<p>Diss. Stockholm :  Stockholm School of Economics, 2012. Introduction together with 6 papers</p>

O presente trabalho analisa a obra completa de Orides Fontela, com um total de cinco livros publicados entre 1969 a 1996, observando os processos de continuidade e ruptura ao longo de seu percurso. Buscou-se compreender como se estabelecem os seus mais notórios procedimentos estéticos, a tensão entre a palavra e o silêncio, a fixação pela luz, a constituição de seu sujeito lírico oculto, a densa presença de elementos da natureza e o trabalho conciso a partir de um peculiar repertório simbólico-metafórico. A análise e a interpretação de tais procedimentos permitiram observar como a poética orideana oscila entre a sensação de potência e impossibilidade. Para tanto, investigou-se a organização das inter-relações figurativas entre os poemas e como o emprego de pares antitéticos e ideias paradoxais contribuem para a riqueza de significação alcançada. A contínua transposição poética, entre a água e o sangue, o voo e o pouso, o céu e o abismo, a vida e a morte, tende a produzir uma camada de sentido subterrânea, que para além da aparente transcendência e extemporaneidade da autora, comunica-se com a historicidade de seu tempo / The present work analyzes the collection of Orides Fontela, which result a total of five published books from 1969 to 1996, observing the processes of continuity and rupture all over this route. We were looking for a understandable search for their most important aesthetic procedures, about the tension between word and silence, the fixation by lucidity, the constitution of its occult lyrical subject, the dense presence of nature elements, and the concise employment from a peculiar repertoire symbolic and metaphorical. The analysis and interpretation of such procedures about this poetic allowed to observe the oscillation between the sense of power and impossibility. To this end, we investigated the figurative organization of interrelationships between poems and how they use the antithetical pairs and the ideas paradoxical that contribute to the richness of meanings reached. The continuous poetic transposition between water and blood, flight and landing, the sky and the abyss, life and death, tends to produce a layer of sense subterranean, that beyond the author´s apparent transcendence and extemporaneity, communicates with the historicity of her time

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No. of bitstreams: 7 Dissertação - Lúcio Silva Pereira - 2014.pdf: 1594411 bytes, checksum: 5cbd4ef5a98c0dfa848284654f9329fb (MD5) 01 Faixa 1.wma: 1648786 bytes, checksum: a5b2dee254892b3222580dc1394d067b (MD5) 02 Faixa 2.wma: 14664514 bytes, checksum: 4e9c32ef525370b2609b68d626986f4b (MD5) 03 Faixa 3.wma: 5252314 bytes, checksum: e0216acc499eba6d07ed0c4bfc454eaa (MD5) 04 Faixa 4.wma: 8037130 bytes, checksum: 28fc63e6d83b37db8ba0a5f3ab21d02a (MD5) 05 Faixa 5.wma: 8246290 bytes, checksum: e61b3d99b32574e7e07bc37cd5228662 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-25 / This research is organized in two parts: A – Artistic production and B – Paper. The first part presents the programs and the program notes of the concerts held on August 23, 2013 and April 25, 2014. The second part presents the paper, which aims to study the use of multiple percussion in Iannis Xenakis solo and mixed chamber music, identifying and discussing performance characteristics of this set of works as well as idiosyncratic elements of percussion written by this composer. The paper begins with the concept of multiple percussion, historically situates the percussion in Western classical music during the twentieth and twenty-first centuries, and underscores the importance of Iannis Xenakis as a composer for this new lineage of percussion. The paper also proposes an approach to the works in which there is one percussionist playing multiple percussion set-ups, in solo or mixed chamber music context. Thus, the selected works are: Psappha (1975), Dmaathen (1976), Komboï (1981), Kassandra (1987), Oophaa (1989), Rebonds (1987/89) and Plektó (1993). After delimiting the repertoire to be studied, this paper identifies and discusses four characteristics of the works: (1) instrumentation, (2) the use of polyrhythms, (3) issues relating to the impossibilities in Xenakis’ music and (4) the use of polyphonic textures. The discussion section suggests traits that characterize the composer’s writing, identifying elements of recurrent use in various works, developing benchmarks, proposing technical solutions and developing interpretive conceptions that seek to contribute in the preparation of the performance of this set of works. / Esta pesquisa está organizada em duas partes: A – Produção artística e B – Artigo. A primeira parte apresenta os programas e as notas de programa dos concertos de qualificação e defesa, realizados, respectivamente, nos dias 23 de agosto de 2013 e 25 de abril de 2014. A segunda parte consiste no artigo, que tem como principal objetivo estudar a utilização da percussão múltipla em obras solo e de câmara mista de Iannis Xenakis, identificando e discutindo particularidades da performance desse conjunto de obras, bem como elementos idiossincráticos na escrita percussiva do compositor. O artigo parte da conceituação de percussão múltipla, situando historicamente a percussão na música clássica ocidental durante os séculos XX e XXI, e ressalta a importância de Iannis Xenakis como compositor para essa nova linhagem do fazer percussivo. O trabalho também propõe dar um enfoque nas obras em que há um percussionista tocando percussão múltipla, seja solo ou em um contexto camerístico misto. Assim, as obras selecionadas e discutidas ao longo deste artigo são: Psappha (1975), Dmaathen (1976), Komboï (1981), Kassandra (1987), Oophaa (1989), Rebonds (1987/89) e Plektó (1993). Delimitado o repertório a ser estudado, este artigo identifica e discute quatro particularidades das obras: (1) instrumentação, (2) uso de polirritmias, (3) questões referentes a impossibilidades na música de Xenakis, e (4) uso de texturas polifônicas. A discussão aponta traços que caracterizam a escrita do compositor, identificando elementos de uso recorrente nas diversas obras, elaborando pontos referenciais, propondo soluções técnicas e desenvolvendo conceitos interpretativos que buscam contribuir para a preparação da performance do conjunto de obras.

