Esta investigação tem como objetivo buscar uma educação ambiental crítica, dialógica e democrática, que potencialize a mudança de hábitos e comportamentos, melhorando a qualidade de vida em nosso planeta. A educação ambiental surge comprometida com a proteção da vida na Terra, reconhecendo o papel central da educação na formação de valor e para a ação social. Partiremos de uma concepção complexa e sistêmica da sustentabilidade, chegando a ideia de sustentabilidade humanista. Na USP, a Superintendência de Gestão Ambiental (SGA) lançou em 2013 o Programa de Incentivo à Sustentabilidade da USP, com o intuito de apoiar projetos que tivessem como objetivo a promoção da educação visando à sustentabilidade para construir de forma participativa uma Universidade sustentável, como modelo para a sociedade brasileira. Um dos projetos aprovados, \"A ECA e a EACH em união para a sustentabilidade na USP\", criou a disciplina \"Educomunicação Socioambiental\" no Curso de Educomunicação (ECA/USP), colocando em prática a reflexão sobre os fundamentos e as implicações da Educação Ambiental e produzindo um ecossistema comunicativo capaz de dialogar com as práticas ambientais. Concluiu-se que a Educomunicação Socioambiental tem um grande potencial para desenvolver uma EA eficiente, capaz de transformar hábitos e comportamentos. Ao introduzir o diálogo, empoderando a comunidade e desenvolvendo o protagonismo nos processos de reflexão e produção, ela facilita o intercâmbio de experiências, garantindo uma comunicação participativa e cidadã, capaz de contribuir para a preservação dos recursos naturais. / This research aims to seek a critical environmental education, dialogue and democratic, that leverages the changing habits and behaviors, improving the quality of life on our planet. Environmental education appears committed to the protection of life on Earth, recognizing the central role of education in shaping values and social action. Depart from a complex and systemic concept of sustainability, reaching the idea of humanistic sustainability. We will start from a complex and systemic concept of sustainability, reaching the idea of humanistic sustainability. At USP, the Board of Environmental Management (BEM) launched in 2013 the Incentive Program to Sustainability at USP, in order to support projects that have as an objective the promotion of education aiming at sustainability to build in a participatory manner a sustainable University, as model for the Brazilian society. One of the approved projects, \"ECA and the EACH in union for sustainability at USP,\" created the discipline \"Environmental Educommunication\" in Educational Communication Course (ECA / USP), putting into practice the reflection on the foundations and implications of Education Environmental and producing a communications ecosystem capable of dealing with environmental practices. It was concluded that the Environmental Educommunication has great potential to develop an efficient EA, able to transform habits and behaviors. By introducing the dialogue, empowering the community and developing the role of the reflection and production processes, it facilitates the exchange of experience, ensuring a participatory and citizen communication, able to contribute to the preservation of natural resources of the planet.

