Esta tese busca analisar a viabilidade do projeto de naturalização da teoria do direito defendido por Brian Leiter. No primeiro capítulo, apresenta-se o esforço da filosofia desde o fundacionismo de Descartes até Carnap para a solução da dúvida cética sobre o que é conhecimento e que conduziram ao que foi denominado fisicalismo, evidenciado nas obras de Kelsen e dos Realistas Escandinavos e Norte-Americanos. A virada linguística foi determinante para a reconstrução dos parâmetros cartesianos, sendo notável a influência de Wittgenstein e Quine. Com Quine, a proposta de naturalização da epistemologia ganhou corpo, tendo conduzido, entretanto, ao abandono do desafio cético e ao cientismo. O behaviorismo já apresentava sinais no Realismo Jurídico Norte-Americano e foi criticado por H.L.A. Hart. Hart se apropriou de elementos do naturalismo quineano e de Wittgenstein, estabelecendo uma nova objetividade para o direito. O projeto de Leiter, apresentado no segundo capítulo, nasce da discordância dessa crítica hartiana. Dois são seus objetivos: (i) resgatar o Realismo Norte-Americano, reconstruindo-o à luz do pragmatismo e do naturalismo quineano, ancorado no antifundacionismo e na substituição das teorias normativas por descrições causais-nomológicas das decisões judiciais para fins de previsibilidade do direito. Cabe ao dogma do positivismo estabelecer o critério de legalidade, excluindo a moral como parte do que é juridicamente objetivo; (ii) adotar uma postura cética externa, numa tentativa de minar o interpretativismo de Ronald Dworkin. É no terceiro capítulo discute a viabilidade do projeto de Leiter propriamente. É possível verificar que Leiter não consegue mostrar o naturalismo na teoria do direito sob sua melhor luz, uma vez que é incapaz de lidar com as questões normativas inerentes ao direito e, por conseguinte, de justificar as decisões judiciais sem recorrer a uma teoria substantiva, algo que Dworkin consegue realizar com maior proveito, especialmente no que tange ao tema da objetividade. Leiter aponta para um futuro em que a investigação empírica pode aumentar a confiança no direito, mas seu projeto teórico limitado à descrição causal-nomológica das decisões é inviável para os fins propostos por uma teoria do direito de sucesso. / This thesis aims to analyze the viability of the project of naturalization of jurisprudence championed by Brian Leiter. The first chapter presents the effort of philosophy from Descartes foundationalism to Carnap for the solution of skeptical doubt about what is knowledge and that led to what was called physicalism, evidenced in the works of Kelsen and Scandinavian and Americans Legal Realists. The linguistic turn was decisive for the reconstruction of Cartesian parameters, being remarkable the influence of Wittgenstein and Quine. With Quine, the naturalization of epistemology proposal gained momentum and led, however, to abandon the skeptical challenge and scientism. Behaviorism already showed signs in american legal realism and was criticized by H.L.A. Hart. Hart appropriated elements of Quinean naturalism and Wittgenstein, establishing a new objectivity to law. Leiters project, presented in the second chapter, was born of the disagreement with hartian criticism. Two are his goals: (i) redeem American Legal Realism, reconstructing it in the light of pragmatism and Quinean naturalism, supported by antifoundationalism and replacement of normative theories by causal-nomological descriptions of judicial decisions for predictability purposes. The dogma of positivism will establish the criteria of legality, excluding the moral as part of what is legally objective; (ii) adopt an external skeptical position in an attempt to undermine the interpretativismo of Ronald Dworkin. The third chapter discusses the feasibility of Leiters project properly. Leiter cannot show the naturalism in theory of law in its best light, since it is incapable of dealing with normative questions related to law and, therefore, to justify judicial decisions without resorting to a substantive theory, something that Dworkin can make more profit, especially with regard to the issue of objectivity. Leiters project points to a future in which empirical research can increase laws confidence, but its limitation to a theoretical project of causal-nomological description of decisions is not feasible for the purposes proposed by a successful theory of law.

