Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-04-08T18:28:22Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_ErikaBandeira_BC.pdf: 4674556 bytes, checksum: 8b1e7b5b50ac68adb2d76bfc2c92bfbe (MD5) / Made available in DSpace on 2016-04-08T18:28:22Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_ErikaBandeira_BC.pdf: 4674556 bytes, checksum: 8b1e7b5b50ac68adb2d76bfc2c92bfbe (MD5) Previous issue date: 2015-02-26 / CNPq / Esta dissertação propõe a investigação comparativa das produções de Manoel e Martha Barros através da análise das obras escolhidas para compor o corpus da pesquisa: Poeminha em língua de brincar; Cantigas por um passarinho à toa e Memórias inventadas para crianças. A partir da análise, buscamos refletir acerca de questões como: a concepção de infância; renovação de perspectivas; primitivismo; efetividade da ilustração de obras poéticas e a influência editorial na produção de livros infanto-juvenis. Além disso, procuramos mostrar a necessidade de criação de novos olhares dentro da Crítica Literária, bem como a inserção e inversão de valores. Com o intuito de conquistar profunda compreensão da poética e da linguagem de Manoel de Barros e também investigar a expressividade da poética dentro das obras de Martha Barros, primeiramente contextualizamos a pesquisa dentro do universo da criança. O primeiro capítulo é dedicado a refletir sobre o papel da criança na família e na sociedade ao longo dos séculos, discutindo, ao mesmo tempo, o desenvolvimento da literatura infanto-juvenil. Logo após, procuramos apontar os traços infantis nas obras de Manoel e de Martha Barros. Posteriormente a toda esta contextualização, inicia a análise do corpus. Nossa intenção é de contribuir na área dos estudos interartísticos e o enriquecimento da fortuna crítica de Manoel e Martha Barros, pai e filha. / This dissertation proposes a comparative research of production of Manuel and Martha Barros by analyzing the works chosen to compose the corpus of our research: Poeminha em língua de brincar; Cantigas por um passarinho à toa e Memórias inventadas para crianças. From this analysis we reflect on issues such as: the conception of childhood; renewal prospects; primitivism; effectiveness illustration of poetic works and the editorial influence in the production of children's books. Also, we tried to show the need to create new perspective of the Literary Criticism and the insertion and inversion of values. In order to gain deep understanding of poetic and Manoel de Barros language and to investigate the expression of poetic in the works of Martha Barros, first contextualize the research within the child's universe. The first chapter is dedicated to reflect on the role of the child in the family and in society over the centuries, arguing at the same time, the development of children's literature. Soon after, we tried to point out the infantile traits in the works of Manuel and Martha Barros. Later all this contextualization begins analysis of the corpus. Our intention is to contribute in the area of interartísticos studies and enriching the critical fortune of Manuel and Martha Barros, father and daughter.

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Esta dissertação estuda os processos de formação e produção de bairros exclusivos para a população de alta renda, que se concentram no setor sul de Bauru-SP. O recorte espacial é definido pelos cinco loteamentos Jardins Estoril, com área aproximada de 110 hectares, de propriedade de uma única família. A aprovação do primeiro loteamento estritamente residencial unifamiliar, o Jardim Estoril 1, em 1957, e a implantação do último, o Residencial Jardim Estoril 5, em 2008, definem o recorte temporal. Através da análise da inserção da família Martha em Bauru, da atuação de suas empresas no mercado imobiliário, dos processos de aprovação, implantação e comercialização dos loteamentos e dos investimentos públicos no setor sul, mostra-se como a concepção de loteamento estritamente residencial unifamiliar se mantém, ao mesmo tempo em que se adéqua às demandas do setor imobiliário, ao longo de cinquenta anos. / This essay studies the formation and produce of exclusive neighborhoods to highincome population that is concentraded in the southern sector of Bauru-SP. The spacial area is defined by the five allotments Estoril yard, with an area of 110 hectares approximately, owned by a single family. The approval of the first strictly single-family residential allotment, the Estoril 1 yard, in 1957, and the implantation of the last one, the Residential Estoril 5 yard, in 2008, set the temporal cut. Through the analysis of Marthas family involvement in Bauru, of the approval processes, implantation and marketing of housing developments and public investments in the southern sector, shows itself as the design of strictly single-family residential subdivision remains, at the same time that fits the demands of the real estate sector over fifty years.