O objetivo de nossa pesquisa foi de explorar a interpretação maistreana da Revolução Francesa, a qual, ao contrário do que postula o senso-comum de boa parte da historiografia, não se limitou às Considerações sobre a França (1797) e sua temática providencialista, pois se manifestou em muitos outros escritos distribuídos entre os 14 volumes de suas Obras Completas e seus inúmeros \'\'Registros de Leitura\'\'. Maistre teve o mérito de integrar sua leitura da Revolução nos quadros da modernização do Ocidente, cujos pressupostos, expressos pela Reforma Protestante e pela Ilustração, permitiram-lhe explicar não apenas a Revolução em França, mas também profetizar o advento de uma era das revoluções. Fundamentalmente, procuramos demonstrar como a reação de Joseph de Maistre (1753-1821) ao projeto Ilustrado - e, por extensão, revolucionário - para a humanidade não apenas coincide, surpreendentemente, com o modo como se interpreta contemporaneamente a gênese do mundo moderno, como, apesar de seu caráter e intenções profundamente conservadores, encontra-se amparada em premissas indelevelmente humanistas e racionalistas / This thesis aims to study the Maistrean interpretation of the French Revolution, which, contrary to the common view postulated by great part of the historiography, was not confined to the famous providential treatment exposed in the Considérations sur la France (1797), but manifested instead in many other writings distributed along the 14 volumes of his Collected Works, not to mention the thousands pages of his unpublished notebooks. We would like to show that Maistre had the merit of considering the French Revolution in the light of the long-term historical process of modernization of the West, whose guidelines, expressed by the Protestant Reformation and the Enlightenment, allowed him to explain not only the Revolution in France, but also to predict the advent of an \'age of revolutions \'. Above all, we seek to demonstrate how Joseph de Maistre\'s (1753-1821) critique of the Enlightenment - and, by extension, revolutionary - project to humanity is, surprisingly, not only coincident with the way recent scholars interpret the genesis of the modern world, but, despite its deeply conservative character and intentions, is also supported by indelibly humanist and rationalist assumptions

A obra do historiador da arquitetura Manfredo Tafuri (1935-1994) mantém grande pertinência nos debates contemporâneos. Sua contribuição é caracterizada pelo rigor filológico de suas pesquisas, pela leitura crítica das utopias das vanguardas e sobretudo pelo trânsito intenso de suas análises por outras disciplinas das ciências humanas, como a filosofia, a psicologia e a sociologia. Em seus textos, o autor ladeou o Renascimento e a atualidade de diferentes modos para tecer suas argumentações, através de articulações de noções de tempo. O tempo, na prosa de Tafuri, é um objeto de estudo em si, e remonta às raízes de seu trabalho nos debates filosóficos italianos. A tese se aprofunda nesse aspecto do historiador, na determinação feita entre períodos históricos, dando ênfase ao modo como Tafuri entendia a temporalidade. Toma-se como texto de base a conferência As formas do tempo (1993), onde podemos encontrar uma síntese de suas considerações sobre o assunto, relacionando-a com os textos mais ensaísticos sobre história assinados pelo autor, que formam o corpus desta pesquisa: Teorias e história da arquitetura (1968), Projeto e utopia (1973) e Machine et memoir: a cidade na obra de Le Corbusier (1979). Estudar-se-á este núcleo considerando a hipótese de que a complexidade da obra de Tafuri reside no entremeio de tempos. Espera-se com este recorte destacar a atualidade das considerações críticas do autor sobre a arquitetura, demonstrar a interlocução de seus escritos com os debates filosóficos italianos de sua época, bem como aprofundar em alguns aspectos a interdisciplinaridade de sua teoria. / The work of Manfredo Tafuri (1935-1994) remains important for the History of Architecture. His contribuition is often summarized in the filological accent of his research subjects, the critical approach of contemporary trends in architecture and most of all for the interdisciplinarity of his writings, leaning towards other fields of humanities such as philosophy, psicology and sociology. In the overall of his work, the author established connections between Renaissance and Contemporary in different ways to make a point in his essays. The ways he framed different periods of history concerned a specific transit between notions of temporality. In Tafuri\'s work, time appears as a subject itself and denotes its philosphical origins in the political trends of Italy. This thesis seeks to shed light on one specific aspect of the work of Tafuri. It will work with his most ensaistic works regarding time: The forms of time: Venice and the Renaissance (1993) and Machine et memoir: The city in the work of Le Corbusier (1979). Along with these two articles, we will focus on two seminal books signed by the author: Theories and history of architecture (1968) and Architecture and utopia (1973). Through the study of the temporality in the work of Tafuri, we expect to broaden the understanding of his contribution, shedding light to the pertinence of his critical opinions on architecture, to the persistent dialogue his work with philosophical trends in Italy, and to give a better overall understanding of the interdisciplinary approach of his theory.