For the last thirty years or so, there has been a search underway for a theory that canaccommodate our intuitions in regard to moral duties to future generations. The object ofthis search has proved surprisingly elusive. The classical moral theories in the literature allhave perplexing implications in this area. Classical Utilitarianism, for instance, implies thatit could be better to expand a population even if everyone in the resulting populationwould be much worse off than in the original. The main problem has been to find an adequate population theory, that is, a theoryabout the moral value of states of affairs where the number of people, the quality of theirlives, and their identities may vary. Since, arguably, any reasonable moral theory has totake these aspects of possible states of affairs into account when determining the normativestatus of actions, the study of population theory is of general import for moral theory. A number of theories have been proposed in the literature that purport to avoidcounter-intuitive implications such as the one mentioned above. The suggestions arediverse: introducing novel ways of aggregating welfare into a measure of value, revising thenotion of a, life worth living, questioning the way we can compare and measure welfare,counting people's welfare differently depending on the temporal location or the modalfeatures of their lives, and challenging the logic of axiological and normative concepts. Weinvestigate the concepts and assumptions involved in these theories as well as theirimplications for population theory. In our discussion, we propose a number of intuitively appealing and logically weakadequacy conditions for an acceptable population theory. Finally, we consider whether it ispossible to find a theory that satisfies all of these conditions. We prove that no such theory exists.

The philosophical problem of the tension between liberty and order has dominated the agenda of western philosophy and science since the beginning of the history of thought, and it is a leading issue nowadays, too. The problem of the act of decision is particularly one of the significant themes of contemporary political thought. Instead of the classical poles of both voluntarism and determinism prioritising either the subject or the structure, what should be employed is a much deeper analysis of the relation between undecidability and the act of decision. In this respect, the discussion between Ernesto Laclau and Slavoj &amp / #381 / i&amp / #382 / ek is considerably illuminating. But there are also theoretical shortcomings shared by these thinkers. That is, despite the informativeness of this debate, there is an overwhelming necessity to critically assess this dialogue with a particular emphasis on the conceptual issues. In this regard, an overall scrutiny and critical assessment of this debate constitute the main body of this thesis.