La présente thèse propose une réflexion sur les valeurs du travail à partir de l’œuvre de Martha C. Nussbaum, de sa conception des capacités, de la vie bonne et de la justice. Nous y définissions la valeur du travail en fonction de ses effets sur les capacités du travailleur et des autres partie-prenantes. Penser les valeurs du travail à partir des capacités relationnelles permet de rendre compte de dimensions essentielles que le travail permet de développer et que chaque être humain valorise : le respect de soi, la qualité des relations inter-personnelles ou les interactions positives avec le milieu naturel et culturel, de façon à préserver le bien vivre aujourd’hui et demain. Nous éclairons ainsi les enjeux et des finalités du bien vivre au travail, en s’appuyant sur une anthropologie et une éthique relationnelles inspirées d’Aristote et de Kant. Suivant cette approche, le travail s’inscrit aussi dans un cadre institutionnel qui vise à garantir à tous l’accès aux capacités, et en particulier à ceux qui en sont exclus.En contrepoint des approches purement instrumentales de la valeur du travail, d’inspiration utilitariste et néoclassique, cette conception des valeurs du travail est centrée ses finalités, en termes de fonctionnements humains et de vie bonne, à une échelle individuelle et collective.La portée pratique de cette recherche consiste à mettre en évidence les tensions dont le travail contemporain est l’objet et à proposer une démarche pour évaluer, de façon plus juste, les capacités des êtres humains qui y sont engagées. Elle ouvre ainsi la voie à une réflexion pour des acteurs économiques – équipes, entrepreneurs, investisseurs - qui souhaiteraient s’inspirer du cadre proposé pour faire évoluer leurs pratiques et leurs modèles économiques, en promouvant une économie qui serait davantage attentive à la qualité relationnelle entre les parties prenantes. / This thesis proposes a reflection on the values of work based on the work of Martha C. Nussbaum, her conception of capabilities, good life and justice. We defined the value of work in terms of its effects on the abilities of the worker and other stakeholders. Defining work values based on relational capacities makes it possible to account for essential dimensions that work allows to develop and that each human being values: self-respect, the quality of interpersonal relations or positive interactions with the natural and cultural environment, so as to preserve the good life today and tomorrow. In this way, we shed light on the challenges and aims of good working life, based on an anthropology and relational ethics inspired by Aristotle and Kant. Following this approach, the work is also part of an institutional framework that aims to guarantee access to capacities for all, and in particular for those excluded from them.As a counterpoint to purely instrumental approaches to the value of work, utilitarian and neoclassical in inspiration, this conception of work values is centred on its aims, in terms of human functioning and good life, on an individual and collective scale.The practical scope of this research consists in highlighting the tensions to which contemporary work is subjected and in proposing an approach to evaluate, in a more accurate way, the capacities of the human beings who are committed to it. It thus opens the way to reflection for economic players - teams, entrepreneurs, investors - who would like to draw inspiration from the proposed framework to change their business practices and models, by promoting an economy that would be more attentive to the quality of relationships between stakeholders.

The protagonist Martha in Doris Lessing’s Martha Quest is born to white British settler parents and grows up in a British colony in southern Africa in the 1930s. Although officially the coloniser rather than the colonised, Martha tries to reject this role mentally, verbally, and physically. This essay aims to show that a postcolonial reading of Martha in relation to the colonial context helps in understanding her double consciousness and, more specifically, her inability to find a real or lasting sense of home. Using Homi Bhabha’s concept of unhomeliness, the essay argues that Martha does not truly feel at home anywhere, because the “unhomely” always disturbs the “homely.” Through close reading of the text, it shows how Martha tries to find a sense of home in four areas of her life: her physical home, nature, her body, and her mind. This essay finds that despite Martha’s efforts in moving from her family home to rented accommodation, from the bush to the city, from girlhood to womanhood, and from her individual thoughts to the solidarity of others, she still does not feel at home anywhere. Whenever she starts to feel comfortable in a place or situation, unhomely moments, such as reminders of her nationality, race, or class, always disturb the homely feelings of belonging. Ultimately, Martha cannot escape her unhomeliness. / Huvudpersonen Martha i Doris Lessings Martha Quest är dotter till vita brittiska bosättare och växer upp i en brittisk koloni i södra Afrika på 1930-talet. Trots att hon formellt sett är kolonisatören snarare än den koloniserade, försöker Martha att avvisa denna roll mentalt, verbalt och fysiskt. Denna uppsats syftar till att visa att en postkolonial tolkning av Martha i förhållande till det koloniala sammanhanget bidrar till en förståelse av hennes dubbla medvetande och mer specifikt hennes oförmåga att hitta en verklig, eller bestående, känsla av hemma. Med hjälp av Homi Bhabhas koncept gällande o-hemlikhet argumenterar uppsatsen för att Martha inte känner sig riktigt hemma någonstans, eftersom det ”o-hemlika” alltid stör det ”hemlika.” Genom en noggrann läsning av texten visar den hur Martha försöker hitta känslan av ett hem inom fyra områden av sitt liv: sitt fysiska hem, naturen, sin kropp och sitt sinne. Denna uppsats konstaterar att trots Marthas ansträngningar att flytta från sitt familjehem till ett hyresrum, från land till stad, från ung flicka till kvinna och från sina individuella tankar till solidaritet med andra, känner hon sig fortfarande inte hemma någonstans. När hon börjar känna sig bekväm på ett ställe eller i ett läge, stör o-hemlika ögonblick i form av påminnelser om hennes nationalitet, ras eller klass alltid hennes hemlika känslor av tillhörighet. I slutändan kan Martha inte undgå sin o-hemlikhet.

