Modernity has generally been interpreted as a radical expression of human progress in the light of the advances of modern science and technology. According to Alasdair MacIntyre, however, modernity is a project "doomed to failure". Given the progressive-linearity of the modern model of rationality, the past has, in principle, been ruled out as a source of moral-political wisdom and guidance. From the perspective of modernity, the present (as the progressive moment of the future) has therefore nothing to learn from past traditions. MacIntyre contends that the moral confusion within modernity comes from its loss of telos, mediated in terms of the past. Modernity therefore harbours a paradox based on its inability to provide a philosophical justification for establishing the possibility of human solidarity in the present, while simultaneously affirming its faith in the future. In this regard, MacIntyre's work is an important contribution to the philosophical debate on modernity. / Philosophy / M. A. (Philosophy)

Ce mémoire traite de la critique communautarienne du libéralisme et se donne deux projets. D’abord, il s’agit de formuler une position de synthèse à partir des travaux des philosophes Charles Taylor, Michael Sandel, Alasdair MacIntyre et Michael Walzer. Cette synthèse s’articule autour de trois axes, soit ontologique, sociale et méthodologique. Le deuxième projet est d’évaluer cette position pour statuer sur son rapport au libéralisme, et, plus précisément, pour déterminer si elle est seulement une critique, une alternative, ou encore une variante à l’intérieur du libéralisme. Il est conclu que le communautarisme est réconciliable avec une certaine forme de libéralisme et que sa critique permet même de l’améliorer. / In this essay about the communitarian critique of liberalism I seek to reach two goals. First, it is to form a synthesis from the works of philosophers Charles Taylor, Michael Sandel, Alasdair MacIntyre and Michael Walzer. This synthesis is articulated through three axes: ontologicial, social and methodological. Building on this, my second objective is to assess its relation to liberalism. More specifically, I seek to determine whether communitarianism is merely a critique, an alternative or a variant of liberalism. My conclusion is that communitarianism is reconciliable with a certain form of liberalism and that its critique allows to improve it.

Ce mémoire traite de la critique communautarienne du libéralisme et se donne deux projets. D’abord, il s’agit de formuler une position de synthèse à partir des travaux des philosophes Charles Taylor, Michael Sandel, Alasdair MacIntyre et Michael Walzer. Cette synthèse s’articule autour de trois axes, soit ontologique, sociale et méthodologique. Le deuxième projet est d’évaluer cette position pour statuer sur son rapport au libéralisme, et, plus précisément, pour déterminer si elle est seulement une critique, une alternative, ou encore une variante à l’intérieur du libéralisme. Il est conclu que le communautarisme est réconciliable avec une certaine forme de libéralisme et que sa critique permet même de l’améliorer. / In this essay about the communitarian critique of liberalism I seek to reach two goals. First, it is to form a synthesis from the works of philosophers Charles Taylor, Michael Sandel, Alasdair MacIntyre and Michael Walzer. This synthesis is articulated through three axes: ontologicial, social and methodological. Building on this, my second objective is to assess its relation to liberalism. More specifically, I seek to determine whether communitarianism is merely a critique, an alternative or a variant of liberalism. My conclusion is that communitarianism is reconciliable with a certain form of liberalism and that its critique allows to improve it.

