O presente trabalho buscou uma aproximação com a trajetória-obra de Ivan Illich entre os anos de 1926-1967. Esse recorte temporal obedece um caminho, que optamos por percorrer, para demonstrar uma característica fundamental do autor: sua produção escrita fortemente atrelada às situações concretas da vida. Esse engajamento de Ivan Illich, que produziu durante esses anos que analisamos ao menos dez textos importantes, foi o eixo estrutural da nossa dissertação. Tratamos de três aspectos simultâneos: lugar na cultura científica, sua trajetória e obra. O primeiro aspecto, aparece no primeiro capítulo na forma de uma análise de prefácios, feitos por intelectuais, para os livros do, ou sobre, Ivan Illich. O leitor encontrará elementos que ajudam na identificação da crítica illichiana. O segundo e terceiro aspectos foram analisados conjuntamente, ou seja, não separamos o autor de sua obra. Isso pode ser encontrado no segundo e terceiro capítulo. Trata-se de uma crítica a institucionalização na sua forma da escolarização da sociedade, na qual o pano de fundo desse processo é a Aliança para o Progresso. Mas também, trata da questão da linguagem como uma forma de crítica da modernidade industrial. / The present work sought an approximation with the trajectory-work of Ivan Illich between the years of 1926-1967. This temporal cut follows a path we have chosen to follow, to demonstrate a fundamental characteristic of the author: his written production strongly tied to the concrete situations of life. This engagement of Ivan Illich, who produced during those years that we analyzed at least ten important texts, was the structural axis of our dissertation. We deal with three simultaneous aspects: place in scientific culture, its trajectory and work. The first aspect appears in the first chapter in the form of an analysis of prefaces, made by intellectuals, for the books of, or about, Ivan Illich. The reader will find elements that help in identifying the Illichian critique. The second and third aspects were analyzed together, that is, we did not separate the author from his work. This can be found in the second and third chapters. It is a critique of institutionalization in its form of schooling of society, in which the background of this process is the Alliance for Progress. But it also deals with the question of language as a form of criticism of industrial modernity.

Made available in DSpace on 2016-03-15T19:23:01Z (GMT). No. of bitstreams: 1 Marcus Venicius Pinto de Lima.pdf: 10405357 bytes, checksum: 5e47ffa0638731a1ffd70883aae88f4b (MD5) Previous issue date: 2015-02-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The architect Ivan Britto, whose trajectory and architectural production of this research is the object of study, has a contribution to the subject still little explored. The architect has a very fruitful production in the initial period, but it was being reduced as the deepening of the teaching profession and institutional participation, at IAB-CE and CREA-CE. Nevertheless, some of its projects are very significant in the context of modern architecture in Fortaleza, and the University Residence of the Federal University of Ceará (1966) on the campus of Benfica, is a landmark virtually intact, testimony faithful of the period and its formal and spatial concepts. In its production for several residential projects, many have broken down, and still others are references in local memory, as the Clube de Regatas of Barra do Ceará (1962) and the original version of Placido Castelo Stadium (1973), the Castellan, projected in partnership. Although it has a relevant participation in the setting of Ceará Architecture, Britto is usually not recognized by young professionals, students and society in general. Perhaps of its reserved spirit, perhaps because he prematurely taken in the academic life at the expense of marketing participation, the architect has been relegated to the background when it comes to recognizing the role of architecture pioneers in the state. A goal to be achieved by the survey is revealing its technical and institutional assistance, rescue its importance in the process of implementation of the Modern Architecture in Fortaleza and record its architectural production. / O arquiteto Ivan Britto, cuja trajetória e produção arquitetônica são objeto de estudo dessa pesquisa, tem uma contribuição ao tema ainda muito pouca explorada. O arquiteto possui uma produção muito profícua no período inicial, mas que foi sendo reduzida na medida do seu aprofundamento da carreira docente e na participação institucional, no IAB-CE e no CREA-CE. Apesar disso, alguns de seus projetos são bastante significativos no âmbito da Arquitetura Moderna em Fortaleza, sendo que a Residência Universitária da Universidade Federal do Ceará (1966) no Campus do Benfica é um marco praticamente intacto, testemunho fiel do período e de suas concepções formais e espaciais. Na sua produção há vários projetos residenciais, vários deles já demolidos, e outros ainda são referências na memória local, como o Clube de Regatas da Barra do Ceará (1962) e a versão original do Estádio Plácido Castelo (1973), o Castelão, projetado em equipe. Muito embora tenha uma participação relevante no cenário da Arquitetura cearense, Britto normalmente não é reconhecido pelos jovens profissionais, estudantes e a sociedade em geral. Talvez pelo seu espírito reservado, talvez por ter se recolhido prematuramente a vida acadêmica em detrimento de uma participação mercadológica, o arquiteto tem sido relegado a um segundo plano quando se trata de reconhecer o protagonismo dos pioneiros da Arquitetura no Estado. Uma meta a ser atingida pela pesquisa é revelar a sua contribuição técnica e institucional, resgatar a sua importância no processo da implantação da Arquitetura Moderna em Fortaleza e registrar a sua produção arquitetônica.