Esta dissertação estuda os processos de formação e produção de bairros exclusivos para a população de alta renda, que se concentram no setor sul de Bauru-SP. O recorte espacial é definido pelos cinco loteamentos Jardins Estoril, com área aproximada de 110 hectares, de propriedade de uma única família. A aprovação do primeiro loteamento estritamente residencial unifamiliar, o Jardim Estoril 1, em 1957, e a implantação do último, o Residencial Jardim Estoril 5, em 2008, definem o recorte temporal. Através da análise da inserção da família Martha em Bauru, da atuação de suas empresas no mercado imobiliário, dos processos de aprovação, implantação e comercialização dos loteamentos e dos investimentos públicos no setor sul, mostra-se como a concepção de loteamento estritamente residencial unifamiliar se mantém, ao mesmo tempo em que se adéqua às demandas do setor imobiliário, ao longo de cinquenta anos. / This essay studies the formation and produce of exclusive neighborhoods to highincome population that is concentraded in the southern sector of Bauru-SP. The spacial area is defined by the five allotments Estoril yard, with an area of 110 hectares approximately, owned by a single family. The approval of the first strictly single-family residential allotment, the Estoril 1 yard, in 1957, and the implantation of the last one, the Residential Estoril 5 yard, in 2008, set the temporal cut. Through the analysis of Marthas family involvement in Bauru, of the approval processes, implantation and marketing of housing developments and public investments in the southern sector, shows itself as the design of strictly single-family residential subdivision remains, at the same time that fits the demands of the real estate sector over fifty years.

Orientador: Renato Ferracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T18:20:46Z (GMT). No. of bitstreams: 1 Peter_CarolineSilveira_M.pdf: 1050767 bytes, checksum: 65f53ab53b6563fb4924d45b8a44143d (MD5) Previous issue date: 2009 / Resumo: A presente dissertação visa a contribuir para a discussão acerca dos procedimentos técnicos para a formação do ator-bailarino. Para tanto, estuda duas propostas formativas de corpo-em-arte, Dança Moderna/Martha Graham e o método de trabalho desenvolvido pelo Lume - Núcleo de Pesquisas Interdisciplinares de Teatro da Unicamp. Também identifica e descreve os princípios norteadores destas duas práticas, correlacionando-os para, assim, analisar as possibilidades de semelhanças existentes entre os mesmos. A partir de experiência prática com ambas as técnicas, especulou-se que pudessem existir princípios comuns entre ambas e relações entre os trabalhos técnicos desenvolvidos, apesar dos resultados cênicos serem diferenciados, não se constituindo como objetos de interpretação neste estudo. Desse modo, foi analisada a possibilidade de diálogo existente entre alguns princípios que compõem o fazer prático dessas propostas, tomando como ponto de partida o trabalho de campo realizado com Carlos Simioni, fundador do Lume, e com Nair Moura, professora de dança moderna e discípula de Cecy Frank / Abstract: The present study aims at contributing to the discussion concerning the technical procedures for the formation of the actor-dancer. In order to do that, it analyzes two formative proposals of body-in-art, Modern Dance/Martha Graham and the method of work developed by LUME - Nucleus of Interdisciplinary Research on Theater from Unicamp. It also identifies and describes the principles of these two practices, correlating them for, thus, analyzing the possibilities of similarities between them. From the practical experience with both techniques, it was speculated that there could exist common principles between both and relations between the technical works developed, although the scenic results are different and do not constitute an object of interpretation in this study. This way, it was analyzed the possibility of dialogue between some principles that compose the practical aspect of these proposals, having as a starting point the field work carried out along with Carlos Simioni, founder of LUME, and with Nair Moura, teacher of modern dance and Cecy Frank's disciple / Mestrado / Artes / Mestre em Artes

My dissertation examines mass movement and dancing choruses as forms that proliferated across national, political, and artistic boundaries during the interwar period. Bringing together diverse professional and amateur dance practices such as German movement choirs, American and Soviet pageantry, Busby Berkeley films, and early Martha Graham, I analyze how concepts of unity, precision, and futurity operated within the shared mass movement aesthetics but divergent politics of the United States, Germany, and Soviet Russia. While these forms have been examined by dance scholars as individual phenomena or in their national settings, there has been no full-length comparative study that encompasses this range of forms of dance and national and political ideologies. I argue that form does not predetermine a politics; rather, forms gain political significance through use and interpretation by artists and spectators with political and ideological perspectives—sometimes overt, sometimes implicit. Furthermore, the relationship among the individuals within a group and whether and how they relate to a leader is indicative of how the group participates