R. G. Collingwood (1889-1943) representa, para a cena intelectual inglesa da primeira metade do século XX, a retomada da reflexão sobre os problemas epistemológicos suscitados pela História. Collingwood enquanto estudante de graduação em Oxford absorveu elementos importantes do debate realismo-idealismo do século XIX. Figuras importantes como Cook Wilson, E. F. Carritt, T. H. Green e F. H. Bradley despertaram a consciência de Collingwood sobre a importância das questões em Teoria do Conhecimento e, sobretudo, sobre a importância da Teoria da História. Para Collingwood, a principal tarefa da Filosofia do século XX era reconciliar-se com os francos desenvolvimentos da História. Seguindo o exemplo dos efeitos da Revolução Copernicana, que forçaram um deslocamento da própria Filosofia em direção às ciências físicas, a História, para Collingwood, no século XX, impõe um sismo ao terreno da Filosofia. Collingwood arquiteta sua proposta sobre a Teoria da História sobre três pontos fundamentais: a lógica de pergunta e resposta, a doutrina das pressuposições absolutas e o conceito de re-enactment. Nossa proposta aqui é a de oferecer um relato sobre a formação das ideias de Collingwood, avaliar seu impacto original e mais recente e, após isto, comentar a natureza filosófica de seus conceitos fundamentais em Teoria da História. / R. G. Collingwoods (1889-1943) work represents, within the British intellectual scene in the 20th Century, an increase of breath to the thinking and discussion over epistemological questions about historical knowledge. While an undergrad student in Oxford, Collingwood could absorb both realistic and idealistic elementary directions developed from the 19th Century. Ideas from important intellectuals within that context, such as Cook Wilson, T. H. Green, F. H. Bradley and E. F. Carritt, certainly had their effects over the running of Collingwoods ideas shaping. Collingwood would defend later on that the main task for the Philosophy of the 20th Century was to reconcile itself with the methodological advances identifiable in historical research. As the Scientific Revolution did have a major impact in Philosophy in the 17th Century, History, at Collingwoods own time, imposed to Philosophy a change of directions. Collingwood structures his account for a rapprochement between History and Philosophy over three main points: the method of question and answer, the doctrine of absolute and relative presuppositions and the concept of re-enactment. My goal here is to evaluate his formation period tracing, also, the main characteristics to the reception to his thought. After that I try to present and discuss the philosophical nature as well as the criticism to his most acknowledged arguments about Theory of History.

The aim of this dissertation is to put forward conceptual frameworks to inquire into and update the following theoretical categories of Aldo Rossi’s architectural production: the city as an artefact, the idea of type, architectural autonomy, history understood as collective imagination, and the concept of the analogical city. On one hand, our inquiry puts forward a close reading of particular aspects of Rossi’s formal and theoretical production, examining Rossi’s work as well as other commentators on Rossi’s work. On the other, the inquiry is supported by a selective reading of major figures as well as canonical theories and projects from the discipline of architecture. In both cases detailed readings of texts, drawings, built and unbuilt work is undertaken to extrapolate the theoretical categories as well as key descriptive characteristics. These develop the conceptual frameworks which are diagrams that visualise the relations between categories and characteristics. Revisiting Rossi helps us re-engage with architecture as a discipline that simultaneously produces its own historical-formal body of knowledge while co-determining the wider social imagination. The discipline has, in the last decades, become weakened by the continuing proliferation of unique architecture-objects and the rejection of architecture’s fixed terms of reference. By discussing the category of discipline, we point to future work on how architecture negotiates its formal condition and its societal role. We re-learn that architecture is an instrument that puts forward singular alternative ways of living – formal possibilities – and critical interpretations of existing conditions – theoretical alternatives. The primary method of inquiry is visual and literary montage. Simultaneously analytic and synthetic, montage provides a way to isolate theoretical categories and formal examples from the mass of material, then produce new insight by making connections between things otherwise different.

