Este trabalho examina os testes psicológicos, especialmente em sua relação com a educação, à luz da Teoria Crítica da Sociedade, tanto a partir de seus conceitos internos como das condições sociais e históricas que possibilitaram sua criação. Duas análises são fundamentais, ambas baseadas em Horkheimer e Adorno: primeiro, a da contradição histórica do movimento da razão ocidental, examinada a partir da Dialética do Esclarecimento; segundo, do emprego de métodos estatísticos e tipológicos em pesquisas nas ciências humanas. Como resultado da reflexão, concluiu-se que o conflito entre métodos quantitativos e qualitativos na psicologia mostra-se falso, pois servem para fins diferentes. A "naturalização", a tipologização e a indiferenciação do homem no mundo moderno não devem ser atribuídas aos testes psicológicos. Estes carregam em si a contradição do esclarecimento, de servir à humanidade e ao mesmo tempo à sua barbarização. Apresentam-se nesta dissertação, ainda, alguns autores críticos aos testes e, como ilustração, uma pesquisa bibliográfica sobre os testes em dois periódicos brasileiros educacionais e dois psicológicos. Verificou-se que os testes são empregados e criticados predominantemente aderidos a seus aspectos regressivos, sem que se pudesse pensar sua transcendência, apesar das mudanças observadas na psicometria atual. / This work examines psychological tests, especially in their relation with education, from the Critical Theory of Society standpoint, considering their internal concepts as well as historic conditions that allowed their creation. Two analysis are fundamentals, both based on Horkheimer and Adorno: first, the historical contradictions of the western ratio movement, examined from the Dialectic of the Enlightenment; second, the employment of statistical and typological methods on research. As a result, it was concluded that the conflict between quantitative and qualitative methods is shown equivocated since they serve different purposes. Man´s "naturalization", typologization and indiferenciation in the modern world cannot be attributed to psychological tests. These ones carry within themselves the contradiction of the enlightenment, of serving the humanity and at the same time its barbarization. It is still presented in this thesis some critical authors to the tests, and as illustration, a bibliographic research about tests obtained from two educational Brazilian journals and two psychological ones. It was verified that tests are employed and criticized mainly linked to their regressive aspects without possibilities of thinking their transcendence, despite changes observed in present psychometry.

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T21:19:29Z (GMT). No. of bitstreams: 1 Nascimento_FabianaAngelicado_M.pdf: 1238592 bytes, checksum: 01a7a70e9d018c3f112053fde2aa7f39 (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é analisar a novela Pole Poppenspäler como uma narrativa organizada ao redor do tema da oposição entre o artista e o burguês. Tal perspectiva de análise abrangerá não só o tratamento dado a essa temática, bastante cara à literatura alemã, mas também a sua representação no contexto do Realismo Poético e na própria evolução do gênero novela. Em Pole Poppenspäler o conflito gerado pela transição entre duas diferentes perspectivas, a do mundo pequeno burguês e a do artista, condensa-se, de forma simbólica, na trajetória das personagens Tendler e Paul, ao mesmo tempo em que está presente, de modo realista, a caracterização geográfica e humana das "pessoas simples" ("kleine Leute"), como camponeses, operários e artesãos. Também a regionalização geográfica e linguística estão de acordo com o repertório típico do realismo do século XIX, por meio da representação das paisagens alemãs e do uso de dialetos. Para que a nossa hipótese de interpretação fosse efetivamente realizada, a história do gênero novela foi revista em seus diferentes momentos de existência. Desse modo, pôde-se investigar de que maneira a alteração dos pressupostos históricos provoca alterações na representação do conflito entre as mentalidades do artista e do burguês / Abstract: The goal of this research is to analyze the short-novel Pole Poppenspaeler as a narrative organized around the theme of the opposition between the artist and the bourgeois citizen. Such an analysis perspective will comprehend not only the treatment given to the theme (very dear to German literature), but also the representation the theme has in the context of Poetic Realism, besides the way the genre of short-novel has develop itself. In Pole Poppenspaeler, the conflict generated by the transition between two different perspectives (one from the bourgeois world and another from the artist) condense itself, in a symbolic way, through the characters¿s Tendler and Paul journey; at the same time, it is present (in a realistic manner) the geographic and human characterization of "simple people" ("kleine Leute"), like countrymen, workmen and artisans. Also the geographic and linguistic regionalization are according to the typical repertory of the XIXth century realism. In order to our hypothesis of interpretation be effectively executed, the History of the short-novel as a genre was reviewed in its different moments of existence. Therefore, it is possible to investigate how the alteration of the hystorical processes provokes an alteration in the representation of the conflict between the artist¿s and the bourgeois citizen¿s mindsets. Keywords: German literature, Poetic Realism, motive, short-novel / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