O presente trabalho analisa a obra completa de Orides Fontela, com um total de cinco livros publicados entre 1969 a 1996, observando os processos de continuidade e ruptura ao longo de seu percurso. Buscou-se compreender como se estabelecem os seus mais notórios procedimentos estéticos, a tensão entre a palavra e o silêncio, a fixação pela luz, a constituição de seu sujeito lírico oculto, a densa presença de elementos da natureza e o trabalho conciso a partir de um peculiar repertório simbólico-metafórico. A análise e a interpretação de tais procedimentos permitiram observar como a poética orideana oscila entre a sensação de potência e impossibilidade. Para tanto, investigou-se a organização das inter-relações figurativas entre os poemas e como o emprego de pares antitéticos e ideias paradoxais contribuem para a riqueza de significação alcançada. A contínua transposição poética, entre a água e o sangue, o voo e o pouso, o céu e o abismo, a vida e a morte, tende a produzir uma camada de sentido subterrânea, que para além da aparente transcendência e extemporaneidade da autora, comunica-se com a historicidade de seu tempo / The present work analyzes the collection of Orides Fontela, which result a total of five published books from 1969 to 1996, observing the processes of continuity and rupture all over this route. We were looking for a understandable search for their most important aesthetic procedures, about the tension between word and silence, the fixation by lucidity, the constitution of its occult lyrical subject, the dense presence of nature elements, and the concise employment from a peculiar repertoire symbolic and metaphorical. The analysis and interpretation of such procedures about this poetic allowed to observe the oscillation between the sense of power and impossibility. To this end, we investigated the figurative organization of interrelationships between poems and how they use the antithetical pairs and the ideas paradoxical that contribute to the richness of meanings reached. The continuous poetic transposition between water and blood, flight and landing, the sky and the abyss, life and death, tends to produce a layer of sense subterranean, that beyond the author´s apparent transcendence and extemporaneity, communicates with the historicity of her time

Orientador: Prof. Dr. Roberto Venegeroles Nascimento / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Matemática , 2017. / Neste trabalho foram apresentados, contextualmente, os métodos de "eleições por ordem de mérito" e de "eleições particulares", ambos propostos em [1] pelo matemático francês Jean Charles Borda (1733 ¿ 1799) em 1770 como alternativa ao "método usual de contagem de votos". Borba percebeu que o "método usual de contagem de votos" apresenta falhas porque em eleições com mais de dois candidatos pode-se não reproduzir adequadamente a preferência da maioria dos eleitores. Posteriormente, foi apresentado o "método de Condorcet", proposto em [2] pelo matemático francês Marie Jean Antonie Nicolas Caritat de Condorcet (1743 ¿ 1794) em 1785 para responder às falhas identificadas nos métodos propostos por Borda e, consequentemente, no "método usual de contagem de votos". Condorcet percebeu que, embora menos que o "método usual de contagem de votos", os métodos propostos por Borda também apresentam falhas porque é possível que sejam utilizados votos ou candidatos de maneira estratégica para manipular o resultado da eleição. O referido método foi apresentado com base no método publicado pelo matemático e economista americano Hobart Peyton Young (1945 ¿) em 1988 na obra "Condorcet¿s Theory of Voting" [3] pelo American Political Science Review. Por conseguinte, foram apresentadas três demonstrações distintas do "Teorema da Impossibilidade de Arrow", proposto em [4] pelo matemático e economista americano Kenneth Joseph Arrow (1921 ¿ 2017) em 1950, no qual, mostrou que considerando determinadas condições, em eleições com mais de dois candidatos, não há um método democraticamente consistente de escolher um candidato vencedor, pois não existe uma forma perfeita de construir uma preferência social a partir das preferências individuais dos eleitores. As referidas demonstrações foram apresentadas com base nas demonstrações publicadas pelo matemático e economista americano John Geanakoplos (1955 ¿) em 2005 no artigo "Three brief proofs of Arrow¿s Impossibility Theorem" [5] pelo Journal Economic Theory. Por fim, foram apresentadas as conclusões e consequências do "Teorema da Impossibilidade de Arrow" sobre sistemas eleitorais. / In this work were presented, contextually, the methods of "elections in order of merit" and "private elections", both proposed in [1] by the french mathematician Jean Charles Borda (1733 ¿ 1799) in 1770 as an alternative to the "usual method of counting votes". Borda realized that the "usual method of counting votes" presents flaws because in elections with more than two candidates it doesn¿t reproduce the adequately preference of the majority of voters. Posteriorly, the "Condorcet method" was presented, proposed in [2] by the french mathematician Marie Jean Antonie Nicolas Caritat de Condorcet (1743 ¿ 1794) in 1785 to respond to the flaws identified in the methods proposed by Borda and, consequently, in the "usual method of counting votes". Condorcet realized that, although less than the "usual method of counting votes", the methods proposed by Borda also present flaws because it is possible that votes or candidates are used strategically to manipulate the election result. This method was presented based on the method published by the american mathematician and economist Hobart Peyton Young (1945 - ...) in 1988 in the work "Condorcet¿s Theory of Voting" [3] by the American Political Science Review. Therefore, three distinct demonstrations of the "Arrow Impossibility Theorem" were presented, proposed in [4] by the american mathematician and economist Kenneth Joseph Arrow (1921 ¿ 2017) in 1950, in which, it has been shown that given certain conditions, in elections with more than two candidates, there is no democratically consistent method of choosing a winning candidate, as there is no perfect way to build a social preference based on the individual preferences of voters. These statements were presented based on the statements publishe by the american mathematician and economist John Geanakoplos (1955 - ...) in 2005 in the article "Three brief proofs of Arrow¿s Impossibility Theorem" [5] by the Journal Economic Theory. Finally, the conclusions and consequences of "Arrow¿s Impossibility Theorem" on electoral systems were presented.

