La présente étude propose une recherche sur la fortune de Perse (auteur satirique latin du I siècle ap. J. Ch.) pendant la Renaissance et l’édition critique du commentaire des Satires de Giovanni Britannico (humaniste, imprimeur et professeur de Rhétorique à Brescia au XVe siècle), ouvrage publié pour la première fois à Brescia en 1481 et qui bénéficia d’une énorme diffusion en France. Le premier chapitre de la thèse est consacré à la réception de Perse en Italie durant le XVe siècle et passe en revue les commentaires des Satires précédent l’ouvrage de Britannico. Le deuxième propose un profil biographique de l’humaniste et analyse son oeuvre, en l’inscrivant dans le cadre de l’activité éditoriale et typographique de sa famille. Le troisième présente la structure et les caractéristiques du commentaire et met en lumière les nouveautés exégétiques de l’ouvrage en rapport avec la production contemporaine. Le quatrième chapitre est consacré à la réception du commentaire en Europe durant la première moitié du XVIe siècle. La thèse se termine avec l’édition du commentaire, accompagnée d’un apparat critique qui présente les variantes et les sources de l’ouvrage. / The aim of the thesis is to investigate about the reception of Persius’ poetry in the Renaissance period and to provide a critical edition of Giovanni Britannico’s commentary on Satires. Britannico’s work was published in Brescia in 1481 and it enjoyed a great diffusion and great appreciation in France during the 16th Century. The first chapter analyses Persius Satires reception in Italy during the second half of the 15th Century, by reviewing commentaries written before Britannico’s work.Then the thesis provides a biographical profile of the author and it analyses his literary production in the context of editorial and printing press activity of his family. The third chapter describes the structure and the features of the commentary, by comparing it with contemporary production on Persius. The last one studies the reception of the commentary in Europe in 16th Century. The critical edition of Britannico’s commentary is accompanied by a critical apparatus providing information about variant reading of the text and about its sources.

Nesta pesquisa procuramos investigar a animação japonesa como uma máquina para compreendermos como a copresença evolucionária de outros seres — técnicos e animais — potencializa outras compreensões sobre o humano. Com esse posicionamento, procuramos demonstrar como o humanismo, além de se constituir como um modelo filosófico, científico e civilizacional, também propôs uma visão estética sobre o humano. Para realizar uma abertura dessa herança, procuramos traçar uma genealogia do humano e dos objetos técnicos em correlação. A compreensão do anime como uma máquina parte da teoria de Thomas Lamarre, em conjunto com as teorizações de Gilbert Simondon, Félix Guattari e Gilles Deleuze. O viés da análise tem o pressuposto de que, se a construção da animação se dá por layers, ou camadas que misturam diferentes técnicas e perspectivas visuais, poderíamos dizer que elas revelam a suis generis de pensamento em ação na animação. O humano também é pensado como uma construção, assim a relação de explosão do humanismo e da implosão do antropocentrismo visa desterritorializar o humano nos seus componentes teóricos e poéticos. O surgimento da teoria pós-humanista foi inicialmente pavimentado graças à desterritorialização posta sobre o humano no pós-estruturalismo. Para aprofundar esse argumento partimos da herança em Nietzsche e Derrida até autores pós-humanistas como Donna Haraway, Cary Wolfe, Rosi Braidotti e Stefan Herbrechter. Após estabelecermos um panorama da animação de ficção científica no Japão, iremos nos debruçar na análise das animações Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) dirigida por Hideaki Anno e Ghost in the Shell: Innocence (2004) dirigida por Mamoru Oshii. De uma maneira geral a pesquisa foi dividida em três seções: pós-humanismo e techno-poética, máquina anímica e visões explosivas do humano. Na primeira, procuramos evidenciar uma genealogia do humano com atenção à sua coevolução e historicidade com os objetos técnicos, estabelecendo relações entre regimes de pensamento e estese. A segunda seção diz respeito às configurações da máquina anímica, suas relações com a tradição estética japonesa e com elementos da estética humanista, tal qual a perspectiva cartesiana. Procuramos demonstrar a existência de outros modelos visuais como uma abertura da heterogênese da máquina. A terceira seção é na qual iremos analisar as visões explosivas do humano na animação japonesa através das categorias analíticas propostas por Lamarre. Nossa hipótese é demonstrar como a máquina anímica poderia permitir uma heterogênese pós-humana através da dobra comunicacional do intervalo anímico. / In this research, we seek to investigate Japanese animation as a machine to understand how the evolutionary coo presence of other beings — technical and animal — enhances new understandings about the human. With this position, we try to demonstrate how humanism, besides constituting itself as a philosophical, scientific and civilizational model, also proposed an aesthetic vision about the human. To open this inheritance, we traced the genealogy of human and technical objects in correlation. The understanding of anime as a machine starts with the theory of Thomas Lamarre, together with the theorizations of Gilbert Simondon, Felix Guattari and Gilles Deleuze. Our analysis approach has the assumption that if the construction of the animation is made of layers that mix different techniques and visual perspectives, we could say that they reveal the suis generis of thought in action in the animation. We affirm that the human is a construction, so the relation of humanism explosion and the implosion of anthropocentrism aims to deterritorialize the human in its theoretical and techno-poetic components. The emergence of post-humanist theory has a debt to the deterritorialization put on the human in the post-structuralist theory. To deepen this argument we start from the inheritance in Nietzsche and Derrida to posthumanist authors like Donna Haraway, Cary Wolfe, Rosi Braidotti and Stefan Herbrechter. After we stablished an overview of science fiction animation in Japan, we will focus our analyses with the animations Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) directed by Hideaki Anno and Ghost in the Shell: Innocence (2004) directed by Mamoru Oshii. In general, the research was divided into three sections: posthumanism and techno-poetics, the animetic machine and explosive visions of the human. In the first, we try to show a genealogy of the human with attention to its coevolution and historicity with the technical objects, establishing relations between regimes of thought and aesthetic. The second section concerns the configurations of the animetic machine, its relations with the Japanese aesthetic tradition, and elements of humanistic aesthetics, such as the Cartesian perspective. We try to demonstrate the existence of other visual models as an opening of the heterogenesis of the animetic machine. The third section is where we will analyze the explosive visions of the human in Japanese animation through the analytical categories proposed by Lamarre. Our hypothesis is to demonstrate how the animetic machine could allow a post-human heterogenesis through the communication fold of the animetic interval.