The expressive marking "schattenhaft" appears twice in Gustav Mahler's symphonies: at the beginning of the scherzo in the Seventh and within the first movement of the Ninth. Theodor Adorno's observations regarding Mahler's use of this marking, which connect it to Schopenhauer and Romantic aesthetics, provide the framework for an examination of possible meanings of these two passages in Mahler. Drawing also on references elsewhere in Adorno's book to stylistic and formal features peculiar to Mahler's music, and especially on the comparison he makes between the experiences of reading novels and listening to Mahler's symphonies, this thesis demonstrates that close analysis of the "schattenhaft" passages offers a valuable point of entry into the thinking of both Adorno and Mahler.

La thèse, divisée en trois parties, constitue une introduction à l’univers musical de Giacomo Manzoni (Milan, 1932). La première partie aborde huit dimensions de l’œuvre du compositeur dans une perspective analytique (matériau, temps, dynamique, timbre, forme, figures sonores, espace et texte). Dans la deuxième partie, où figure une étude de Per Massimiliano Robespierre (1974) et de Doktor Faustus (1988), sont présentés les principaux axes de sa poétique : l’engagement et l’innovation. La dernière partie conceptualise la notion de matiérisme en tant que fondement de sa praxis compositionnelle. À ce propos, Atomtod (1964), sa troisième œuvre pour le théâtre musical, a été analysée. Des documents inédits, dont des esquisses de ses œuvres et une correspondance avec Luigi Nono, ont été commentés tout au long de la thèse. Les annexes incluent un catalogue chronologique et thématique des œuvres du compositeur, une édition critique bilingue des textes mis en musique, la traduction de son dernier livre (Parole per musica) et une discographie. / This thesis, which consists of three parts, represents an introduction to Giacomo Manzoni’s (Milan, 1932) musical ideas. First part deals with eight dimensions of his work from an analytical point of view (material, time, dynamics, timbre, form, sound shapes, space and text). In the second part, which contains an analysis of Per Massimiliano Robespierre (1974) and Doktor Faustus (1988), two main axes of his poetics were examined: commitment and innovation. Last part conceptualizes the notion of materialism in his poetics, as it constitutes the basis of his musical praxis. To this end, Atomtod (1964), his third work for the stage, was analysed. Unpublished documents, like sketches of his works and a correspondence with Luigi Nono, were commented throughout the thesis. Appendices include a chronological and thematic catalogue of his works, a bilingual critical edition of the texts which he set to music, a French translation of his last book (Parole per musica) and a discography.

One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.

This thesis, called The Relationship between Redemption and Emancipation in the Political Theology of J. B. Metz, concerns the political theology of J. B. Metz. The first part summarizes the influences, which shaped his theological thinking and it presents his concept of political theology. The next part asks a question about the relationship between the ideas of redemption and emancipation in Metz's theology. This is based on the interpretation of a chapter from his book, Glaube in Geschichte und Gesellschaft, which concerns the topic. But before the interpretation of Metz's text, the problems of relationship between the two terms and of their origin are described. The extent of the field of meaning of the term "emancipation" is illustrated by the examples of the thinking of Immanuel Kant, Karl Marx and Jürgen Habermas. A large part is dedicated to the figures of the Frankfurt school, Theodor Adorno and Walter Benjamin, and their specific approach to the idea of emancipation and the Enlightenment tradition. The final thesis rejects the opinion, that the ideas of emancipation and redemption in Metz's theology coincide too much and it puts stress on the importance of the term "history of suffering" for solving this problem of Metz's theology. Keywords political theology, J. B. Metz, emancipation,...

In the first part, this diploma paper is going to treat the conception of nouvelle, questions of the definition and the history of this literature genre. The second part is going to be focused on the life and novellistic work of the Northgerman writer Theodor Storm in particular - the characteristics of the nouvelles of Storms, realistic and romantic elements, themas. The last part of this diploma paper is the analyse of the nouvelle "Immensee", the chapter "Reinhards Bad im See" in particular.