Modernity has generally been interpreted as a radical expression of human progress in the light of the advances of modern science and technology. According to Alasdair MacIntyre, however, modernity is a project "doomed to failure". Given the progressive-linearity of the modern model of rationality, the past has, in principle, been ruled out as a source of moral-political wisdom and guidance. From the perspective of modernity, the present (as the progressive moment of the future) has therefore nothing to learn from past traditions. MacIntyre contends that the moral confusion within modernity comes from its loss of telos, mediated in terms of the past. Modernity therefore harbours a paradox based on its inability to provide a philosophical justification for establishing the possibility of human solidarity in the present, while simultaneously affirming its faith in the future. In this regard, MacIntyre's work is an important contribution to the philosophical debate on modernity. / Philosophy, Practical and Systematic Theology / M. A. (Philosophy)

Esta é uma leitura crítica de Lanark: a Life in Four Books do escritor escocês Alasdair Gray (1934), cujos talento e estilo se constituem exemplo da literatura contemporânea da Escócia. Esta investigação tem por objetivo determinar o papel exercido pela produção do autor nas esferas literária, cultural e sociopolítica da Escócia de hoje. Ao transitar entre ficção e meta-ficção, arte e autobiografia, Gray encara os paradoxos envolvidos ao tentar revitalizar traços da identidade nacional. O trabalho de Gray não pode ser considerado sem o reconhecimento de que a sua literatura é, simultaneamente, local e universal. Ela pertence ao cosmos escocês o qual é destacado por lutas culturais assim como é também dominante por ser escrita em Inglês e, com isso, alcançar leitores de todas as partes do mundo dentro das fronteiras transpostas pela Língua Inglesa. Essa é uma das razões pelas quais esta pesquisa busca lançar luz sobre a cena literária contemporânea escocesa, empenhando-se em preencher uma lacuna existente no currículo acadêmico brasileiro de nossos cursos de graduação e pós-graduação no que tange o tratamento e a abordagem das outras Literaturas produzidas em Língua Inglesa. Para tanto, a tese está dividida em três partes. A primeira considera a literatura escocesa em relação à formação, ratificação e reavaliação do significado de senso de identidade nacional, como observado diacronicamente através do período entre 1940 e 1970. A segunda parte focaliza os novos olhares no cenário cultural da Escócia por um grupo de escritores repleto de estilo, história e visão, os New Scottish Writers. As estratégias de Gray para lidar com ficção e biografia em Lanark assim como sua reflexão sobre a natureza do mundo são de grande importância para este trabalho. Com embasamento teórico no entendimento de Linda Hutcheon sobre meta-ficção historiográfica, intertextualidade, parodia e ironia no pós- modernismo, eu tento enquadrar, no Capitulo Três, as manobra literárias desempenhadas pelo autor ao usar tais recursos textuais no romance. Espero que o resultado desta tese de doutorado possa ser útil como reflexão sobre o presente estado de discussões sobre a literatura Escocesa pós-moderna e, ao mesmo tempo, como um meio de tornar os leitores acadêmicos brasileiros mais familiarizados com a obra de Alasdair Gray. / This is a critical reading of Lanark: a Life in Four Books, a novel by the Scottish writer Alasdair Gray (b. 1934), whose talent and style provide a fitting example of Scotland’s contemporary literature. The aim of this investigation is to determine the role played by Gray’s production in the literary, cultural and sociopolitical spheres of present-day Scottish life. In his blending of fiction and metafiction, of art and autobiography, the author faces the paradoxes involved in the attempt to stress the marks of a national identity. Gray’s work cannot be considered without recognizing that his literature is both local and universal. It belongs to the Scottish cosmos which is highlighted by cultural struggles as well as it is dominant, once it is carried out in English reaching readers all over the world from within the limits and format determined by the English Language. That is one of the reasons why this research aims to shed light on the current Scottish literary scene, attempting to fill an existing gap in the Brazilian academic curriculum respecting the treatment and approach of Literatures produced in English in our undergraduate and graduate courses. The dissertation is divided into three parts. The first contextualizes Gray in Scotland’s literature in its relation to the formation, ratification and revaluation of the concept of a sense of national identity as observed diachronically, throughout the period between 1940s and 1970s. The second section focuses on the new looks at Scotland’s cultural scenario by a distinguished group of writers burst with style, history and post-devolution vision, the New Scottish Writers. Gray’s strategies to deal with a fictional and biographical context in Lanark and his reflection upon world’s nature and worth are of great importance for this work. By the reading of Linda Hutcheon’s understanding on historiographic metafiction, intertextuality, parody and irony in postmodernism, I attempt to frame in Chapter Three the literary maneuvers Gray makes in using such textual resources in his novel. I hope that the result of this doctoral thesis may be useful both as a reflection upon the present state of the discussion about Scotland’s postmodern literature, and as a means of making the Brazilian academic readers more familiar with the work of Alasdair Gray.