Ce travail vise à proposer une définition opératoire de la déclamation du XVIème siècle, à étudier son évolution durant la période et à examiner ses manifestations dans certains textes littéraires. La première partie est constituée d'une sorte de recherche archéologique : qu'est-ce exactement que les Romains appelaient une "declamatio" ? Comment cet exercice a-t-il évolué durant la deuxième sophistique ? Qu'est-ce que les humanistes de la Renaissance appellent ainsi, apprécient et essayent d'imiter ? La seconde partie propose plusieurs analyses de déclamations humanistes, en vue d'en formuler une définition précise et pratique. Une conclusion synthétique rassemble ses principaux caractères, et propose un aperçu de ses enjeux. La troisième et dernière partie cherche des traces de déclamation, ou de bribes de déclamations, dans les textes qui ne sont pas spécifiquement oratoires. La diffusion de la déclamation dans la sphère littéraire est peut-être un indice de son importance dans la pensée et dans les pratiques d'écriture des Humanistes. / This work aims at giving a definition of 'declamation' in the 16th century and at studying its evolution and its manifestations in a few literary texts. The first part is a kind of archeological research: what did exactly the Romans call 'declamatio'? How did this exercise evolve during the second sophistic period? What did the humanists of the Renaissance call so, appreciate and try to imitate? The second part will examine a variety of analyses on humanists' 'declamation' so as to propose an accurate and practical definition of the humanist 'declamation'. A synthetic conclusion will gather its main characteristics and will present a view of the issues. The third and last part will search for the presence of 'declamation', or part of it, in non-rethoric texts. The spreading of 'declamation' in the literary sphere may give an indication of its importance in the mind and in the writing practices of the Humanists.

This diploma thesis continues in my bachelor work. It´s topic was the analysis of three preachments by Daniel Nitsch from the collection called Berla královská Jezu Krista (1709). The purpose of the task was to make an analysis of phonetic appearances in these preachments and to find out the presence of spoken components in author´s language. The topic of my diploma thesis is the morphological analysis of the preachment called Já hlas volajícího na poušti by the same writer. There will be observed especially searched appearances different from the present Czech. This research might continue with the analysis of the composition or stylistics. The work is divided into two parts ? the theory and the research. The first one deals with the life and work of Daniel Nitsch, the brief charakteristics of the baroque period, the definition of the baroque Czech, the progress of humanism and baroque grammars, level of the contemporary language and the orthografical codification of humanism Czech. The research includes the morphological analysis of the text and the statistic formulation of the number of searched appearances. The purpose of the analysis is to find out the level of Czech language at the beginning of the 18th century on the base of the findings and graphic data.

The primary objective of the dissertation is to carefully examinate the stylistical extracts taken from the mature baroque era. The extracts, which are taken in the consideration, were extracted from Coelum Vivum Collection (1724) written by Bohumir Hynek Josef Bilovsky. The main aim is centered on the morfological changes in the text. The main goal of the disseration is to assess the significance of the style and a state of the language at that time. The disseration falls into theoretical and practical parts. The theoretical one provides with a concise view of humanism and baroque grammars. The well-arranged chapter which pays attention to the particular declensions and conjunctions is appeneded. The practical one is concerned with the results of the undergone survey which was conducted and mentioned in the preceding Research Project. The attention is moved from the results to the analysis of the particular formative appearances in the baroque extracts and gained information is carefully compared and evaluated. The statistic method is taken into consideration and put into use in this case. The level of the literary language from the first half of the 18th century is evaluated and concluded in the summary.