Le mot dynamis est un terme fondamental dans la pensée grecque, non seulement en philosophie, où il prend une importance singulière à partir d’Aristote, mais aussi en médecine, en sciences de la nature ou en mathématiques. La présente étude s’attache à mettre en évidence les équivalents de traduction que lui ont assignés les traducteurs et les auteurs latins, à l’époque classique et en latin tardif ou médiéval, selon une double approche. En premier lieu, il s’agit, dans une perspective onomasiologique d’identifier les modes d’apparition de dynamis et des mots de sa famille dans un choix de textes latins, des comédies de Plaute jusqu’aux traductions boéciennes de l’Organon d’Aristote : l’emprunt de signifiant, le néologisme formel, la transposition ou, le cas le plus fréquent, la traduction proprement dite. Puis, dans une approche sémasiologique, il s’agit de mesurer l’impact de la traduction du grec sur un ensemble lexical latin constitué des noms employés le plus fréquemment pour traduire dynamis, à savoir potestas « possibilité, pouvoir », potentia « puissance », uis « force, violence » et uirtus « valeur, qualité, vertu ». Les emplois de ces mots sont étudiés dans un corpus constitué de textes littéraires et de textes spécialisés dans les domaines de la connaissance susdits, où l’on cherche à savoir s’ils ont fait l’objet d’un calque sémantique à partir du grec dynamis. L’étude a ainsi pour but de reconstruire un moment de l’histoire de la notion grecque, celui de sa « conversion » en latin, moment déterminant pour son expression dans les langues modernes par fr. puissance, potentialité, vertu, virtualité, angl. potency, potentiality, virtue, virtuality, etc. / Dynamis is a key word in the Greek thought, not only in philosophy, in which it has assumed a particular significance since Aristotle, but also in medicine, the natural sciences and mathematics. The present work aims to present the translation equivalents adopted by the Latin authors and translators in classical antiquity and in late or medieval Latin, according to a twofold approach. First, from an onomasiological perspective, we try to identify and analyse the different ways dynamis (as well as the words semantically connected to it) appears in a corpus of Latin texts, from Plautus’ comedies to Boethius’ translation of Aristotle’s Organon : as a loan word, a formal neologism, a transposition or, as in most cases, a translation. Second, from a semasiological perspective, we focus on the impact of the translation from Greek on a lexical group made of Latin words frequently used to translate dynamis, namely potestas (“possibility, power”), potentia (“potentiality, potency”), uis (“strength, violence”) and uirtus (“value, quality, virtue”). The uses of these words in a corpus of literary and scientific texts are examined, and the question is raised of how far they may be considered as semantic calques from the Greek term dynamis. The work thus aims to reconstruct a moment in the history of the Greek notion : that of its “conversion” into Latin, which was decisive for its expression in modern languages, in French as puissance, potentialité, vertu, virtualité, etc., in English as potency, potentiality, virtue, virtuality, etc.

