Submitted by Maike Costa (maiksebas@gmail.com) on 2017-09-20T11:52:24Z No. of bitstreams: 1 arquivototal.pdf: 1993118 bytes, checksum: e81f56985e6dcfa48785fcb0abd47f2a (MD5) / Made available in DSpace on 2017-09-20T11:52:24Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1993118 bytes, checksum: e81f56985e6dcfa48785fcb0abd47f2a (MD5) Previous issue date: 2015-03-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Starting from the realistic perspective outlined by Hegel's Political philosophy that research clarifies his concept of "Ethical State" by taking into account two crucial moments for its foundation: first, Hegel's criticism of utopian thinking as a shortcoming answer to the problem of State; and second, Hegel's conception as supersession of the essential moments that State itself unfolds throughout history, both in its notional reality (Realitlit) as well as in its actuality (Wirklichkeit). Accordingly, we reconstruct first Hegel's conception of State starting from his interpretation of the Greek organic State in light of Platonic political philosophy; then, we investigate Hegel's critical dialogue with modern political philosophy, in particular the natural law school. Thus, we demonstrate that Hegel's Concept of State was developed as a result of criticizing utopian thinking, considered by Hegel as an obstacle to the development of actual Ethical State, which emerges as the unique locus for achieving substantial freedom out of self-conscious subjectivity. Briefly, our goal is to demonstrate that Hegel's "Ethical State" not only involves the denial of any idealistic conception, but also that the State is a permanent ethical construction characterized by the effective participation of people, expressed by a set of laws mirroring their ethos. Thus, we show that for Hegel there is no a priori ideal model to set up an Ethical State, in so far as its truth results from the historical and social reality of peoples and its establishment is linked to the ability people can have to make its concept effective, viz. to make it coincide its essence with its existence. / Partindo da perspectiva realistica da filosofia politica tracada por Hegel, essa pesquisa se prop& a esclarecer o conceito de Estado Etico levando em consideracao dois momentos cruciais para a fundamentacao do mesmo; primeiro, a negacao do pensamento utopico como uma possivel resposta para a necessidade de se pensar os problemas relativos ao Estado, e segundo, enquanto suprassuncao dos momentos de construcao estatal ao longo da Historia, seja em seu real (ReaNat), seja em seu real efetivo (Wirklichkeit). Para tanto, tracamos um itinerario que nos conduz do Estado organico grego e de sua sistematizacao na filosofia politica platonica, ate o dialogo de Hegel com os pensadores da modernidade, em especial com a escola jusnaturalista, a fim de demonstrar que o conceito hegeliano foi elaborado como uma consequencia critica ao pensamento utopico, considerado por Hegel um empecilho ao desenvolvimento do Estado Etico, que representa o locus privilegiado para consecucao da liberdade substancial, resultante da subjetividade autoconsciente. Nosso objetivo é demonstrar que o Estado Etico é nab apenas a negacao de um momento determinado idealmente, mas principalmente que se constitui numa construcao permanente e que se caracteriza pela participacao efetiva do ethos do povo ratificado no conjunto de leis que o representa. Desta forma, nao ha um modelo pre-estabelecido para definir o Estado Etico, antes sua verdade é resultante da multiforme realidade historico-social dos povos, seu estabelecimento esta vinculado a capacidade de um povo em realizar seu proprio conceito, ou seja, sua capacidade para fazer coincidir sua essencia e sua existencia.