A publicação de La Terre, em 1887, provoca, na França, uma avalanche de ataques a Zola e ao Naturalismo. O romance, que dá continuidade à saga dos Rougon-Macquart, aborda não apenas a vida do campo e dos camponeses mas também questões sociais ligadas à realidade agrícola do país no final do século XIX. Ao ser lançado em capítulos, o romance é objeto de severas críticas, como o Manifesto dos Cinco, que ataca violentamente a obra e acusa o autor de obscenidade doentia. Críticos de renome como Anatole France e Brunetière também priorizam a dimensão moral em sua avaliação do romance e deploram o que qualificam de crueza naturalista. A crítica francesa utiliza o romance La Terre para decretar a bancarrota do Naturalismo . No Brasil, o prestígio de Zola e do Naturalismo encontra-se em momento de ascensão como parte do movimento mais amplo de adoção dos moldes literários franceses como recurso para consolidar a independência cultural em relação à literatura portuguesa. Romero, Veríssimo e Araripe Jr. se valem repetidamente do autor francês para discutir seus projetos para a literatura nacional. Araripe Jr. - que por certo período havia se afastado de Zola imputandolhe um pessimismo inadequado ao Brasil encontra, em La Terre, tema para trazer novamente Zola para o centro de suas reflexões. O presente trabalho busca refletir sobre o sentido dessa recepção diversa de La Terre na França e no Brasil, examinando o modo como Araripe Jr. transforma o romance em argumento para discutir questões relativas à formação da literatura brasileira. / Zolas La Terre,(1887) causes an uproar in France and triggers a series of violent attacks against its author and Naturalism, the literary school he represented. The novel, part of the Rougon-Macquart saga, focuses not only on country life and peasants but addresses also the loaded social issues shaking rural France at the end of the 19th century. Published in episodes, the novel is the object of fierce criticism, epitomized by Le Manifeste des Cinq, a heavy invective against the novel and its author, who is accused of inexcusable obscenity. Major critics such as Anatole France and Brunetière also highlight the moral dimension in their censure, and most French critics denounce La Terre as proof that literary Naturalism was dead. In Brazil, however, Zolas prestige and that of Naturalism are on the rise, as they seem apt to help foster a national literature finally rid of Portuguese models. Romero, Veríssimo e Araripe Jr. repeatedly refer to Zola when discussing their projects for Brazilian literature. Araripe Jr., who had for a moment detached himself from Zola due to what he saw as the authors objectionable pessimism, finds in La Terre a good opportunity to reconcile himself with Zolas works. The present dissertation discusses these different responses to the novel, in France and in Brazil, focusing on the way Araripe Jr. makes the novel a powerful argument to buttress his views on the ideal path for Brazilian literature.

Made available in DSpace on 2016-04-28T14:16:25Z (GMT). No. of bitstreams: 1 Dissertacao Maria D Amore da Silva.pdf: 1603926 bytes, checksum: 138c9e84832dfb52b5fff8180c03ef11 (MD5) Previous issue date: 2006-05-10 / A literatura engloba a cultura de um povo, o contexto histórico de uma sociedade e reflete os sentimentos humanos de uma determinada época em prosa e verso. Assim, ela reflete a história de um povo ou nação com todas as suas características sociais, emocionais e científicas. Sendo assim torna-se natural uma interface entre a ciência e a literatura já que ambas bebem da mesma fonte: o homem. Desta maneira, analisaremos o conjunto de poemas de Alberto Caeiro (um dos heterônimos de Fernando Pessoa), nos livros Poesia completa de Alberto Caeiro/Fernando Pessoa, Obra Poética, Obras em Prosa e O Romance Experimental e o Naturalismo no Teatro do autor Èmile Zola fazendo então uma interface entre os conceitos de alguns aspectos científicos e literários, sobretudo o Naturalismo na construção poética do heterônimo Alberto Caeiro, um poeta bucólico que tem como objetivo a experimentação e observação da natureza através das sensações. O enfoque que nos permite fazer a história da ciência com uma interface entre a literatura e a ciência será dada pela conceituação do Naturalismo na ciência e na literatura resultando em uma convergência científico-literária que se acentuou na segunda metade do século XIX, e começo do XX, possibilitando uma convergência entre a ciência e a literatura

