. This thesis describes Cowboy and its successful application in developing a prototype for a web application.