In contemporary, French phenomenology, a debate has arisen concerning whether phenomenology can allow for a certain kind of “theological” consideration. In particular, Jean-Luc Marion argues that the potential of the reduction has not been fully explored and that a full reduction to pure givenness in fact allows one to give an account of the paradoxical experience of the impossible beyond experience, which is described as a phenomenon of revelation and may include a Revelation of God. Marion’s claims have been considered contentious. As I interpret it, the debate plays out between 1) those who also admit that phenomenology can occasion a form of “theological” consideration, but maintain, unlike Marion, that it remains a more existential affirmation of the impossible beyond experience, represented by Jacques Derrida and John Caputo, and 2) those who refuse any role for this impossible beyond experience within phenomenology (and perhaps more generally), and insist that phenomenology be preserved as an essentialist science of the appearances, represented by Dominique Janicaud. I take the positions of Derrida and Caputo, on the one hand, and Janicaud, on the other, to each entail extreme consequences that ought to be avoided—the former resulting in a form of irrationalism and the latter converting phenomenology into a form of pragmatism. Furthermore, I find Marion’s basic claim, that the impossible beyond experience ought to have a role in shaping finite experience, to be worth investigating further. However, Marion concedes too much to the deconstructive position of Derrida and Caputo at the outset, and so I find that the philosophy of Hans-Georg Gadamer provides an opportunity to correct some of the deficiencies in Marion’s position, but also argue to a similar end as he does. I find that Gadamer’s position incorporates an implicit analogical structure between rational experience and the impossible, thereby permitting one to maintain the impossible as impossible, but also affirm a certain possibility for understanding it.

Made available in DSpace on 2016-04-26T20:29:47Z (GMT). No. of bitstreams: 1 Susana Ferreira Falsoni.pdf: 928105 bytes, checksum: 0019f2a8d86e682c8b6a8a259115dc46 (MD5) Previous issue date: 2009-08-21 / The objective of this present work is the analysis of the unconstitutionality of the article 3o, incise VII, of the Law 8009/90, that brings as an exception to the rule of the impossibility of seizing a freehold estate the cases of debts derived from bails given in location contracts, even though the surety complies with the conditions to take advantage of the general rule of the impossibility of seizing, that are: to be an owner of only one property and this property is his own or is his family s residency. In order to clarify it, we will talk about the historical context that the Country was living when the edition not only of the referred Law 8009/90 but also of the Tenant s Law that added the incise VII to the article 3o, specific object of this study, besides approaching themes like right to equality, fundamental rights, collision among fundamental rights, juridical institutions, among others / O objetivo do presente estudo é a análise da inconstitucionalidade do inciso VII, art. 3º , da Lei 8.009/90, que traz, como uma das exceções à regra da impenhorabilidade do bem de família, os casos de dívidas oriundas de fianças prestadas em contratos de locação, ainda que o fiador preencha todas as condições para valer-se da regra geral da impenhorabilidade, quais sejam: ser proprietário de um único imóvel e que este lhe sirva de residência própria ou da família. Para tanto, discorremos sobre o contexto histórico que o País vivenciava, quando das edições não só da referida Lei 8.009/90, como também da Lei de Inquilinato que lhe acrescentou o inciso VII ao artigo 3º, objeto específico deste estudo; além de abordarmos a inconstitucionalidade do dispositivo legal citado à luz dos direitos fundamentais, do princípio da igualdade, da colisão entre direitos fundamentais, das instituições jurídicas, dentre outros. Não obstante a importância do tema, tendo em vista ser a fiança locatícia espécie de contrato amplamente utilizada na vida cotidiana, alguns dos aspectos estudados ainda não foram abordados por nossos tribunais em suas decisões, em especial pelo Supremo Tribunal Federal, o que demonstra a utilidade das questões aqui levantadas, em favor do superior princípio da dignidade da pessoa humana