The thesis offers an exposition and tentative solution of two problems: a definition of the Idea of Progress, and classification of social philosophers and sociologists according to this definition. Twelve propositions, or assumptions, are used to define the Idea, and works of selected philosophers from Hesiod to Parsons are examined in the light of this definition. Historical examination reveals that the Idea's acceptance reaches a zenith in the early nineteenth century, after which it lost credibility, becoming virtually discarded by mid-twentieth century.

The object of the study is spatial planning / the point of view to spatial planning is idea of progress. Within this framework, this thesis will examine, planning activity, one of the most important mediation between planners and space. Planning activity will express itself as the circulation of purpose (analysis) and action during the thesis. Firstly, spontaneity of objective purpose, partial conscious character of political purpose and conscious position of subjective purpose will be admitted as global irrational action, and so spatial planning will be assumed as a priori against idea of progress. Secondly, (partial) conscious position will express itself as the conflict of truth and illusion. Thirdly, totality, the representative of process of becoming, will supply itself as the object of idea of progress. Therefore, while examining concrete forms of planning, totality will become the mean of idea of progress. Within this context, the first claim of our thesis is that concrete forms of planning cannot bring about the progress directly. The second claim is that they are unconscious about their position in conflict and developing one-sided attitude against space. Lastly, in the sense of totality, the third claim is that planning theories and practices, historically, produce opposinary dynamics in them. Therefore, it will be introduced that two one-sided critiques of comprehensive planning- one is materialist and the other is idealist- comes together and produces structure planning. Moreover, structure planning will be claimed as flexible modes of becoming, abstractly sublating historical ideologies. As a result the new modes of becoming will be considered, similarly, loading its conflict and opposinary dynamics in it, this conflict is the conflict between concrete form of planning departuring from reality and planning theory arriving to reality.

Made available in DSpace on 2016-08-10T11:21:33Z (GMT). No. of bitstreams: 1 CESAR HENRIQUE GUAZZELLI E SOUSA.pdf: 4384926 bytes, checksum: db2268c94c8cd5f7de0809fdbcab9b28 (MD5) Previous issue date: 2014-02-24 / The present work was made over the perspective that the spaghetti westerns, Italian western films produced for the popular cinemas between the 1960s and 1970s, represent the frontier myth on cinema as a parody, in a way that subvert the basic premises of the classical American western and, doing that, perform the frontier myth ironicaly, sustaining itself on a rhetoric that is a rebut to the ideal of progress. Instead of the formalist film analysis, we propose an interpretation of the films researched trough their appropriation by the public, concurring with the theoretical proposal of the reception theory and the parody theory. The spaghetti westerns are here analyzed as a carnivalized vision of its referent, refreshing it for the public, following the large number of social convulsions and crisis that emerge in the western world in the middle of the 1960s. / O presente trabalho se sustenta sobre a perspectiva de que os spaghetti westerns, filmes de faroeste italianos produzidos para os cinemas populares entre as décadas de 1960 e 1970, são uma representação paródica do mito da fronteira no cinema que subverte as premissas do western clássico americano e, ao fazê-lo, constroem uma representação da fronteira ao avesso, que se sustenta sobre uma retórica de crítica ao ideal de progresso. No lugar da análise fílmica de tradição formalista, propõe-se uma leitura dos filmes estudados por meio das dinâmicas que os relacionam com o público e a crítica, a partir das premissas da estética da recepção e da teoria da paródia. A partir daí, oferece-se uma leitura dos spaghetti westerns como narrativas que, através de uma visão carnavalizada do seu referente, o reatualizam para o público, em consonância com as alterações na cotidianidade dos espectadores decorrentes do conjunto de crises e convulsões sociais que emergem no mundo ocidental a partir da metade da década de 1960.