Romanen Oblomov (1859) av Ivan Gontjarov handlar om den lättjefulle adelsmannen Oblomovs liv. Boken har varit föremål för utbredd forskning tidigare men någon undersökning som lagt fokus på Oblomovs betjänt Sachar mot bakgrund av den slöa livsstil som boken skildrar har inte gått att finna. Syftet med denna uppsats är därför att genom noggrann läsning av framförallt de episoder där Sachar är närvarande lära känna hans karaktär och funktion i boken och på så vis fylla ett litet tomrum i forskningen om Oblomov. Bortsett från deras olika befattningar är Sachar i stora drag mycket lik sin herre Oblomov och hans bifigur fungerar som någon som belyser huvudkaraktärens egenskaper. Samtidigt förstärker Sachars gestalt både närvaron av slöhet i boken och budskapet om en lättjefull livsstil som något negativt. / Oblomov (1859) by Ivan Goncharov deals with the life of the lazy nobleman Oblomov. The novel has been the object of extensive research before, but no study has been found with Zakhar, Oblomov’s servant, as its focus. Therefore, this essay puts Zakhar, including the indolent lifestyle portrayed in the book, in the centre of attention. By close reading of the text the aim has been to investigate his character and function for the narrative, thus reducing a small gap in the research of Oblomov. Although different in position, Zakhar is much alike the lethargic Oblomov with his purpose in the novel being to highlight his master’s features. Also, Zakhar’s presence reinforces the occurrence of idleness in the novel as well as the message of a slothful lifestyle as being something negative.

<p>Romanen <em>Oblomov</em> (1859) av Ivan Gontjarov handlar om den lättjefulle adelsmannen Oblomovs liv. Boken har varit föremål för utbredd forskning tidigare men någon undersökning som lagt fokus på Oblomovs betjänt Sachar mot bakgrund av den slöa livsstil som boken skildrar har inte gått att finna. Syftet med denna uppsats är därför att genom noggrann läsning av framförallt de episoder där Sachar är närvarande lära känna hans karaktär och funktion i boken och på så vis fylla ett litet tomrum i forskningen om <em>Oblomov.</em></p><p>Bortsett från deras olika befattningar är Sachar i stora drag mycket lik sin herre Oblomov och hans bifigur fungerar som någon som belyser huvudkaraktärens egenskaper. Samtidigt förstärker Sachars gestalt både närvaron av slöhet i boken och budskapet om en lättjefull livsstil som något negativt.</p> / <p><em>Oblomov</em> (1859) by Ivan Goncharov deals with the life of the lazy nobleman Oblomov. The novel has been the object of extensive research before, but no study has been found with Zakhar, Oblomov’s servant, as its focus. Therefore, this essay puts Zakhar, including the indolent lifestyle portrayed in the book, in the centre of attention. By close reading of the text the aim has been to investigate his character and function for the narrative, thus reducing a small gap in the research of<em> Oblomov.</em></p><p>Although different in position, Zakhar is much alike the lethargic Oblomov with his purpose in the novel being to highlight his master’s features. Also, Zakhar’s presence reinforces the occurrence of idleness in the novel as well as the message of a slothful lifestyle as being something negative.</p>

No description available.