<p>A large number of genocides have taken place in our history. The purpose of this essay is to examine how genocide is treated in five high school history textbooks. I have studied a large number of issues. I have examined which genocides are discussed in the textbooks and which genocides the textbooks don’t discuss. I have also examined if there are differences between the textbooks about that matter. I have studied in which context the genocides are discussed. I have also examined how the genocides are described and if there are any differences between the authors about that matter.</p><p>The method of the essay is a quantitative and qualitative text analysis. I have used the following history theories in my analysis: a critical emancipation perspective of history<em>, </em>the materialist <em>conception of history</em> and the <em>idealist conception of history.</em> In the essay a have used Frank Chalks and Kurt Jonassohns definition of genocide.</p><p>The study has shown that a large number of genocides are discussed in the textbooks, but also that a large number are not discussed. There are differences between the textbooks about that matter. The study has confirmed the critical emancipation perspective of history.</p><p>The study has shown that the descriptions of the genocides have its similarities and it's differences.</p>

This thesis explores a history of fashion and art in post-war Britain. The historical analysis of this study focuses on how institutions and spaces of public culture – such as museums, galleries, exhibitions and art schools – were used as locations for editorial photo-spreads published in the British editions of Vogue and Harper’s Bazaar between 1945 and 1962. Fashion magazines participate in the cultural production of art by depicting its institutions, its products and producers as fashionable. This thesis interrogates the ways in which the field of fashion, and fashion media in particular, thereby gives symbolic value to the field of art through its mediation. In its examination of the ways in which representations of art and fashion have been meaningfully constructed for a high fashion magazine readership, the thesis contributes to a further understanding of the relationship between fashion and art, and affords new insights into the cultural history of post-war Britain. The theoretical framework of this study engages with Agnès Rocamora’s model of ‘fashion media discourse’, which brings together the work of Michel Foucault and Pierre Bourdieu. This thesis draws upon Foucault’s work on ‘discourse’ and Bourdieu’s concept of ‘cultural production’ in order to conduct an ‘archaeology’ of post-war British fashion media and its participation in the cultural production of art. This thesis has developed Rocamora’s concept in its application to a specific historical study of fashion media. In doing so, this thesis contributes to a wider understanding of how the theoretical work of Foucault and Bourdieu can be applied in the scholarly research of fashion media and histories of fashion. This thesis contributes to the further knowledge of practices in history concerning methodologies of archival research and textual analysis.

What is queer? What is queer? What is queer theory? Where can it go from here? This thesis sets out to explore the origins and influences of queer theory before investigating the present and the future spaces (ie, bodies and settlements) it can potentially move into. Three distinct experiments of fieldwork and ethnographic filmmaking test the truths and potentialities of queer theory when relating to queer bodies and settlements. That is to say that each chapter balances a film and its supporting text by embracing the value and urgency of practice led research. The first chapter questions queer history and details the importance of emerging trans politics in the post-gender, leftist, avant-garde, queer activist and militant space of Bologna. Queer bodies, case one: transgender and transsexual perspectives. Settlements, case one: Bologna and Lido di Classe (Italy). The second chapter considers the interface between disability theory and queer theory with particular attention paid to the practical theory of ‘curative education’. Defined by Rudolf Steiner in 1922 and further developed by Karl König with the foundation of the Camphill movement in 1944, curative education privileges the social model over the medical model in the field of disability so that disability is in fact ability. Queer bodies, case two: learning differences and disabilities perspectives. Settlements, case two: Berlin (Germany), Chatou and La Rochelle (France), Barry and Glasallt Fawr (Wales, United Kingdom). The third chapter uses queer perspectives to promote the relevance of quantum physics to the human body, thus involving contemporary dance, physical theatre and the arts more generally to address and redress the chiasm between science and technology on the one hand, and arts, humanities and socio-cultural sciences on the other. Queer bodies, case three: the inescapably queer reality of the physical world. Settlements, case three: multiple locations in Tuscany (Italy), and Thamesmead, London (England, United Kingdom). This thesis brings notions of queer and otherness deceptively close to notions of the self. Otherness and queerness become mirrors in which our own queerness comes into view.