Basée sur l’idée de progrès, la science moderne, d’inspiration cartésienne, est perçue par Simone Weil comme la principale cause de la crise moderne des valeurs. Sous-tendue par le mouvement droit, elle a perdu le principe d’analogie et s’est, de la sorte, dessaisie du monde ambiant des réalités quotidiennes. Aussi apparaît-elle non seulement comme à la source du scientisme, de la croyance en une raison scientifique autonome et du culte rendu aux applications techniques, mais aussi à l’origine du capitalisme industriel, du communisme révolutionnaire, du totalitarisme, de l’effondrement de l’ordre axiologique universel traditionnel concomitant à la crise de la civilisation. Les conséquences issues de ce mouvement de déracinement n’ont pas seulement conduit à l’oppression prolétarienne et coloniale ou au modernisme comme primat des valeurs d’innovation sur les valeurs de tradition, mais surtout à l’oppression généralisée et à l’oubli des structures axiologiques primordiales universelles que sont l’Etre, la Nécessité, le Passé, le Surnaturel. Fondé sur une dialectique structurelle déracinement-enracinement, pesanteur-grâce, le discours philosophique de Simone Weil sur la modernité poursuit un double enjeu. Sans se démarquer de la raison philosophique immanente, elle s’attelle à la fois à la dénonciation des propensions et défaillances qu’offrent les valeurs illusoires modernes d’argent, d’algèbre, de machinisme, d’impérialisme, de révolution, de démocratie, qu’à la conception d’une philosophie de la médiation des valeurs apte à contribuer à la renaissance d’une culture d’attention au capital axiologique de l’humanité. En effet, la modernité n’apparaissant plus que comme synonyme de crise des valeurs, il convient de tirer au clair ce piège qui fait de l’homme l’esclave de ses propres productions en y entreprenant une herméneutique ouverte non seulement au principe ontologique de nécessité, au-delà de toute projection avant-gardiste, mais surtout à une herméneutique des civilisations inspiratrices de l’humanité, en dehors de tout misonéisme passéiste, où le Surnaturel s’atteste dans sa plénitude comme critérium des valeurs authentiques et principe de médiation témoignant de l’enracinement de toutes choses dans l’être. Sans être en opposition avec les impératifs de découverte, d’invention et de développement, la philosophie weilienne de la médiation des valeurs se dévoile dans sa posture et sa validité comme une philosophie d’inspiration universelle à l’enracinement des peuples, des cultures et des nations, attentive à une pensée permanente des rapports entre la tradition et l’innovation, l’universalité et l’historicité. / Based on the idea of progress, the modern science, inspired by Descartes, is seen by Simone Weil as the primary cause of the modern crisis of values. Sustained by a linear movement, this science has lost the principle of analogy and, by consequent, it has lost its bindings with the surrounding world of everyday reality. Also, this science shows itself not only as the source of scientism, this belief in an independent scientific reason and the cult of the technical applications, but also as the source of industrial capitalism, of the revolutionary communism, of the totalitarianism, of the collapse of the traditional axiological order simultaneously to the crisis of civilization. Theses consequences resulting from the movement of uprooting not only led to the proletarian and the colonial oppression and to the modernism as the priority of the values of innovation on the values of tradition, but especially to a generalized oppression and the forgetting of the primordial universal axiological structures: the Being, the Need, the Past and the Supernatural.Based on a structural dialectic, the dislocation and the rooting, the fall and salvation, the philosophical discourse on modernity of Simone Weil seeks a double stake. Without a delimitation of the reason of the immanent philosophy, she is equally attached to the denunciation of the propensities and the failures of the modern illusory values of the money, of the algebra, of the machinery, of the imperialism, of the revolution, of the democracy, and to the conception of a philosophy of the mediation of values able to contribute to the rebirth of a culture attentive to the axiological capital of the humanity. Indeed, if the modernity appears no more as a synonym of the crisis of values, we must clarify this trap that makes the man the slave of his own productions by a hermeneutic open not only to the ontological principle of necessary, beyond any avant-garde projection, but principally a hermeneutic of the inspired civilizations of the humanity, without any outdated misoneism, where the Supernatural is attested in its fullness as criterion of the authentic values and as a principle of mediation reflecting the roots of all things in the Being. Without being in a conflict with the requirements of the discovery, of the invention, of the progress, the weilian philosophy of values mediation reveals itself as a philosophy of universal inspiration, founding the rooting of peoples, of cultures and of nations, paying permanent attention to the relationship between the tradition and the innovation, between the universality and the historicity.