L’objet de cette thèse est d’exposer l’influence que le contact prolongé d’Ivan Tourguéniev avec la culture étrangère a pu produire sur l’évolution de son identité culturelle.Enraciné dans la Russie du début du XIXe siècle où il naquit et passa son enfance, Tourguéniev bénéficia d’une éducation « dans l’air du temps », c’est-à-dire réservant à l’élément étranger une place prépondérante. Au moment où l’identité culturelle initiale de Tourguéniev était en formation, la société russe en était, elle aussi, à ses premiers balbutiements vers la découverte de sa propre authenticité nationale. Plus tard, l’écrivain ressentira avec force le décalage existant entre sa propre identité multiculturelle et les désirs d’affirmation de « russité » de sa patrie d’origine. Sous l’impulsion des nombreux événements politiques et sociaux en Russie et en Europe au XIXe siècle, Tourguéniev fut  amené à changer fréquemment de pays, optant en définitive pour un établissement complet de domicile en Europe, d’abord en Allemagne et ensuite en France, ce qui ne fit qu’exacerber, au fil du temps, la pluralité de son identité culturelle. Le propos de cette thèse est de suivre, pas à pas et au travers de ses écrits et ses œuvres, les modifications que subit l'identité culturelle d'Ivan Tourgueniev à différentes étapes de vie, à travers l’évolution de la figure de l’Autre et les fluctuations du sentiment d’appartenance éprouvé par l'écrivain. / The purpose of this dissertation is to define the influence exerted by prolonged contacts with foreign cultures on Ivan Turgenev’s cultural identity. Turgenev was born and raised in early 19th century Russia, enjoying an education that was in line with the spirit of the time, where foreign culture and language held great importance. As Ivan Turgenev was building his initial cultural identity, Russian society as a whole had only just started gaining consciousness of its own national genuineness. Later in his life, the writer realized the extent of the gap between his own multicultural identity and his homeland’s wish to affirm its “Russianness”. As a consequence of the numerous political and social events that took place in 19th century Europe and Russia, Turgenev travelled extensively and finally chose to settle in Europe, first in Germany, then in France. The plurality of his cultural identity was profoundly deepened as a result.Throughout this dissertation and based on his writings, the variations in Turgenev’s image of the Others and in his Sense of Belonging, shall allow us to closely follow the changes in the writer’s cultural identity, step by step and at various stages in his life.

O presente trabalho buscou uma aproximação com a trajetória-obra de Ivan Illich entre os anos de 1926-1967. Esse recorte temporal obedece um caminho, que optamos por percorrer, para demonstrar uma característica fundamental do autor: sua produção escrita fortemente atrelada às situações concretas da vida. Esse engajamento de Ivan Illich, que produziu durante esses anos que analisamos ao menos dez textos importantes, foi o eixo estrutural da nossa dissertação. Tratamos de três aspectos simultâneos: lugar na cultura científica, sua trajetória e obra. O primeiro aspecto, aparece no primeiro capítulo na forma de uma análise de prefácios, feitos por intelectuais, para os livros do, ou sobre, Ivan Illich. O leitor encontrará elementos que ajudam na identificação da crítica illichiana. O segundo e terceiro aspectos foram analisados conjuntamente, ou seja, não separamos o autor de sua obra. Isso pode ser encontrado no segundo e terceiro capítulo. Trata-se de uma crítica a institucionalização na sua forma da escolarização da sociedade, na qual o pano de fundo desse processo é a Aliança para o Progresso. Mas também, trata da questão da linguagem como uma forma de crítica da modernidade industrial. / The present work sought an approximation with the trajectory-work of Ivan Illich between the years of 1926-1967. This temporal cut follows a path we have chosen to follow, to demonstrate a fundamental characteristic of the author: his written production strongly tied to the concrete situations of life. This engagement of Ivan Illich, who produced during those years that we analyzed at least ten important texts, was the structural axis of our dissertation. We deal with three simultaneous aspects: place in scientific culture, its trajectory and work. The first aspect appears in the first chapter in the form of an analysis of prefaces, made by intellectuals, for the books of, or about, Ivan Illich. The reader will find elements that help in identifying the Illichian critique. The second and third aspects were analyzed together, that is, we did not separate the author from his work. This can be found in the second and third chapters. It is a critique of institutionalization in its form of schooling of society, in which the background of this process is the Alliance for Progress. But it also deals with the question of language as a form of criticism of industrial modernity.