Made available in DSpace on 2015-04-14T13:55:04Z (GMT). No. of bitstreams: 1 426265.pdf: 587749 bytes, checksum: 687731d7446a78c88595c9f5f3547bdd (MD5) Previous issue date: 2010-08-31 / Uma raz?o que, de t?o completa, n?o tem mais espa?o para o exerc?cio da racionalidade. Uma quest?o t?o viva e pulsante obrigada a se enquadrar nos formulismos e esquemas previstos por dita racionalidade. O choque entre a necessidade de justi?a, que ocorre apenas na emerg?ncia do instante, e a resposta estatal burocratizada, encarnada no direito, que se arrasta por procedimentos, os quais, pela impropriedade da tarefa atribu?da, nunca se mostram suficientemente r?pidos para realizar o imposs?vel: transformar quantidade em qualidade, transformar direito em justi?a. Como chave interpretativa dessa quest?o filos?fica fundamental, a dial?tica de Theodor W. Adorno, movida pelo respeito ? diferen?a para que n?o se repitam eventos como Auschwitz, com a ilustra??o expressionista de Franz Kafka, jurista que encontrou na literatura uma forma de extravasar toda a ang?stia experimentada por quem n?o foi anestesiado pela raz?o que se conserva ? base de pequenas doses de viol?ncia.

Made available in DSpace on 2015-04-14T13:55:07Z (GMT). No. of bitstreams: 1 386125.pdf: 905880 bytes, checksum: f2ea846eb70c8c181f47459e369540dd (MD5) Previous issue date: 2007-01-03 / O colapso do sistema hegeliano, ?ltima realiza??o grandiosa da raz?o movida pela vontade de sistema, recoloca para o s?culo XX a quest?o n?o resolvida na hist?ria do pensamento, qual seja, o outro, que a filosofia pretendeu eliminar, retorna e exige que de alguma forma nos ocupemos dele. Esse outro, n?o-id?ntico, apontar? para o que Adorno denomina insufici?ncia do conceito. No entanto, quando Adorno fala da insufici?ncia do conceito n?o fala de uma filosofia n?o-conceitual. Tal postura conduziria inevitavelmente ao intuicionismo e, por fim, ao irracionalismo. Antes disso, sua teoria ? a tentativa de fazer a pr?pria filosofia tomar consci?ncia de que o conceito, sendo instrumento para pensar ?, por isso mesmo, outro daquilo que pensa. E mais, a perman?ncia da pr?pria atividade conceitual, do pr?prio pensamento, depende desta diferen?a. O pensamento depende, portanto, deste abismo entre a coisa e seu conceito.

Made available in DSpace on 2015-04-14T13:55:11Z (GMT). No. of bitstreams: 1 434159.pdf: 1497034 bytes, checksum: 49c2dce911a4e7e11a2e99452735fd9b (MD5) Previous issue date: 2011-08-11 / Nossa tese pretende fazer uma defesa da concep??o de filosofia como exerc?cio a partir das obras de Walter Benjamin e Theodor W. Adorno. Para os referidos autores, esta concep??o nasce desde uma profunda an?lise da l?gica interna da exposi??o filos?fica, sendo que os problemas filos?ficos passam a ser vistos, em grande parte, como problemas da linguagem filos?fica. Percebemos, desse modo, uma caracter?stica que atravessa a obra de ?mbos autores: a unidade de conte?do e forma. O exerc?cio filos?fico n?o se constitui no ato de dar novos conte?dos aos velhos paradigmas, mas sim, um exerc?cio permanente de sua pr?pria forma (conte?do primeiro de tais modelos filos?ficos). Dessa maneira, o estilo pr?prio do filosofar em Adorno ou em Benjamin n?o ? meramente uma escolha subjetiva, mas ? exig?ncia posta pelo seu conte?do pr?prio. No caso de Adorno predominam o ensaio e o aforismo. No caso de Benjamin, o tratado, a cita??o, mas tamb?m, o ensaio e o aforismo. Estes estilos, portanto, nascem da consci?ncia radical de que a realidade n?o se deixa enquandrar completamente em um sistema de pensamento. N?o se trata de reconciliar em sistemas de pensamento aquilo que permanecesse n?o reconciliado na realidade. E o ritmo intermitente do filosofar ? a exposi??o de tais contradi??es. N?o se trata, por?m, de fazer a cr?tica aos modelos abstratos de pensamento em nome de uma ades?o ?s coisas e aos fatos. ? da saud?vel dist?ncia entre a realidade e o pensamento que depende a vida e o ritmo da filosofia. A exig?ncia de filosofar desde o concreto e n?o simplesmente sobre ele vem, desse modo, acompamhada pela presen?a do elemento messi?nico que ganha extraordin?ria for?a em nossos autores, for?a esta que alimenta modelos filos?ficos que n?o se resignam ante uma realidade contradit?ria e n?o se atrofiam em apologias.