Made available in DSpace on 2016-04-28T14:16:42Z (GMT). No. of bitstreams: 1 Carla de Fatima Martins Barreira.pdf: 889931 bytes, checksum: a6b45e25889b392d733729e6b0f018df (MD5) Previous issue date: 2009-10-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The literature encompasses people culture, the society historical context and reflects human feelings of a certain time, in prose and verse. Thus, it reflects humanity history with all its social, emotional and scientific caracteristics. A dialogue between science and literature becomes natural, since they both drink from the same source: the man. We studied Almada Negreiros works, accenting their tests, considering the Orfeu Generation and the Vanguard Movements, which innovated the arts. We considered a possible conjunction with Émile Zola naturalism. This accent makes possible a science history with an interface between literature and science in the second half of the nineteenth century and early twentieth / A literatura engloba a cultura de um povo, o contexto histórico de uma sociedade e reflete os sentimentos humanos de uma determinada época, em prosa e verso. Assim, ela reflete a história de um povo ou nação com todo as suas características sociais, emocionais e científicas. Um diálogo entre a ciência e a literatura torna-se natural, já que ambas bebem da mesma fonte: o homem. Analisamos a obra de Almada Negreiros, enfatizando seus ensaios, considerando a Geração de Orfeu e os movimentos de Vanguarda que inovaram as artes. Consideramos a possível conjunção com o Naturalismo de Èmile Zola. Esse enfoque faz possível fazer uma história da ciência com uma interface entre a literatura e a ciência será dada pela conceituação do Naturalismo na ciência e na literatura, na segunda metade do século XIX e começo do século XX

Cette thèse en sociologie historique analyse les logiques d’inclusion et d’exclusion des femmes dans le champ des sciences sociales françaises entre 1890 et 1940 à partir de l’étude des positions sociales, des prises de position et de la réception des travaux produits par des femmes dans les principaux périodiques de sciences sociales orientés vers la sociologie et l’anthropologie. La démonstration prend comme pivot l’accès des femmes aux savoirs et aux diplômes universitaires. La première partie porte sur les femmes non diplômées qui s’insèrent dans le champ des sciences sociales avant 1914, principalement par le biais d’une implication dans la mouvance réformiste ou dans les groupes féminins et féministes. Les figures féminines légitimes, dont les travaux ne suscitent pas de controverses, se situent aux positions les plus hétéronomes du champ là où les enjeux de la pratique réformiste priment sur les enjeux de la connaissance. Les figures de la transgression non diplômées, qui prétendent participer à l’élaboration des connaissances empiriques et théoriques sur les sociétés, provoquent au contraire des réactions négatives qui renvoient leurs analyses féministes hétérodoxes vers le champ politique. Après 1914, le nombre de femmes et de travaux féminins dans les périodiques et les groupes de sciences sociales français diminue globalement jusqu’en 1940, et les femmes non-diplômées cèdent leur place aux diplômées. Les processus de qualification différenciée selon le genre qui contribuent à reformuler l’antinomie entre compétences intellectuelles et féminité s’adaptent à l’accès des femmes aux diplômes. D’un côté, la majorité des nouvelles diplômées s’oriente et est orientée vers les nouvelles professions sociales (surtout le travail social) et vers l’enseignement qui valorisent les compétences traditionnellement associées au féminin et qui construisent leurs identités professionnelles en opposition au travail intellectuel, particulièrement au travail théorique. De l’autre côté, les seules femmes diplômées aspirant à demeurer dans le champ des sciences sociales qui parviennent à obtenir une reconnaissance relative avant 1940 se spécialisent dans les secteurs de la recherche empirique, réalisent leurs travaux au sein d’institutions savantes, s’assimilent aux problématiques et aux perspectives légitimes et n’adoptent pas de posture militante féministe. / In this dissertation in historical sociology, I analyze gender relations and the construction of women’s intellectual legitimacy in the French social sciences between 1890 and 1940. To that end, I study the social positions, the intellectual productions, and the reception of women in the main social science periodicals leaning towards sociology and anthropology. The pivotal point of my demonstration is women’s university enrolment and graduation. The first part of my dissertation is about women lacking a university diploma that nevertheless played a role in the social sciences before 1914, mainly through participating in the reformist circle of influence or by being involved in feminine and feminist groups. The “legitimate feminine figures”, i.e. women whose works did not fuel any kind of controversy, are in the most heteronomous parts of the field of study, in which issues about the reformist practice prevail over issues about knowledge. On the other hand, the “figures of transgression”, i.e. women lacking a diploma but pretending to participate in social empirical and theoretical knowledge, provoke negative reactions that, in turn, relegate their heterodox feminist analyzes to the political field. After 1914 and until 1940, the amount of women and of feminine works in periodicals and French social science groups decreased, and women with a university diploma replaced those lacking one. The gender-differentiated processes of evaluation, which contributed to reformulate the antinomy between intellectual competence and femininity, adapted itself to the fact that women had access to university diploma. On the one hand, the majority of newly graduated women heads and is directed towards new social professions (mainly social work) and teaching. Both professions promote competences traditionally associated with women, and construct the latter’s professional identities as disjoint from intellectual, and mainly theoretical, activities. On the other hand, the only graduated women aspiring to stay within the field of the social sciences, and who succeeded before 1940 in gaining a relative recognition for their competence, pursued empirical research, accomplished their work in accredited institutions, took on problems and perspectives sanctioned by the expert community, and did not play the role of feminist activists. / Thèse réalisée en cotutelle avec l'École des hautes études en sciences sociales