Este trabalho tem por finalidade apresentar uma leitura contrastiva entre os escritos de cunho religioso do escritor português José Saramago, O Evangelho segundo Jesus Cristo e Caim, e os escritos tidos como sagrados pela cultura judaico-cristã: a Bíblia. A pesquisa visa, dessa forma, contribuir com uma leitura inovadora às análises já existentes das obras do autor. Além disso, procura evidenciar a relação entre Literatura e Religião, fazendo uso das teorias da Teopoética. A análise feita partiu do pensamento do próprio autor acerca do Romance, Literatura, História e Religião, mas também se remete à infância do autor em busca da compreensão do ambiente vivido por ele, bem como da educação por ele recebida. Logo, constata-se a ocorrência do sagrado em sua obra, mediante a aplicação do ateísmo ético e a associação ao conceito de apocrifia frente aos escritos religiosos. Em seguida, traça-se a evolução histórica da Bíblia, bem como sua relação com as teorias de Tradução e as possíveis ocorrências de desvios doutrinológicos sob o ponto de vista religioso, sob a observação de conceitos hermenêuticos e exegéticos. Na obtenção dos resultados, ressalta-se que alguns já eram esperados devido às leituras prévias realizadas; contudo, a maior parte deles é surpreendente do ponto de vista histórico-tradicional. Enfim, acredita-se na validade desta pesquisa, pois ela possibilita ao leitor, além de um comparativo, uma reflexão em busca da sua verdade pessoal. / This thesis intends to present a contrastive reading among the writings with religious nature of the Portuguese writer José Saramago, The Gospel according to Jesus Christ and Cain with the writings consider sacred by the Jewish and Christian cultures: the Bible. The search aims, in this way, to contribute with an innovative reading to the analysis previous done about the author’s books. Besides, let us seek to point the relation between Literature and Religion, using the theories of Theo-poetic. The analysis done started by the author’s thoughts about Novel, Literature, History and Religion, but it also comes back into the author’s childhood trying to comprehend his family environment, as well as the education received by him. Next, let us find the occurrence of the sacred in his work by applying the ethical atheism influenced by the humanistic philosophies and the association to the concept of apocryphal books in front of religious writings. After, let us present the historic evolution of the Bible, as well as, its relation with the Translation theories and the possible occurrence of doctrinal deviations from the religious point of view, under the observation of hermeneutical and exegetical concepts. In achieving the results, let us highlight that, some of them were expected due to the previous readings performed, however, most of them are surprising under the historical and traditional point of view. Finally, we believe in the validity of this research because it allows the reader, in addition to a comparison, a reflection in search of his personal truth.

This article presents a transit from the establishment of the non-adequacy of theoretical knowledge in Levinas’ philosophy towards Derrida’s proposal, according to which the relation with alterity is animal and not human. It also analyses the way in which the theoretical attitude brings a primacy of the subject and a “reduction of the other to sameness”, and also how the deconstruction of subjectivity enables a non-theoretical relationship with alterity. From this, it considers that alterity, described by Levinas as “human”, appears to consciousness as fundamentally sensible. Finally, it discusses Derrida’s critique to Levinas, concerning a possible exclusion inherent to the concept of the “human”, and suggests considering animality as a common substrate to all alterity, proposal that goes beyond Levinas’ humanism. / Este artículo presenta un tránsito desde la constatación de la inadecuación del conocimiento teórico en la filosofía de Levinas hacia la propuesta de Derrida según la cual la relación con la alteridad es animal y no humana. Además, se analiza la manera en que la actitud teórica trae consigo un primado del sujeto y una “reducción de lo otro a lo mismo”, y cómo la deconstrucción de la subjetividad hace posible una relación no-teórica con la alteridad. A partir de esto, se considera que la alteridad, descrita por Levinas como “humana”, se presenta ante la conciencia como fundamentalmente sensible. Finalmente, discute la crítica de Derrida a Levinas acerca de una posible exclusión inherente al concepto de lo “humano” y propone pensar la animalidad como sustrato común a toda alteridad, propuesta que supera el humanismo levinasiano.