La Deuxième Guerre mondiale joue un rôle primordial dans l’oeuvre de Romain Gary. Présente dans tous ses écrits, elle constitue, pour les personnages, un épisode fondamental pour la construction de leur vision du monde. Gary l’inscrit dans une continuité historique et s’attache à décrire, dans un va-et-vient entre fiction et réalité, aussi bien les années d’avant-guerre que les décennies qui la suivent. En effet, le conflit mondial hante la mémoire des survivants, qu’ils soient civils ou militaires, et détermine pour certains d’entre eux la nature des leurs engagements futurs. Au sein d’une immense galerie de personnages, les résistants forment une communauté humaine où la fraternité, née du combat pour un idéal commun, constitue un lien indélébile qui résiste aussi bien au passage du temps qu’à la mort. Il n’en reste pas moins que d’autres catégories comme les collaborateurs, les Allemands, les Juifs ou les femmes occupent une place importante dans l’oeuvre. La Deuxième Guerre mondiale constitue, pour tous ces personnages, une grille de déchiffrement du monde. Gary décrit le cheminement qui conduit les différents personnages vers l’engagement, l’action. Il s’agit de parcours individuels – dont le sien – dépeints sans manichéisme ni prise de position politique, avec humour et parfois même ironie. L’engagement du héros garyen est une défense perpétuelle de l’humanisme. / World War II plays a crucial role in Romain Gary’s work. Pervasive throughout his writings, it represents, for the characters, a defining moment which shapes their vision of the world. Gary places it within historical continuum as he aims to describe, floating between fiction and reality, the pre-war period as well as the following decades. In fact, the world-wide conflict haunts the memory of the survivors, both military and civilian, influencing, for some of them, the nature of their commitments in the future. Within a wide and diverse range of characters, the resistants constitute a human community in which brotherhood, born out of the struggle for a shared ideal, creates a bond that resists the passing of time and even death. There are other categories present, such as the collaborators, the Germans, the Jews, or women. For all these characters, World War II is a significant paradigm that helps them understand the world. Gary’s description follows the characters in their way towards commitment and action. These are personal journeys – including his own – described without the manichean prism or political bias, but rather with humour and even irony. The commitment of the Garian hero is an undying defence of humanism.

Syftet med studien är att undersöka hur lärare och rektorer förhåller sig till att skolan är ickekonfessionell men samtidigt vilar  på en kristen tradition och västerländsk humanism. I Lgr 11 (Skolverket, 2017) står det att den etik skolan ska utgå från är en kristen tradition och västerländsk humanism. Sex lärare och två rektorer har intervjuats på två olika skolor. Den ena skolan har mångkulturella klassrum och ligger i tätbefolkat område och den andra skolan ligger ute på landsbygden och har inga mångkulturella klassrum. Resultatet visar att mångkulturella klassrum gynnar religionsundervisningen. På skolan utan mångkulturella klassrum tar religionsundervisningen mindre plats. Det framkommer även att lärare och rektorer tolkar läroplanen på lite olika sätt. Ingen av rektorerna kontrollerar att undervisningen är religionsneutral.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

De quels critères disposons-nous pour évaluer la validité d’une opinion ?La<p>première partie de la thèse revient sur les tentatives des approches contemporaines<p>de l’argumentation de répondre à cette question. Les approches normatives<p>(pragma-dialectique et logique informelle) évaluent la construction des preuves à<p>l’aune d’un idéal de rationalité, lui-même garanti par un ensemble de règles quant à<p>la construction et la formulation publique des arguments. Les approches descriptives<p>(travaux de Plantin et Doury en particulier) se fondent sur une critique de cette<p>méthode :en prétendant fournir des évaluations objectives des arguments, les<p>théoriciens normatifs s’engagent dans le processus