Orientador: Angela Maria Carneiro Araujo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T03:08:49Z (GMT). No. of bitstreams: 1 Castro_Barbara_M.pdf: 1385642 bytes, checksum: 2f5a07281149b29df20ea9e353a5d756 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa investigou a categoria de economia solidária de Paul Singer. O objetivo era compreender, de maneira crítica, o caráter de transição para uma sociedade socialista que ele outorga às iniciativas de economia solidária. Para tanto, foi necessário traçar uma cronologia de seus argumentos, entender sua concepção de socialismo e pinçar alguns dos elementos que ele seleciona na tradição marxista e na história do movimento operário para construir seu projeto político, posto que ele toma as experiências dos Pioneiros de Rochdale e o Complexo Cooperativo de Mondragón como exemplos. A continuidade histórica concomitante à recriação que ele vê na economia solidária é o fio condutor de sua argumentação, sustentada pela autogestão e por concepções similares às dos socialistas utópicos. O silenciamento sobre a questão do Estado e a preocupação com o autoritarismo justificam o uso desses elementos empíricos e teóricos, que visam dar sustentação ao seu projeto político alternativo de superação do capitalismo / Abstract: This study investigates the Paul Singer School of solidarity economy with the objective of critically understanding the transitional character towards a socialist society given to solidarity economy initiatives. With this purpose in mind, a chronology of Singer's arguments is outlined in order to understand how he conceives socialism and extract some of the elements that he selects from Marxist tradition and labor movement history to construct his political project, in which the experiences of the Rochdale Pioneers and the Mondragón Cooperative Complex are used as examples. Historical continuity accompanies the regeneration that Singer seeks in the solidarity economy and is the conducting wire in his argument, continuity that is sustained through self- management and similar concepts to those of utopian socialists. Singer's silence over the question of the State and a preoccupation with authoritairianism justify the use of these emperical and theoretical elements, that aim to justify their alternative political project beyond capitalism / Mestrado / Trabalho, Movimentos Sociais, Cultura e Politica / Mestre em Ciência Política

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-11-11T20:16:12Z No. of bitstreams: 2 Dissertação - Luciano Oliveira Silva - 2014.pdf: 2182626 bytes, checksum: 3f52f0953f66c441900bcbf296d0e464 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-12T09:38:40Z (GMT) No. of bitstreams: 2 Dissertação - Luciano Oliveira Silva - 2014.pdf: 2182626 bytes, checksum: 3f52f0953f66c441900bcbf296d0e464 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-12T09:38:40Z (GMT). No. of bitstreams: 2 Dissertação - Luciano Oliveira Silva - 2014.pdf: 2182626 bytes, checksum: 3f52f0953f66c441900bcbf296d0e464 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-11-20 / The present work, have the objective to analyze the narratives produced in Goiânia city at decade 40. The analyze privileged two periods considered of important for comprehension of representation of the city, that it’s Oeste magazine and O popular newspaper. Too we analyzed the literature period produced on period. The objective, therefore, it was to demonstrate that had different narratives forms to represent the city and these forms produced different images of the same object. In contact with the sources, it was possible to find two important types of representation, a utopian and other realistic. In the end, we represented for the reader what unfolding, implication and consequences, that these images were able to produce. / O presente trabalho tem por objetivo analisar as narrativas produzidas sobre a cidade de Goiânia na década de 1940. A análise privilegiou dois periódicos considerados como de relevante importância para a compreensão da representação produzida sobre a cidade, que são a Revista Oeste e o Jornal O Popular. Incluindo a essas fontes, analisamos também a literatura produzida no período. O intuito, portanto, foi demonstrar que houveram diferentes formas narrativas de representar a cidade, e que essas produziram imagens diferentes desse mesmo objeto. Em contato com as fontes foi possível encontrar dois importantes tipos de representação, uma utópica e outro realista. Ao final, apresentamos ao leitor quais desdobramentos, implicações e consequências, essas imagens foram capazes de produzir.

Made available in DSpace on 2015-09-25T12:20:22Z (GMT). No. of bitstreams: 1 Fabricio Dantas.pdf: 545464 bytes, checksum: 4fb590a2991e713a13ecbcaa04d9b55b (MD5) Previous issue date: 2009-04-07 / Amongst the symbolic and imagical bonds that the humanity created to defy its finitude or to expand its existence, it is the religion as bigger element of relationship between the individuals and a superior being capable to raise its dimensions. Parallel to the religion, there is the literary art as expansion element spiritual and propitiator of relief to the fidgets human beings. Either in the religion or the art, the human being is accustomed to appropriate, individually or culturally, of restructuring and utopian feelings. It is the case of the literary work of Renato Russo, vocalist Renato of the extinct band Legiao Urbana, that, between the decades of 1980 and 1990, rewrote, in literary way, hopes and utopias, in the intermediate space between the traditional aspirations and the Christian hope, and that continues invading the old and youths appreciators of its work. Being thus, considering the utopian elements intrinsically of the Christian religion and the literary art, we aim in this dissertation, from a theological-literary boarding, to verify that way Renato Russo constructs, along its songs, theological-utopian elements by means of a creative language capable a lot of times to construct metaphors and exquisite intertextualities from mainly Christian symbols. / Dentre os vínculos simbólicos e imagéticos que a humanidade criou para desafiar sua finitude ou expandir sua existência, está a religião como elemento maior de relacionamento entre o sujeito e um ente superior capaz de elevar suas dimensões. Paralelamente à religião, temos a arte literária como elemento de expansão espiritual e propiciador de alívio às inquietações humanas. Seja na religião ou na arte, o ser humano costuma utilizar-se, individualmente ou culturalmente, de sentimentos reestruturantes e utópicos. É o caso da obra de Renato Russo, vocalista da extinta banda Legião Urbana, que, entre as décadas de 1980 e 1990, reescreveu, de modo literário, esperanças e utopias, em um entremeio entre aspirações tradicionais e a esperança cristã, e que continua contagiando antigos e novos apreciadores de sua obra. Sendo assim, considerando os elementos intrinsecamente utópicos da religião cristã e da música, visamos neste trabalho, a partir de uma abordagem teológico-literária, verificar como Renato Russo constrói, ao longo de suas canções, elementos teológico-utópicos mediante uma linguagem criativa capaz muitas vezes de construir metáforas e intertextualidades primorosas a partir de símbolos sobretudo cristãos.