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-18T21:15:40Z No. of bitstreams: 1 AlbertoLeopoldoBatistaNeto_TESE.pdf: 2275116 bytes, checksum: 48fe93fd896aa79f9e40bd1b17f8d818 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-24T23:27:01Z (GMT) No. of bitstreams: 1 AlbertoLeopoldoBatistaNeto_TESE.pdf: 2275116 bytes, checksum: 48fe93fd896aa79f9e40bd1b17f8d818 (MD5) / Made available in DSpace on 2017-10-24T23:27:01Z (GMT). No. of bitstreams: 1 AlbertoLeopoldoBatistaNeto_TESE.pdf: 2275116 bytes, checksum: 48fe93fd896aa79f9e40bd1b17f8d818 (MD5) Previous issue date: 2017-04-27 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / A teoria das tradi??es de pesquisa racional de Alasdair MacIntyre elabora uma perspectiva metafilos?fica em que ? poss?vel avaliar os m?ritos relativos de enquadramentos rivais da racionalidade, de uma maneira que se assemelha a algumas abordagens can?nicas na filosofia da ci?ncia, evadindo-se, por?m, tanto aos problemas relativos ? compreens?o do progresso te?rico, quanto ?s restri??es pr?prias das posi??es relativista e perspectivista, de modo a permitir, por um lado, uma percep??o dos condicionamentos que operam sobre uma investiga??o e, por outro, assumir uma postura filosoficamente realista, amparada numa concep??o da verdade como adequa??o da mente ? realidade. Aproxima-se da tradi??o aristot?lico-tomista e, em sua vers?o madura, encontra nessa tradi??o seu modelo e dela se considera continuadora. Compromete-se com uma concep??o de racionalidade especificamente adaptada, argumenta-se, para a pr?tica filos?fica, sendo importante tra?ar uma distin??o, ignorada por MacIntyre, entre uma racionalidade filos?fica e uma racionalidade cient?fica, esta dedicada ? constru??o de modelos explorat?rios adequados ? predi??o e controle de fen?menos e aquela ocupada com o julgamento sobre a natureza e a estrutura da realidade como tal. Considerando a origem hist?rica dessa divis?o de caminhos e abordando a maneira como alguns fil?sofos de orienta??o aristot?lico-tomista trataram a rela??o entre ci?ncia natural e filosofia da natureza, estabelece-se a primazia de uma perspectiva filos?fica que n?o assuma simplesmente o modelo da racionalidade cient?fica para uma mais completa fundamenta??o de uma teoria da pesquisa racional em moldes macintyreanos. Essa complementa??o da teoria das tradi??es de pesquisa racional de MacIntyre permite, por sua vez, elaborar uma cr?tica ? filosofia anal?tica que encontra na admiss?o da racionalidade cient?fica como modelo para a racionalidade filos?fica o elemento capaz de atribuir ao movimento a identidade unit?ria de uma tradi??o. Tal identidade deve ser entendida antes como pressuposto operacional que como ades?o a teses ou par?metros metodol?gicos bem definidos, e ilumina as cr?ticas esparsas de MacIntyre ?quela tradi??o, apontando para a exist?ncia, nela, de uma forma de emotivismo filos?fico generalizado. / Alasdair MacIntyre?s theory of the traditions of rational enquiry elaborates a metaphilosophical perspective from which one may evaluate the relative merits of rival frameworks of rationality in a way that resembles some canonical approaches in the philosophy of science, but in such a way as to avoid as much as possible the problems relating to the understanding of theoretic progress as the restrictions proper to relativist and perspectivist positions, so that it allows, on the one hand, a clear sight of the conditionings which operate on an investigation and, on the other, to assume a strictly realist posture anchored in a conception of truth as adequation of mind to reality. It approximates to the Aristotelian-Thomist tradition and, in its mature version, finds in this tradition its own model and takes itself to be its heir. It is committed to a conception of rationality specifically adapted, it is argued, to philosophical practice, being an important task to draw a distinction, ignored by MacIntyre, between a philosophical and a scientific rationality, the latter dedicated to the building of exploratory models adequate to the prediction and control of phenomena and the former occupied in judging of the nature and structure of reality as such. By considering the historical origin of this parting of ways and approaching the manner in which some philosophers of an Aristotelian-Thomistic orientation dealt with the relation between natural science and the philosophy of nature, the primacy is established of a philosophical perspective that does not simply take scientific rationality as its model, in order to furnish a fuller grounding to a theory of rational enquiry in MacIntyrean moulds. This complementation of MacIntyre?s theory of the traditions of rational enquiry, in its turn, allows for an elaboration of a criticism of analytic philosophy which finds in the adoption of scientific rationality as a model to philosophical rationality the element apt to confer the movement the unitary identity of a tradition. Such an identity should not be understood as adhesion to determinate theses or methodological patterns but rather as an operational presupposition, and it sheds light on MacIntyre?s sparse criticisms of that tradition, pointing toward the existence, in it, of a kind of generalized philosophical emotivism.