in politics. I examine the development of German movement choirs and their association with political movements in Weimar and Nazi Germany; I pay special attention to the leftist movement choir activity of Martin Gleisner and Jenny Gertz, figures not well-known in English-language scholarship. I compare Soviet mass spectacles and American leftist dance, both of which were influenced by the Pageantry Movement, and argue that the artists’ political relation to the state impacted what kinds of futurity they could imagine. To argue that the precision chorus line was a site that produced and contested ideals of American womanhood, I bring together the Radio City Rockettes, the chorus in the all-Black film Harlem is Heaven (1932), and Busby Berkeley’s Dames (1934). Finally, I analyze Martha Graham’s all-female 1930s company alongside her political work Chronicle (1936) to discover connections between the company’s social visions and how the choreographed work implicated spectators in a collective future. My project contributes to the dance historical field by bringing together a broad range of artistic and cultural phenomena that are more often found within their national or genre boundaries. By connecting these sites of inquiry through archival research and analysis of textual and visual materials, I show that the political identity of a mass or chorus develops from the particular way that the individuals within the group relate to one another, to any leader present or imagined, and to the constituted outside of the group. In making these arguments, I seek to make dance history part of a larger social history of aesthetics and politics.

Las artes en la educación tienen un rol fundamental en el desarrollo integral de las personas. La educación artística promueve en las y los estudiantes la cultivación de la imaginación, las emociones y la reflexión crítica para examinar sus propias concepciones y el mundo que los rodean, así como interactuar con interlocutores de diversas procedencias y distintas ideas. En el Perú, a pesar de los esfuerzos de política social por promoverlo, persiste una perspectiva de atención y evaluación educativas en términos de su contribución al crecimiento económico. Desde el enfoque de capacidades, la educación es una capacidad fundamental, en pos de formar competencias para pensar crítica y creativamente para el ejercicio ciudadano democrático. Utilizando una metodología cualitativa, esta tesis recoge la experiencia de la Escuela Puckllay y su propuesta del cuerpo en movimiento para explorar su influencia en el desarrollo de las tres capacidades para la ciudadanía a través de la educación propuestas por Martha Nussbaum — pensamiento crítico, ciudadanía global, e imaginación narrativa— en sus estudiantes. Los hallazgos permiten concluir que la continua participación de las y los estudiantes en las dinámicas del cuerpo en movimiento de Puckllay aportan a la expansión de sus capacidades para la ciudadanía en cuatro puntos: la cultivación de competencias clave para el ejercicio de la ciudadanía como son la empatía, la solidaridad y la compasión; el control de emociones que desembocan directamente del ejercicio artístico como son la vergüenza, la seguridad, la frustración, el miedo y la satisfacción; la formación de una voz propia a través del valor intrínseco que se le otorgaron los estudiantes a su participación en la escuela como vía clave de expresión; y el ejercicio de la reflexión crítica como un proceso de cuestionamiento de las propias ideas y creencias, en relación con la exclusión, la discriminación y las disparidades de género. / The arts in education play a fundamental role in the integral development of people. Arts education fosters the cultivation of imagination, emotions, and critical reflection in students to examine their own conceptions and the world that surrounds them, as well as interact with interlocutors from diverse backgrounds and different ideas. In Peru, despite social policy efforts to promote it, a perspective of educational attention and evaluation persists in terms of its contribution to economic growth. From the capabilities approach, education is a fundamental capability, which allows developing abilities to think critically and creatively for democratic citizenship exercise. Using a qualitative methodology, this thesis gathers the experience of the Escuela Puckllay and its proposal of the body in movement to explore its influence on the development of the three capabilities for citizenship through education proposed by Martha Nussbaum —critical thinking, global citizenship, and narrative imagination— in its students. The findings conclude that the continuous participation of students in the dynamics of Puckllay's body in movement contributes to the expansion of their capabilities for citizenship in four points: the cultivation of key competencies for the exercise of citizenship, such as empathy, solidarity and compassion; the control of emotions that flow directly from the artistic exercise such as shame, safety, frustration, fear and satisfaction; the development of their own voice through the intrinsic value that students gave to their participation in school as a key means of expression; and the exercise of critical reflection as a process of questioning one's own ideas and beliefs, related to exclusion, discrimination and gender disparities.