Ce mémoire de maîtrise est consacré à un aspect peu étudié de l'art de Jacques-Louis David, c'est-à-dire l'influence caravagesque dans les œuvres de l'artiste. Les différentes périodes de la production de l'artiste sont étudiées en fonction d'identifier cette influence et la façon dont elle s'est manifestée. Cette influence est apparue à partir de la deuxième moitié du 18e siècle dans la peinture française pendant une période de réforme de l'art pictural. Jacques-Louis David n'est pas le seul artiste à s'être intéressé au caravagisme. L'intérêt pour Caravage et ses suiveurs coïncidait aussi avec un intérêt pour le naturalisme et le dessin d'après nature. Le maître de David, Joseph-Marie Vien, a joué un rôle important dans la promotion de ces deux notions. C'est lors de son premier voyage en Italie avec son maître Vien que Jacques-Louis David entra pour la première fois en contact avec le caravagisme. C'est à partir de ce moment que son oeuvre commença à se transformer alors que l'artiste s'affranchit de l'influence de la peinture rococo. Le Salon de 1781 qui suivra ce voyage sera un moment très important dans sa carrière et les œuvres qu'il y présenta étaient grandement marquées par le caravagisme, ce qui se manifeste par la couleur, la lumière et par le rendu naturaliste du corps. Le jumelage entre le naturalisme et l'idéalisme joue un rôle important dans la formation de l'esthétique davidienne. Après ce Salon, l'influence caravagesque s'exprimait de façon moins évidente dans son œuvre, mais elle était toujours présente et se manifestait plutôt par l'emprunt de motifs. Nous avons identifié cette influence jusqu'à la fin de la carrière de l'artiste. Nous voyons aussi dans ce mémoire que le rapport entre David et Caravage peut aussi être effectué par le biais d'une manifestation d'homosexualité et d'androgynie dans le travail des deux artistes. Ce mémoire n'est pas axé sur l'interprétation des œuvres, mais plutôt sur des analyses qui permettent de mettre en évidence l'influence caravagesque / This Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.

This thesis provides the first comprehensive study of an eminent but oft-overlooked Victorian polymath, with the overarching aims of assessing his contributions to nineteenth-century intellectual life and of exploring the mutual relations between science and religion in his work. One of the towering figures of the Victorian scientific establishment, William Carpenter (1813-1885), F.R.S, was a famous physiologist and public figure. He is most remembered for his concept of 'unconscious cerebration' which contributed to the emergence of the disciplines of neurology and modern psychology, but Carpenter was also noted amongst his peers for his evolutionary approach to the study of the unicellular marine invertebrates known as the foraminifera. As a lifelong practicing Unitarian, Carpenter's outspoken support for evolutionary theory made him an exemplary advocate of the compatibility between rational thought and Christian belief amidst the Victorian debate about science and religion. As the Registrar of the University of London during its formative years, Carpenter also had a nationwide impact on the fortunes of scientific education and secondary education as a whole. Finally, as a populariser of science and public moralist, "Dr. Carpenter" was also well known to the Victorian public as one of the most outspoken critics of spiritualism, alleged paranormal phenomena, and superstition more generally. Nevertheless, no systematic study of Carpenter's work had until now been carried out, and the commonly held view that he lacked originality as a scientist had not been fully questioned. The current study therefore aims to review Carpenter's achievements and trace his intellectual legacy. As an intellectual biography, it argues that focusing on the now lesser-known members of the British intelligentsia can shine new light on the context of the professionalization of science in Victorian Britain. In its focus on science and religion, this thesis argues that a deeper understanding of Carpenter's Unitarianism must feature at the heart of any endeavour to analyse his work. Previous references to Carpenter either bypassed Unitarianism and its nineteenth-century transformations, or reduced Unitarian thought to certain core tenets that fell short of uncovering Carpenter's philosophical pursuits. Carpenter's Unitarianism is still often equated with the rationalism and mortalism that defined late eighteenth-century Unitarianism, and this failure to recognise how much Carpenter's own faith had departed from earlier strands of Unitarian belief has led to some misinterpretations of his motives. The current thesis therefore offers fresh interpretations of Carpenter's work, based on new archival material and recent historical studies of the shifting priorities shaping the more romantic and emotional spirituality of nineteenth-century Unitarianism. Taking an integrative approach to Carpenter's various projects makes it possible to show how seminal many of his ideas were, and how his Unitarianism, both in its social and spiritual dimensions, influenced his professional, political and intellectual choices. The biographical angle taken in this thesis also makes it possible to uncover a degree of epistemological coherence underpinning Carpenter's thought, and to argue that Carpenter's efforts to transcend conflicting viewpoints partook of his wider social and metaphysical aims.