A large number of genocides have taken place in our history. The purpose of this essay is to examine how genocide is treated in five high school history textbooks. I have studied a large number of issues. I have examined which genocides are discussed in the textbooks and which genocides the textbooks don’t discuss. I have also examined if there are differences between the textbooks about that matter. I have studied in which context the genocides are discussed. I have also examined how the genocides are described and if there are any differences between the authors about that matter. The method of the essay is a quantitative and qualitative text analysis. I have used the following history theories in my analysis: a critical emancipation perspective of history, the materialist conception of history and the idealist conception of history. In the essay a have used Frank Chalks and Kurt Jonassohns definition of genocide. The study has shown that a large number of genocides are discussed in the textbooks, but also that a large number are not discussed. There are differences between the textbooks about that matter. The study has confirmed the critical emancipation perspective of history. The study has shown that the descriptions of the genocides have its similarities and it's differences.

Almost no work has been done on the substance of Kierkegaard's epistemology. I argue, however, that knowledge plays a much more important role in Kierkegaard's thought than has traditionally been appreciated. / There are two basic types of knowledge, according to Kierkegaard: "objective knowledge" and "subjective knowledge." I argue that both types of knowledge are associated by Kierkegaard with "certainty" and may be defined as justified true mental representation (forestilling). I also argue, however, that the meaning of 'certainty,' 'justified' and 'true' is derivative of the object of knowledge. That is, I argue that Kierkegaard employs these expressions in both an objective and subjective sense and that the latter sense is not, as it has often been interpreted to be, subjectivist. / Finally, I argue that an appreciation of the substance of Kierkegaard's epistemology reveals that the charges of irrationalism which have often been made against him, are without foundation.

This thesis sets out to show that a philosophical reflection on history is, in the strongest possible way, an essential feature of Hume's project of a science of human nature: a philosophical investigation of human nature, for Hume, cannot be successful independently of an understanding of the relation of human beings to their history. Hume intended to criticize traditional metaphysics by referring all knowledge to experience. But it is almost always assumed that Hume means by "experience" the result of an individual's past sense perception or personal observation. Accordingly, Hume's criticism of traditional metaphysics is taken to lead to an individualistic conception of knowledge and human nature. In this thesis I claim that this picture of Hume's "empiricism" is simply wrong. He is not a philosopher who reduces "experience" to the merely private happenings within a personal psychology. On the contrary, Hume has a wider notion of experience, one that includes not only personal observation and memory, but, fundamentally, one that includes implicit knowledge of human history. Experience, so understood, brings about what I term a historical point of view, namely, the point of view of someone who seeks to extend his experience as far as it is possible in order to acquire the capacity to produce more nuanced and impartial judgments in any given practice. It is precisely this historical point of view that enables us to depart from the individualistic perspective that we would otherwise be bound to adopt not only in epistemology but, most significantly, in politics, in social life, in religion, etc. / Chapter 1 presents the historical background against which Hume elaborates his views of history's role in philosophy. Chapter 2 discusses and criticizes the individualist reading of Hume by showing that he had a satisfactory account of beliefs formed via human testimony. Chapter 3 presents a view of Hume on explanation that underscores his interest in practical and informal explanations as those of history. Chapter 4 provides a discussion of Hume's notion of historical experience in relation both to his theory of perception and to his project of a "science of man."