This article examines the Andalusian stage in the life of the author of the Comentarios Reales, as the original context of its creation. This literary context involves both its discursive nature (description of a culturally sufficient scenario, in dialogue with the reader) and its nationalist legitimation (the claim of an identity within the Christian Commonwealth). Such legitimation receives its characteristic mark of Renaissance logic (so common to the European nationalist process, from the fourteenth to the nineteenth century), but, more specifically, as a particular process of legitimizing stigmatized societies. In that sense, Andalucía, full of conversos incorporated into the Christian world (in Jewish and morisco minorities who claimed the right of Christian affiliation, recognized above all in the Society of Jesus until 1593) offered an ideal model for revindicating the despised, pre-Christian America (the Incas). / El presente artículo propone considerar la etapa andaluza del autor de losComentarios Reales como su contexto original de creación. Este contexto literario involucra tanto su naturaleza discursiva (descripción de un escenario culturalmente suficiente, en diálogo interpersonal con el lector) como su legitimación nacionalista (reclamación de identidad dentro de la Commonwealthc ristiana). Tal legitimación recibe su marca característica de la lógica renacentista (tan común al proceso nacionalista europeo, desde el siglo XIV al XIX), pero se matiza como un proceso particular de legitimación de sociedades estigmatizadas. En ese sentido, la Andalucía llena de conversos incorporados al universo cristiano (en minorías judías y moriscas que reclamaban el derecho a su pertenencia cristiana, reconocido excepcionalmente en la Compañía de Jesús hasta 1593) ofrecía un modelo reivindicativo idóneo para la América precristiana menospreciada (los incas).

Propomos neste estudo uma leitura e comentário do capítulo De l\'institution des enfans, Livro I, 26, dos Essais de Michel de Montaigne. Trata-se de contribuir para a discussão e elucidação de um capítulo que, embora muito conhecido e mobilizado pela crítica especializada, sobretudo pelos historiadores da educação, apresenta um trabalho de interpretação quase sempre pouco atento aos desenvolvimentos próprios do texto. A tese labora em duas frentes: naquela da história e das concepções educacionais do humanismo renascentista e naquela - em que está seu interesse principal - da compreensão e articulação dos elementos essenciais do pensamento pedagógico de Montaigne. Ressaltamos o exercício do julgamento, a conversação como meio pedagógico e a importância da filosofia moral na formação dos jovens / The purpose of this study is to do a read and comment the chapter De l institution des enfans, Livre I, 26, of the Les Essais, wrote by Michel de Montaigne. It contributes to discuss and elucidate a chapter that, even though its very known and mobilized by the specialized critics, over all by the educations historians, presents an interpretation work almost always little intent to the proper developments of the text. The thesis deals in two fronts: in that one of the history and the educational conceptions of the Renaissance Humanism and in that one - in which exists its main interest - of the understanding and joint of the essential elements of the Montaignes pedagogical thought. We stand out the exercise of the judgment, the conversation as pedagogical instrument and the importance of the moral philosophy in the formation of the young

Este estudo objetivou evidenciar a visão de Novo Realismo de Mario Schenberg, dada sua importância no horizonte das Vanguardas Brasileiras das décadas de 1960 e 1970, bem como sua relação com o Novo Humanismo, também desenvolvido pelo crítico de arte durante esse período. Foi analisado o envolvimento de Schenberg no debate das décadas de 1960 e 1970, tendo por base sua atuação nas exposições Opinião 65, Propostas 65, Opinião 66, Propostas 66, bem como nas Bienais de São Paulo (1961, 1965, 1967, 1969 e 1971). O estudo tomou por fontes primárias as críticas originais do Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP escritas nas nessas duas décadas, bem como os demais livros, artigos e entrevistas do crítico. Considerado por Mario Schenberg a expressão artística do Novo Humanismo, o Novo Realismo foi definido a partir de um horizonte paralelo: fruto da sociedade industrial e reflexo da cultura ocidental em crise, essa tendência refletiu um momento de ampliação de referenciais. Mario Schenberg soube compreender as demandas da arte nascente, na medida em que sua atividade crítica não se deu como julgamento e avaliação, mas como compreensão e incentivo. / This Study had the objective of showing the vision of the New Humanism of Mario Schenberg, due to its importance in the horizon of the Brazilian Vanguards from the 1960´s and 1970´s decades, as well as its relation to the New Humanism, also developed by the art critic during this period. The involvement of Schenberg in the debate of the 1960´s and 1970´s decades was analyzed, based on his actuation on the expositions Opinião 65, Propostas 65, Opinião 66, Propostas 66, as well as in the São Paulo Biennials (1961, 1965, 1967, 1969 e 1971). This study considered by primary sources the original critics of the Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP written in these two decades, as well as the rest of the books, articles and interviews of the critic. Considered by Mario Schenberg the artistic expression of the New Humanism, the New Realism was defined from a parallel horizon: result of an industrial society and a reflex of an occidental culture in crisis, this tendency reflected in a moment of referential amplifications. Mario Schenberg knew how to comprehend the demands of the rising art, in which, his critical activities were not made by judgment and evaluation, but as comprehension and incentive.