Diploma thesis deals with the analysis of the book by Alasdair MacIntyre ?After virtue. A Study in Moral Theory ? in which the author discusses the crisis of moral values at the time of Modern Period. The main part of the thesis is devoted to this book and also the views of scholars from Classical times up to the early 20th century. The thesis is divided into five chapters. The first chapter deals with the thoughts of Alasdair MacIntyre, the second chapter discusses emotivism, the third chapter contains an essay on the topic of virtues and examines how values changed and develioped in society throught the ages. The fourth chapter questiones the Modern period and the crisis of values in this time. The fifth chapter is an essay about Friedrich Nietzsche.

Esta é uma leitura crítica de Lanark: a Life in Four Books do escritor escocês Alasdair Gray (1934), cujos talento e estilo se constituem exemplo da literatura contemporânea da Escócia. Esta investigação tem por objetivo determinar o papel exercido pela produção do autor nas esferas literária, cultural e sociopolítica da Escócia de hoje. Ao transitar entre ficção e meta-ficção, arte e autobiografia, Gray encara os paradoxos envolvidos ao tentar revitalizar traços da identidade nacional. O trabalho de Gray não pode ser considerado sem o reconhecimento de que a sua literatura é, simultaneamente, local e universal. Ela pertence ao cosmos escocês o qual é destacado por lutas culturais assim como é também dominante por ser escrita em Inglês e, com isso, alcançar leitores de todas as partes do mundo dentro das fronteiras transpostas pela Língua Inglesa. Essa é uma das razões pelas quais esta pesquisa busca lançar luz sobre a cena literária contemporânea escocesa, empenhando-se em preencher uma lacuna existente no currículo acadêmico brasileiro de nossos cursos de graduação e pós-graduação no que tange o tratamento e a abordagem das outras Literaturas produzidas em Língua Inglesa. Para tanto, a tese está dividida em três partes. A primeira considera a literatura escocesa em relação à formação, ratificação e reavaliação do significado de senso de identidade nacional, como observado diacronicamente através do período entre 1940 e 1970. A segunda parte focaliza os novos olhares no cenário cultural da Escócia por um grupo de escritores repleto de estilo, história e visão, os New Scottish Writers. As estratégias de Gray para lidar com ficção e biografia em Lanark assim como sua reflexão sobre a natureza do mundo são de grande importância para este trabalho. Com embasamento teórico no entendimento de Linda Hutcheon sobre meta-ficção historiográfica, intertextualidade, parodia e ironia no pós- modernismo, eu tento enquadrar, no Capitulo Três, as manobra literárias desempenhadas pelo autor ao usar tais recursos textuais no romance. Espero que o resultado desta tese de doutorado possa ser útil como reflexão sobre o presente estado de discussões sobre a literatura Escocesa pós-moderna e, ao mesmo tempo, como um meio de tornar os leitores acadêmicos brasileiros mais familiarizados com a obra de Alasdair Gray. / This is a critical reading of Lanark: a Life in Four Books, a novel by the Scottish writer Alasdair Gray (b. 1934), whose talent and style provide a fitting example of Scotland’s contemporary literature. The aim of this investigation is to determine the role played by Gray’s production in the literary, cultural and sociopolitical spheres of present-day Scottish life. In his blending of fiction and metafiction, of art and autobiography, the author faces the paradoxes involved in the attempt to stress the marks of a national identity. Gray’s work cannot be considered without recognizing that his literature is both local and universal. It belongs to the Scottish cosmos which is highlighted by cultural struggles as well as it is dominant, once it is carried out in English reaching readers all over the world from within the limits and format determined by the English Language. That is one of the reasons why this research aims to shed light on the current Scottish literary scene, attempting to fill an existing gap in the Brazilian academic curriculum respecting the treatment and approach of Literatures produced in English in our undergraduate and graduate courses. The dissertation is divided into three parts. The first contextualizes Gray in Scotland’s literature in its relation to the formation, ratification and revaluation of the concept of a sense of national identity as observed diachronically, throughout the period between 1940s and 1970s. The second section focuses on the new looks at Scotland’s cultural scenario by a distinguished group of writers burst with style, history and post-devolution vision, the New Scottish Writers. Gray’s strategies to deal with a fictional and biographical context in Lanark and his reflection upon world’s nature and worth are of great importance for this work. By the reading of Linda Hutcheon’s understanding on historiographic metafiction, intertextuality, parody and irony in postmodernism, I attempt to frame in Chapter Three the literary maneuvers Gray makes in using such textual resources in his novel. I hope that the result of this doctoral thesis may be useful both as a reflection upon the present state of the discussion about Scotland’s postmodern literature, and as a means of making the Brazilian academic readers more familiar with the work of Alasdair Gray.