Proponho apresentar alguns conceitos fundamentais do pensamento de Peter Kropotkin. Este trabalho buscou encontrar um caminho satisfatório para a compreensão da percepção de Peter Kropotkin, naquilo que transcorre sua concepção da história. Peter Kropotkin parte diante da história do anarquismo, para dar forma e conteúdo a sua teoria da história. Estudamos as interpretações do autor, sobre pressupostos como: a ética, a moral, o Estado, a ciência, o evolucionismo e a revolução na história. Sendo que todas essas noções foram entendidas dentro de uma perspectiva histórica, anunciando os conceitos de Peter Kropotkin. Na primeira parte da dissertação é construída uma abordagem biográfica sobre o autor, mostrando alguns acontecimentos que marcaram suas escolhas ideológicas e seu engajamento revolucionário. Nesse primeiro momento podemos perceber a trajetória do atuante construída por meio de um debate, que leva em consideração algumas elaborações evidenciadas em seu contexto, através de uma análise crítica sobre a construção de uma ética e de uma moral, diante das consequências que tais meios revolucionários podem acarretar, deturpando os seus fins. Na segunda parte do trabalho são discutidos os conceitos de Peter Kropotkin, sobre um ponto de vista que coloca as abordagens do autor em diálogo com outras formas de pensar a história, possibilitando aproximações e afastamentos diante desses enfoques, nos trazendo uma discussão um pouco mais profunda diante dessas problemáticas. Portanto, podemos observar tanto a importância de Peter Kropotkin, dentro daquilo que ele ainda pode nos oferecer, para se pensar alguns conceitos de história, quanto sugerir alguns dos limites que suas colocações podem ocasionar, de sorte que ao mesmo tempo destacamos o seu legado diante de seus contestadores. / I propose to present some fundamental concepts of Peter Kropotkin's thought. This work sought to find a satisfactory path for the understanding of Peter Kropotkin 's perception, in the course of his conception of history. Peter Kropotkin sets out on the history of anarchism to give shape and content to his theory of history. We study the interpretations of the author, on assumptions such as: ethics, morality, state, science, evolutionism and revolution in history. Since all these notions were understood within a historical perspective, announcing the concepts of Peter Kropotkin. In the first part of the dissertation is constructed a biographical approach on the author, showing some events that marked his ideological choices and his revolutionary engagement. In this first moment we can perceive the trajectory of the actuant constructed through a debate, which takes into account some elaborations evidenced in its context, through a critical analysis on the construction of an ethics and a moral, in the face of the consequences that such revolutionary means Can be detrimental to their ends. In the second part of the paper the concepts of Peter Kropotkin are discussed, from a point of view that puts the author's approaches in dialogue with other ways of thinking about history, allowing approximations and departures from these approaches, bringing us a somewhat deeper discussion Facing these problems. So we can see both the importance of Peter Kropotkin, in what he can still offer us, to think of some concepts of history, as to suggest some of the limits that his positions can cause, so that at the same time we highlight his legacy before Of their answering machines.

Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-18Bitstream added on 2014-06-13T18:47:35Z : No. of bitstreams: 1 bueno_rpm_me_assis.pdf: 603831 bytes, checksum: 1a73df011baa8c593754903f50fda32d (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O objetivo desta pesquisa é discutir algumas noções de história e elementos culturais, políticos e estéticos que se articulam na obra cinematográfica de Glauber Rocha (1939-1981), tendo como principais bases teóricas as contribuições de autores como Ismail Xavier e Gilles Deleuze. Os filmes analisados aqui serão Deus e o Diabo na Terra do Sol (1964), Terra em Transe (1967) e O Dragão da Maldade Contra o Santo Guerreiro (1969). Apesar das peculiaridades de cada um, podemos perceber que, neles existe a afirmação de uma historicidade na qual se articulam eventos de natureza econômica, política, cultural, devido ao caráter específico do tempo histórico. Para Deleuze, o cinema de Glauber Rocha se liga à idéia de transe. Entende-se que esse elemento se relaciona com a temporalidade histórica dos filmes, constituindo um estado no qual o tempo cronológico perde sua lógica e sua concretude. Além do mais, o transe subverte as dicotomias estáveis entre o privado e o público, a realidade e a ficção. Neste sentido, são elaborados discursos e signos fílmicos, aptos a dialogar com o contexto sócio-cultural brasileiro, apontando para suas ambigüidades, incertezas e tensões / The aim of this research is to discuss some notions of history and cultural, politics, and aesthetic elements that articulate in Glauber Rocha’s cinematographic work, having as main theoretical bases the contributions of authors as Ismail Xavier and Gilles Deleuze. The films analyzed here will be “Black God, White Devil” (1964), “Entranced Earth” (1967); e Antonio das Mortes (1969). In spite of the peculiarities of each one, we can perceive that there is the affirmation of a historicity in which they express economic, politics, cultural events, due to specific aspect of the historical time. According to Deleuze, Glauber Rocha’s cinema connects to the idea of trance. It understands that this element is related to the historical temporality of the films, constituting a state in which the chronological time loses its logic and its solidity. Furthermore, the trance subverts the steady dichotomies between the private and the public, the reality and the fiction. Thus, film speeches and signs are elaborated to dialogue with the Brazilian sociocultural background, pointing to its ambiguities, uncertainties and tensions