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)

The text deconstructs notions of ideal community which, while affinning irmnediate proximate human relations, effectiveiy disaffirms and thus devalues those mediated over distance and time. It argues against such social ontologies as the basis of what should constitute ideal consociality. In place of the idealized notions of community critiqued, the work elaborates an ontological ethics of responsibility as a basis for conceptualizing ethical relations. The text grounds its ethic in what is proffered to be humankind's ontological relatedness to the other, regardless of the nature (human or nonhuman) or proximity (face-to-face or nonface-to-face) of that other. Moreover, the text sets forth the importance of humankind developing a sense of this ontological relatedness. The work discusses this sense-of-relatedness from three perspectives. First, it elaborates a philosophic naturalism to establish in humankind an ontological basis for ethical relations. Second, it claims that humankind is in the world, existentially, who and what it understands itself to be with respect to the depth with which it apprehends a sense of its ontological relatedness to all that there is. Third, it argues that this sense-ofrelatedness may be understood as a religious sensibility. / Religious Studies / M.Th. (Religious Studies)

LESSA NETA, Benigna Soares, A menina e a província: a espera do progresso no romance a Normalista, de Adolfo Caminha. 2011. 104 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2011. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-22T14:51:55Z No. of bitstreams: 1 2011_DIS_BSLESSA NETA.pdf: 5151717 bytes, checksum: 9baecc4d6d754ad68d0fe7fe66d88a41 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-06-27T13:49:03Z (GMT) No. of bitstreams: 1 2011_DIS_BSLESSA NETA.pdf: 5151717 bytes, checksum: 9baecc4d6d754ad68d0fe7fe66d88a41 (MD5) / Made available in DSpace on 2012-06-27T13:49:03Z (GMT). No. of bitstreams: 1 2011_DIS_BSLESSA NETA.pdf: 5151717 bytes, checksum: 9baecc4d6d754ad68d0fe7fe66d88a41 (MD5) Previous issue date: 2011 / O presente estudo enfoca, no romance A Normalista, de Adolfo Caminha, publicado em 1893, a relação entre a ideia dominante de progresso, que se impõe de diferentes maneiras aos protagonistas, e a vida da cidade apresentada como pacata e provinciana. Esse romance filia-se à estética naturalista europeia, que se integrou aqui no Brasil ao processo social mais amplo de modernização em que o país estava envolvido. Objetivamos entender a relação desse romance com o processo, em curso, de modernização da capital, buscando explicar o jogo dialético entre forma literária e processo social, a partir dos pressupostos das obras críticas de Antonio Candido e Roberto Schwarz. Na introdução, apresentamos os objetivos e métodos do trabalho. No primeiro capítulo, abordamos o período que compreende a segunda metade do século XIX. Vemos, rapidamente, o que motivou o surgimento do Naturalismo; em seguida, tratamos mais especificamente do Naturalismo no Brasil e no Ceará; apresentamos a relação de Adolfo Caminha com a estética Naturalista; depois abordamos a recepção crítica da obra e terminamos o capítulo com o entendimento do Naturalismo como experiência ideológica e estética. No segundo, apresentamos, a partir da personagem principal, Maria do Carmo, o posicionamento do narrador e, também, a própria construção da narrativa. No terceiro e último capítulo, analisamos as três personagens em que as ideias de progresso aparecem mais fortemente: João da Mata, Zuza e Lídia. Nesse capítulo, detemo-nos sobre os conceitos de Candido e Schwarz, a fim de explicar como o romance se organiza. Ao término do trabalho, concluímos que todas as personagens do romance anseiam pelo progresso e que esse desejo se combina, das mais variadas formas, nem sempre coerentemente, com a vida que elas objetivamente podem levar e com os objetivos que podem atingir na cidade ainda provinciana.