Esta é uma leitura crítica de Lanark: a Life in Four Books do escritor escocês Alasdair Gray (1934), cujos talento e estilo se constituem exemplo da literatura contemporânea da Escócia. Esta investigação tem por objetivo determinar o papel exercido pela produção do autor nas esferas literária, cultural e sociopolítica da Escócia de hoje. Ao transitar entre ficção e meta-ficção, arte e autobiografia, Gray encara os paradoxos envolvidos ao tentar revitalizar traços da identidade nacional. O trabalho de Gray não pode ser considerado sem o reconhecimento de que a sua literatura é, simultaneamente, local e universal. Ela pertence ao cosmos escocês o qual é destacado por lutas culturais assim como é também dominante por ser escrita em Inglês e, com isso, alcançar leitores de todas as partes do mundo dentro das fronteiras transpostas pela Língua Inglesa. Essa é uma das razões pelas quais esta pesquisa busca lançar luz sobre a cena literária contemporânea escocesa, empenhando-se em preencher uma lacuna existente no currículo acadêmico brasileiro de nossos cursos de graduação e pós-graduação no que tange o tratamento e a abordagem das outras Literaturas produzidas em Língua Inglesa. Para tanto, a tese está dividida em três partes. A primeira considera a literatura escocesa em relação à formação, ratificação e reavaliação do significado de senso de identidade nacional, como observado diacronicamente através do período entre 1940 e 1970. A segunda parte focaliza os novos olhares no cenário cultural da Escócia por um grupo de escritores repleto de estilo, história e visão, os New Scottish Writers. As estratégias de Gray para lidar com ficção e biografia em Lanark assim como sua reflexão sobre a natureza do mundo são de grande importância para este trabalho. Com embasamento teórico no entendimento de Linda Hutcheon sobre meta-ficção historiográfica, intertextualidade, parodia e ironia no pós- modernismo, eu tento enquadrar, no Capitulo Três, as manobra literárias desempenhadas pelo autor ao usar tais recursos textuais no romance. Espero que o resultado desta tese de doutorado possa ser útil como reflexão sobre o presente estado de discussões sobre a literatura Escocesa pós-moderna e, ao mesmo tempo, como um meio de tornar os leitores acadêmicos brasileiros mais familiarizados com a obra de Alasdair Gray. / This is a critical reading of Lanark: a Life in Four Books, a novel by the Scottish writer Alasdair Gray (b. 1934), whose talent and style provide a fitting example of Scotland’s contemporary literature. The aim of this investigation is to determine the role played by Gray’s production in the literary, cultural and sociopolitical spheres of present-day Scottish life. In his blending of fiction and metafiction, of art and autobiography, the author faces the paradoxes involved in the attempt to stress the marks of a national identity. Gray’s work cannot be considered without recognizing that his literature is both local and universal. It belongs to the Scottish cosmos which is highlighted by cultural struggles as well as it is dominant, once it is carried out in English reaching readers all over the world from within the limits and format determined by the English Language. That is one of the reasons why this research aims to shed light on the current Scottish literary scene, attempting to fill an existing gap in the Brazilian academic curriculum respecting the treatment and approach of Literatures produced in English in our undergraduate and graduate courses. The dissertation is divided into three parts. The first contextualizes Gray in Scotland’s literature in its relation to the formation, ratification and revaluation of the concept of a sense of national identity as observed diachronically, throughout the period between 1940s and 1970s. The second section focuses on the new looks at Scotland’s cultural scenario by a distinguished group of writers burst with style, history and post-devolution vision, the New Scottish Writers. Gray’s strategies to deal with a fictional and biographical context in Lanark and his reflection upon world’s nature and worth are of great importance for this work. By the reading of Linda Hutcheon’s understanding on historiographic metafiction, intertextuality, parody and irony in postmodernism, I attempt to frame in Chapter Three the literary maneuvers Gray makes in using such textual resources in his novel. I hope that the result of this doctoral thesis may be useful both as a reflection upon the present state of the discussion about Scotland’s postmodern literature, and as a means of making the Brazilian academic readers more familiar with the work of Alasdair Gray.