En plus d’un siècle, la philosophie de la technique a pris un essor considérable. De nombreuses critiques sont venues récemment enrichir notre vision du progrès technologique. Cependant, malgré une grande effervescence intellectuelle autour de ces sujets, l’impact des réflexions philosophiques sur les nouvelles technologies est-il réel ? Cette thèse utilise la notion de convivialité, créée par Ivan Illich (1926-2002), pour interroger les nouvelles technologies. L’intérêt de cette recherche repose sur le présupposé selon lequel les technologies modernes, et les systèmes techniques qu’elles constituent, instancient des valeurs morales souvent de manière implicite. C’est pourquoi, tout au long de ce travail, nous défendons l’idée qu’il est erroné de considérer les nouvelles technologies comme de simples outils moralement neutres. La thèse s’articule autour des trois axes constitutifs du concept de convivialité : la survie, l’équité et l’autonomie créatrice. Nous montrons dans un premier temps en quoi les nouvelles technologies représentent plus un danger pour la survie qu’une opportunité. Dans un second temps, nous découvrons qu’elles menacent également le principe d’équité. Dans un troisième temps, nous démontrons que l’orientation actuelle du développement technologique s’inscrit bien souvent aux antipodes de l’autonomie créatrice. Néanmoins, cette tendance ne paraît pas irréversible par nature. L’espoir d’une réorientation, nous permet de conclure sur l’idée qu’une prise en compte effective de la convivialité dans la conception des nouvelles technologies passe vraisemblablement par l’institutionnalisation du concept, au risque de l’exposer à des effets de contre-productivité. / For more than a century, philosophy of technology has grown significatively. Many critics have enriched our vision of technological progress. However, despite a contemporary intellectual effervescence on these subjects, is the impact of these philosophical reflections on new technologies real? This thesis uses the concept of conviviality, created by Ivan Illich (1926-2002) in the 1970s, to question new technologies, and specifically those often mentioned under the NBIC acronym (nanotechnology, biotechnology, information technology and cognitive science). The purpose of this research work is based on the philosophical premise that modern technologies, and the technical systems they constitute, instantiate moral values. Therefore, throughout this work, we defend the idea that it is wrong to consider new technologies as mere morally neutral tools. The thesis is articulated around the three axes constituting the concept of conviviality: survival, justice and self-defined work. We first show how new technologies are more a danger to survival than an opportunity. In a second step, we discover they also threaten the principle of justice as Illich conceives it. Thirdly, we show that the current direction of technological development is often at odds with self-defined work. However, this trend does not seem irreversible per se. The hope of reorientation allows us to conclude on the idea that an effective and sustainable consideration of conviviality in the design of new technologies would passes by the institutionalization of the concept, at the risk of exposing it to the effects of counterproductivity.