Thesis (MPhil (Philosophy))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This study finds its roots in the ancient quarrel, as mentioned by Plato 400 BC, between poets (artists) and philosophers on the nature of our ethical existence. The ancient philosophers participating in the ancient quarrel, such as Plato, had a metaphysical understanding of our existence and they believed that we should communicate about our ethical existence through a style which acknowledges the transcendental nature of our human existence. The styles and language used by the philosophers of the ancient quarrel were therefore often very abstract, and mostly concerned with the rationality of human reasoning. The ancient poets participating in this quarrel, however, did not share the metaphysical worldview of their philosophical rivals. They denied the transcendental nature of our existence, and argued that our ethical existence should be portrayed and communicated through a style which acknowledges the fact that we are humans with a concrete existence. The poets of the ancient quarrel also promoted a style which acknowledges humans as beings with both rational and emotional faculties. It is for this reason that we find today in literature concerned with moral matters, both the abstract style of moral philosophy which is concerned with the rational aspects of our existence, and the concrete style of fictional literature which is concerned with the emotive aspects of our existence. The quarrel on how to communicate about the nature of our ethical existence is, however, an ongoing debate which is still prevalent in our modern times. This study turns to the modern argument of Martha Nussbaum on how to communicate about the nature of our ethical existence. Nussbaum argues that the abstract style of philosophical texts on morality acknowledges the abstract and rational aspects of our human nature and existence, but that it often fails to fully acknowledge the fact that we are concrete human beings for whom emotions play an integral part in our ethical existence. She therefore believes that moral philosophy should be presented in combination with fictional literature in order to give a true and complete picture of our ethical existence. This study thus enters into a critical dialogue with Nussbaum on her proposal to combine fictional literature with moral philosophy. Accordingly, this study focuses on three specific aspects of our ethical existence, which Nussbaum argues, are acknowledged through fictional literature such as novels, but not through the typical style of abstract moral philosophy. They are; 1) that human values are plural and often incommensurable; 2) that the particulars of situations play an important role in ethical deliberation; and 3) that human emotions and the imagination form a big part of our ethical existence. The fundamental aim of this study is thus to answer the question whether the style of fictional literature actually acknowledges the three above mentioned aspects of our ethical existence. The novel which is used to determine this is Alan Paton’s Cry the Beloved Country. Nussbaum classifies the three above mentioned aspects of our ethical existence as 1) The Non- Commensurability and Plurality of Values; 2) Priority of the Particular; and 3) Ethical Value of the Emotions and Imagination. These three aspects are, however, derived from Aristotle’s ethics and they form, as Nussbaum has argued, the bases of the Aristotelian ethical position – a position from which practical knowledge can be obtained. The aim of this study is therefore not only to determine whether certain fictional literature acknowledges the three fundamental aspects of the Aristotelian ethical position, but it also aims to answer the question whether the Aristotelian ethical position (and therefore practical wisdom) can be obtained through the reading of fictional literature such as novels. The study concludes that some fictional literature, such as the novel Cry, the Beloved Country, does in fact adequately portray the three fundamental features of the Aristotelian ethical position, and that Nussbaum’s proposal should receive serious consideration, since the inclusion of some fictional literature into moral philosophy my lead to deeper ethical understanding