argumentatif et, en définitive,<p>produisent des contre-argumentations et non des évaluations. C’est à l’aune du<p>problème du statut épistémologique de la preuve en histoire que j’ai choisi d’illustrer<p>les limites de l’approche descriptive. En particulier, l’oeuvre du critique littéraire<p>Hayden White se caractérise par une même relation entre (1) un scepticisme sur la<p>possibilité d’établir des critères de rationalité et (2) un parti-pris descriptif :les<p>explications historiques pourraient être décrites comme autant de figures rhétoriques,<p>mais on ne saurait définir un critère permettant d’en évaluer la validité. Comme l’a<p>bien montré Carlo Ginzburg, le scepticisme de White ouvre la porte à toutes les<p>dérives négationnistes.<p>Partant, dans une seconde partie, je propose un modèle d’analyse alternatif. Ce<p>modèle s’appuie sur la définition de la rhétorique comme une dunamis par Aristote :<p>une capacité perfectible à porter un regard technique sur les preuves. Il s’agit,<p>concrètement, de prendre en compte trois points de vues sur la preuve :(1) le point<p>de vue de l’orateur qui invente ses preuves face à un problème concret ;(2) le point<p>de vue de l’artisan qui façonne la matière persuasive; (3) le point de vue de<p>l’auditoire qui reçoit les preuves. L’exercice de ces trois points de vues permet à<p>l’analyste de juger les choix rhétoriques d’un orateur à l’aune de sa propre<p>conscience, perfectible par l’exercice, des alternatives possibles et de leur pertinence<p>en fonction des auditoires concernés. Le critère de rationalité n’est alors pas idéaliste<p>ou transcendant, il est humaniste (Chaïm Perelman, Emmanuelle Danblon) :il est de<p>l’ordre de l’expérience acquise.<p>Dans une troisième partie, j’applique mon modèle à trois ouvrages d’histoire :<p>(1) Les traites négrières d’Olivier Pétré-Grenouilleau ;(2) La vie fragile d’Arlette<p>Farge ;(3) The Ascent of Money de Niall Ferguson. Dans chaque cas, j’évalue les<p>choix rhétoriques des historiens (quant aux usages des preuves extra-techniques et<p>à la construction des trois preuves techniques) au regard des problèmes<p>épistémologiques qu’ils affrontent* et des auditoires potentiels auxquels ils<p>s’adressent. Dans chaque cas, je consacre une partie de l’analyse aux réactions<p>suscitées par leurs ouvrages. Ce faisant, je peux mesurer le caractère anti-rhétorique<p>des pratiques actuelles de la critique :le repérage d’une figure de rhétorique<p>(analogie ou métaphore), d’une forte personnalité ou d’un appel aux émotions<p>suffisent à disqualifier un argument aux yeux des critiques. En d’autres termes, notre<p>tradition critique est pétrie d’illusions normatives et, en premier lieu, l’illusion selon<p>laquelle une preuve pourrait être administrée sans technique. Je conclus en montrant<p>que ces illusions, entretenues par notre tradition philosophique, nous ont fait perdre<p>beaucoup de temps dans le développement d’une formation à l’argumentation qui<p>soit de nature à exercer la dunamis critique des étudiants.<p><p>*<p>(1) établir la vérité historique sur un sujet à fort potentiel polémique ;(2) exprimer les intuitions de la<p>phase de découverte ;(3) formuler et justifier une prédiction. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

« Lisez l’histoire et le tableau » : telle est l’invitation formulée par Poussin à l’adresse d’un de ses commanditaires, etqui d’une certaine manière consacre d’emblée le bien-fondé d’une approche iconologique de ses oeuvres. Et l’artisted’affirmer ailleurs que « la nouveauté dans la peinture ne consiste pas surtout dans un sujet non encore vu, mais dans labonne et nouvelle disposition et expression, et [qu’] ainsi de commun et vieux, le sujet devient singulier et neuf ».S’agissant cependant de la part cruciale de l’inspiration de ce peintre savant que représente la transposition des auteursclassiques, nous avons constaté que ses modalités n’avaient guère retenu l’attention de la critique. Nous avons donctenté de saisir, pour reprendre les mots de Poussin, ce qui fait la nouveauté et la singularité de la manière dont il traite sesapports littéraires. Il est ainsi apparu que le parti qu’il en tire, bien moins illustratif que d’ordre herméneutique, exige uneparticipation