This essay studies the use of history concerning the Swedish nineteenth century painter Ivan Aguéli. It places itself in the field of didactics of history where, in this case, the use of history on a societal scale is being analyzed. With the theoretic typology of Klas-Göran Karlsson both the interests, needs and functions of the use of Aguéli can be illuminated and compared. The groups of people that use the memory of Aguéli in the Swedish culture of history are very broad. To sort these out, the essay borrows the theoretical framework stemmed from Jörn Rüsen and applied by Anders Dybelius. Using this analytical typology of the educational, popular, and commemorative spheres, the journey of Aguéli’s memory in Sweden between 1920 and 2020 can be illuminated and understood. The empirical material is very broad and includes, among others, novels, exhibitions, a rock band, a museum, biographies, and newspapers. Regarding the theoretical typologies in the essay, a deductive method is used to sort these artifacts in their relation to their abode. Ivan Aguéli was introduced in the Swedish historical culture after his death. He is remembered mainly as one of the great Swedish modernist landscape-painters, and his extravagant personality and bohemian lifestyle has made him an object of both reverence and wonderment. But why has this person been used and remembered in this way? Ivan Aguéli has often been described as a mystery. This is the one main quality that has followed his memory through the millennia, disregarding which group has been using it. This study points out that the refusal to un-mystify Aguéli has kept his memory in the style of a “bottomless well”, where different groups and individuals has been able to pick up quality’s that answer to their own particular interests and needs. This “bottomless well” contains a flurry of positive characteristics and has something that is appealing for everyone: what’s not to like? Ivan Aguéli is more popular today than ever before. His legacy as an artist is getting challenged when much of his metaphysical, political, and philosophical legacy becomes accessible through translation from French and Arabic into Swedish. Aguéli’s theories of the correlation between religious truths and the political organization of society answers to an increased need for both political and spiritual renewal. This fact makes this essay, and the use of Ivan Aguéli’s memory, an example of how history is being produced and used as a tool to aid man in her aspirations. / I denna uppsats studeras historiebruket kring den svenska sekelskiftskonstnären Ivan Aguéli. Studien har sin hemvist i det historiedidaktiska fältet där, i detta fall, ett samhälleligt bruk av historia analyseras. Med Klas-Göran Karlssons analytiska typologi som bejakar de olika mänskliga intressen, behov och funktioner som historiebruket fyller, kan användningen av Aguélis minne i den svenska historiekulturen avslöjas och analyseras. Bruket av Aguélis minne i den svenska historiekulturen är väldigt brett och kräver något typ av sorteringsverktyg för att begripliggöras. Uppsatsen lånar därför Jörn Rüsens teoretiska ramverk, vilket applicerats i den svenska historiebruksforskningen av Anders Dybelius. Genom att använda de analytiska kategorierna utbildningskultur, populärkultur och minneskultur kan vandringen av Aguélis minne i Sverige mellan 1920 och 2020 belysas och förstås. Det empiriska materialet är väldigt brett och består av bland annat facklitteratur, skönlitteratur, konstutställningar, ett rockband, ett museum och tidningsrecensioner. I ljuset av uppsatsens teoretiska ramverk används en deduktiv metod för att sortera dessa artefakter utifrån deras förhållande till de tre kultursfärerna. Ivan Aguéli blev introducerad i den svenska historiekulturen först efter sin död. Han är ihågkommen som främst en av de stora modernistiska landskapsmålarna, och hans extravaganta personlighet och bohemiska livsöde har kommit att prägla särarten i hans minne. Men varför har han blivit ihågkommen på just detta sätt? Aguéli har ofta beskrivit som ett mysterium. Detta är det enskilda karaktärsdraget som följt hans minne genom århundradet, oavsett vilken grupp som har brukat det. Uppsatsens resultat pekar på att en ovilja att avmystifiera Aguéli har gjort hans minne till något av en ”bottenlös brunn” där olika grupper och personer har kunnat plocka upp värden som svarat på deras specifika intressen och behov. Ivan Aguéli är mer populär idag än någonsin tidigare. Hans arv som i första hans konstnär har kommit att utmanas då mycket av hans metafysiska, politiska och filosofiska tänkande tillgängliggjorts genom översättningar från franska och arabiska till svenska. Aguélis teorier kring korrelationen mellan religiösa sanningar och den politiska organiseringen av samhället har svarat på ett ökat behov av både andlig och politisk förnyelse. Detta faktum gör denna uppsats, och bruket av Aguélis minne i den svenska historiekulturen, till ett exempel på hur historia produceras och brukas av människor för att svara på deras behov och intressen.

No description available.