Made available in DSpace on 2015-09-25T12:20:33Z (GMT). No. of bitstreams: 1 Fabricio Dantas.pdf: 545464 bytes, checksum: 4fb590a2991e713a13ecbcaa04d9b55b (MD5) Previous issue date: 2009-04-07 / Amongst the symbolic and imagical bonds that the humanity created to defy its finitude or to expand its existence, it is the religion as bigger element of relationship between the individuals and a superior being capable to raise its dimensions. Parallel to the religion, there is the literary art as expansion element spiritual and propitiator of relief to the fidgets human beings. Either in the religion or the art, the human being is accustomed to appropriate, individually or culturally, of restructuring and utopian feelings. It is the case of the literary work of Renato Russo, vocalist Renato of the extinct band Legiao Urbana, that, between the decades of 1980 and 1990, rewrote, in literary way, hopes and utopias, in the intermediate space between the traditional aspirations and the Christian hope, and that continues invading the old and youths appreciators of its work. Being thus, considering the utopian elements intrinsically of the Christian religion and the literary art, we aim in this dissertation, from a theological-literary boarding, to verify that way Renato Russo constructs, along its songs, theological-utopian elements by means of a creative language capable a lot of times to construct metaphors and exquisite intertextualities from mainly Christian symbols. / Dentre os vínculos simbólicos e imagéticos que a humanidade criou para desafiar sua finitude ou expandir sua existência, está a religião como elemento maior de relacionamento entre o sujeito e um ente superior capaz de elevar suas dimensões. Paralelamente à religião, temos a arte literária como elemento de expansão espiritual e propiciador de alívio às inquietações humanas. Seja na religião ou na arte, o ser humano costuma utilizar-se, individualmente ou culturalmente, de sentimentos reestruturantes e utópicos. É o caso da obra de Renato Russo, vocalista da extinta banda Legião Urbana, que, entre as décadas de 1980 e 1990, reescreveu, de modo literário, esperanças e utopias, em um entremeio entre aspirações tradicionais e a esperança cristã, e que continua contagiando antigos e novos apreciadores de sua obra. Sendo assim, considerando os elementos intrinsecamente utópicos da religião cristã e da música, visamos neste trabalho, a partir de uma abordagem teológico-literária, verificar como Renato Russo constrói, ao longo de suas canções, elementos teológico-utópicos mediante uma linguagem criativa capaz muitas vezes de construir metáforas e intertextualidades primorosas a partir de símbolos sobretudo cristãos.

This master thesis deals with topic of specific urban political régime of the town of Zlín between years of 1923 and 1938. In the interwar period Zlín was ruled by monopolist rule of Baťa Shoes Company. This firm had dominant economic position in the respective town and it created own candidate list composed of company managers which was winning municipal elections. Town of Zlín is example of specific phenomenon of capitalist paternalism (our own term) realized over area of so called company town. In our study we provide basic historic background of mentioned terms. Then we explore particular aspects of Baťa's rule over Zlín like factors of cultural, economic or employment policies. After all of these aspects we try to create whole picture of Baťa's régime. We compare it with other flourishing régimes of the period too. Baťa's Zlín régime ("batism) had strong modernist and emancipatory effect on its participants. In the same time it formed and manipulated with these respective participants without expectable defense reactions of these people. We would like to examine specific power relations of Baťa's rule and to describe its behavior and reception in Zlín society of interwar time.