active du spectateur, en l’occurrence invité à déceler dans ses tableaux les rapports secrets qui s’y trouvent suggérés entre plusieurs passages d’une même oeuvre, voire entre le texte ancien apparemment figuré et tel autre, le cas échéant d’un auteur cette fois moderne. Une telle conception de sa pratique culmine dans le recours à un dispositif tout aussi ignoré de la critique, alors qu’il apparaît on ne peut plus caractéristique de l’art de Poussin : l’équivoque visuelle. Nous y percevons en dernier recours l’héritage du tableau à énigme cher aux collèges jésuites, et par là l’une des nombreuses marques que contient son oeuvre de la culture propre aux membres de la Compagnie. / « Read the story and the painting »: this invitation, sent by Poussin to one of his patrons, grounds the iconological approach of his works. The artist asserted elsewhere that « newness in painting does not consist mostly in a yet unrepresented subject, but in a proper and new dispositio and elocutio, thus turning the common and the old into the singular and new ». Still, little sustained critical attention has been paid to the actual ways in which Poussin made use and transposed the Ancient authors from which this erudite painter drew a large of share of his inspiration. We have therefore tried to recover what, according to Poussin himself, constitutes the newness, the singularity of his way of transposing the literary material. It appears that, rather than producing an illustration, Poussin’s word relied on a hermeneutic mode of engagement, calling upon the viewer to decipher in the paintings the secret relationships drawn between a plurality of a literary work’s loci, or between the Ancient source text ostensibly figured in the painting and another, eventually modern one. Such a conception of his practice is epitomized in Poussin’s characteristic use of a critically neglected device : the visual equivoque. We mayrecognize in its use the trace of a genre, that of the enigma painting, dear to the culture of Jesuit colleges, and anothermark of their influence on Poussin’s oeuvre.

The topic of the present thesis is the philosophy of Tomáš Garrigue Masaryk. The main aim of the theses is to create a complete and lucid progress of Masaryk's thinking considering the main influence on Masaryk as a philisopher. The thesis examines what and who influenced Masaryk the most and which individual experience formed his global philosophy. The thesis proceeds chronologically and copies Masaryk's life. It describes his pesonal development influenced by the work of other authors and philosophers and also by examining the answers of newly risen questions. The individual traces in his thinking, however, are not strictly isolated. The theses is thus trying to find the intersection of different influences. The issues are mostly identical. Nevertheless, Masaryk's attitude towards them develops and changes. Every influence on Masaryk and his reflection would make a thesis itself, therefore we remain at the basic philosophical points. The theses examines three areas - the first is Masaryk's source, meaning the inspiring author. Second is Masaryk's interpretation and understanding. The last area deals with Masaryk's comments and other authors analyzing his work. Powered by TCPDF (www.tcpdf.org)

This thesis is dedicated to the life and time of Jan Blahoslav, the bishop of the Unity of the Brethren and his relationship to the Unity. The aim of this work is to show Blahoslav's opinion of higher education from 2 points of view: a humanistic man of his time and also a member of the Unity. The thesis is divided into 8 chapters which focus on 3 main topics: Jan Blahoslav and the Unity of the Brethren, humanism and education. In the first chapter, the time of the Renaissance and humanism is introduced, the second is dedicated to the history of the Unity of the Brethren and the third one is actually the biography of Jan Blahoslav. In the fourth chapter, Blahoslav's main writings are described. The second half of the thesis focuses on education in the time of scholasticism and humanism from the European point of view, the system of education of the Unity of the Brethren and the pedagogical contribution of Jan Blahoslav.