from which practical wisdom can be obtained. / AFRIKAANSE OPSOMMING: Hierdie studie vind sy oorsprong in die eeue oue stryd, soos al reeds geïdentifiseer deur Plato 400 vC, tussen digters (kunstenaars) en filosowe oor die aard van ons etiese bestaan. Die antieke filosowe wat deelgeneem het aan hierdie eeue oue vete, soos byvoorbeeld Plato, het ‘n metafisiese verstaan van ons bestaan gehad, en het daarom geglo dat ons oor ons etiese bestaan moet kommunikeer deur middel van style wat erkenning gee aan die transendentale aard van ons menslike bestaan. Die style en taal wat deur die filosowe van hierdie eeue oue vete gebruik is, was dus dikwels baie abstrak en uiters bemoeid met die mens se rasionele denkvermoëns. Die antieke digters wat deelgeneem het aan hierdie vete het egter nie, soos die filosowe, ‘n metafisiese wêreldbeskouing van ons bestaan gehad nie. Hulle het die transendente aard van ons bestaan ontken, en het daarom daarop aangedring dat ons etiese bestaan voorgestel en oor gekommunikeer moet word deur style wat erkenning gee aan die feit dat ons mense is met ‘n konkrete bestaan. Hulle het egter ook aangedring op ‘n styl wat erkenning gee dat mense beide rasionele en emosionele wesens is. Dit is weens hierdie rede dat ons vandag, in literatuur aangaande morele kwessies, die abstrakte en meer rasioneel geöriënteerde styl van morele filosofie, sowel as die konkrete en meer emosioneel geöriënteerde styl van fiktiewe literatuur aantref. Daar is egter vandag steeds nie klaarheid oor hoe daar oor ons etiese bestaan gekommunikeer moet word nie, en onenigheid is dus steeds te bespeur in huidige debatte oor hierdie tema. Hierdie studie ondersoek ‘n moderne argument, soos voortgestaan deur Martha Nussbaum, oor die wyse waarop daar oor die aard van ons etiese bestaan gekommunikeer moet word. Nussbaum neem die standpunt in dat die abstrakte styl van morele filosofiese tekste erkenning gee aan die abstrakte en rasionele aard van ons menslike aard en bestaan, maar dat dit nie altyd daarin slaag om erkenning te gee dat ons mense is met ‘n konkrete etiese bestaan waarin emosies (eerder as net rasionele denke) ook ‘n baie belangrike rol speel nie. Hierdie studie neem dus die vorm aan van ‘n kritiese dialoog met Nussbaum aangaande haar voorstel om fiktiewe literatuur te kombineer met morele filosofie. Gevolglik fokus hierdie studie op drie spesifieke aspekte van ons etiese bestaan, wat Nussbaum glo wel deur fiktiewe literatuur aangespreek word maar nie altyd deur tekste van morele filosofie nie. Hierdie drie aspekte is 1) dat menslike waardes uiteenlopend en dikwels onversoenbaar is; 2) dat die partikuliere elemente van situasies ’n belangrike rol speel in etiese besluitneming; en 3) dat ons menslike emosies en verbeelding ’n groot deel uitmaak van ons etiese bestaan. Die fundamentele doel van hierdie studie is dus om te bepaal of die styl van fiktiewe literatuur wel erkenning gee aan die drie bogenoemde aspekte van ons etiese bestaan. Die fiktiewe werk wat gebruik is om dit te bepaal, is Alan Paton se Cry, the Beloved Country. Nussbaum klassifiseer die drie bogenoemde aspekte van ons etiese bestaan as 1) Onversoenbaarheid and Pluraliteit van Waardes; 2) Prioriteit van die Partikuliere; en 3) Etiese Waarde van die Emosies en Verbeelding. Hierdie klassifikasie vind egter sy oorsprong in die etiek van Aristoteles, en vorm dus volgens Nussbaum die basis van die Aristoteliaanse etiese posisie – ‘n posisie van waaruit praktiese wysheid geput kan word. Die doel van hierdie studie is dus nie net om te bepaal of fiktiewe literatuur erkenning gee aan die drie fundamentele aspekte van die Aristoteliaanse etiese posisie nie, maar die doel is ook om te bepaal of die Aristoteliaanse etiese posisie (en dus praktiese wysheid) bekom kan word deur die lees van fiktiewe literatuur. Die studie kom tot die gevolgtrekking dat sekere fiktiewe literatuur, soos die werk Cry, the Beloved Country, inderdaad wel bevredigende erkenning gee aan die drie eienskappe van ons etiese bestaan, soos veronderstel deur die Aristoteliaanse etiese posisie, en dat Nussbaum se voorstel ernstige aandag behoort te geniet, aangesien die insluiting van sekere fiktiewe literatuur in morele filosofie ‘n dieper etiese verstaan teweeg kan bring, waaruit praktiese wysheid geput kan word.