This diploma thesis deals with theme of so called Bataism as specific kind of societal order realized in the frame of so called company town. Bataism is characterized by that kind of political power sui generis which primarily depends on economic strength of Bata Shoes Company. Political power of Bata is substantially realizing its political power especially in the frame of town of Zlin. By researching Bataism we define term of so called capitalist paternalism which primarily describes specifics of capitalist/paternalist rule over enclosed area of his own company town (de George, Salt), then historically secondarily also specifics of his rule over broader area (Ford). By researching Bataism from an angle of political science we concentrate on the definition of its power structures and the very character of that power itself. For these purposes we use concepts of Michel Foucault as disciplinary power and model of so called Panopticon. In addition we provide definition of Bataism from the perspective of ideology and utopia. Aim of our work is describing and explaining (seeming) paradox: political program of Bataism is continually legitimized by democratic method although its performance can be seen generally non- democratic.

No description available.

Under the recent shadow of the Civil War and the failures of Reconstruction, popular writers mocked the national naiveté that led to major distortions in the American cultural self-image. In this dissertation, I study the socially and politically motivated satire of the era between the end of the Civil War and the beginning of the First World War. For too long, scholarship in this area has focused almost exclusively on three major satirists and social critics from the Gilded Age: Henry James, Edith Wharton, and Mark Twain. Though I do include some of Mark Twain’s lesser-known later writing as a lens through which to re-examine what is arguably the greatest work of American satire, Adventures of Huckleberry Finn, the main objective here is to interrogate lesser-known works by other authors of the period, famous as well as relatively unknown. My dissertation aims to uncover neglected works by more famous authors like William Dean Howells and Charlotte Perkins Gilman; to refresh our thinking about writers such as Charles Chesnutt, Finley Peter Dunne, and Edward Bellamy; and to reveal the satirical depths of overlooked figures like Marietta Holley and Mary E. Bradley Lane. Given the parallels between the Confident Years and the United States in the early twenty-first century, in-depth review of the satire of the earlier period seems not only timely but vital. / 2020-11-07T00:00:00Z

We live in an age of rapid change. The advance of science and technology, throughout history, has culminated in periods of transition when social values have had to adapt to a changed environment. Such times have proved fertile ground for the expansion of the imagination. Utopian literature offers a vast archive of information concerning the relationship between scientific and technological progress and social change. Alterations in the most basic machinery of society inspired utopian authors to write of distant and future worlds which had achieved a state of harmony and plenty. The dilemmas which writers faced were particular to their era, but there also emerged certain universal themes and questions: What is the best organisation of society? What tools would be adequate to the task? What does it mean to be human? The dividing line on these issues revolves around two opposed beliefs. Some perceived the power inherent in technology to effect the greatest improvement in the human condition. Others were convinced that the organisation of the social order must come first so as to create an environment sympathetic to perceived human needs. There are, necessarily, contradictions in such a division. They can be seen plainly in More's Utopia itself. More wanted to see new science and technique developed. But he also condemned the social consequences which inevitably flowed from the process of discovery. These consequences led More to create a utopia based on social reorganisation. In the main, the utopias of Francis Bacon, Edward Bellamy and the later H. G. Wells accepted science, while the work of William Morris, Aldous Huxley and Kurt Vonnegut rejected science in preference for a different social order. More's Utopia and Bacon's New Atlantis were written at a time when feudal, agricultural society was being transformed by new discoveries and techniques. In a later age, Bellamy's Looking Backward and Morris's News From Nowhere offer contrary responses to society at the height of the Industrial evolution. These four authors serve as a prelude to the main area of the thesis which centres on the twentieth century. Wells, though his first novel appeared in 1895, produced the vast bulk of his work in the current century. Huxley acts as an appropriate balance to Wells and also exemplifies the shift from utopia to dystopia. The last section of the thesis deals with the work of Kurt Vonnegut and includes an interview with that author. The twentieth century has seen the proliferation of dystopias, portraits of the disastrous consequences of the headlong pursuit of science and technology, unallied to human values. Huxley and Vonnegut crystallised the fears of a modern generation: that we create a soulless, mechanised, urban nightmare. The contemporary fascination with science in literature is merely an extension of a process with a long tradition and underlying theme. The advance of science and technology created the physical and intellectual environment for utopian authors which determined the form and content of their visions.