Rozprawy doktorskie na temat „Humanism – 20th century”

 This thesis sets to sketch Chinese intellectuals’ sustained efforts to search for an alternative modernity to the Western model throughout the twentieth century, and uncover the interaction between intellectual politics and Chinese modernity discourse by historicizing and contextualizing Chinese modernity discourse. This study starts with delineating the consistence and the inconsistence of Chinese modernity discourses by juxtaposing different historical conditions and examining reappeared trends of thoughts. Three intellectual currents, i.e., cultural conservatism, humanism, and professionalism, which emerged in the May Fourth period and remerged in the post-socialist condition, are examined to mirror the spiral dynamics and the locus of Chinese modernity. Their respective roles in reconstructing Chinese cultural, ethical and academic orders in response to Western model of modernity are highlighted in the research. Cultural conservatism attempts to legitimize the Chinese culture in the framework of global modernity by resetting or reinterpreting the dialectical relation between the whole and part, universalism, and essentialism. Humanism emphasizes the standard, the guidance of authority, and the self-perfection to resist the ethical disorder caused by the so-called “modern spirit”, which is embodied by individualism, romanticism, and the immoderate expansion of desire. Professionalism influences the pattern of producing and reproducing knowledge about modernity by re-standardizing the academic and the discursive fields and by remolding the identity of the agents. After exposing how the “alternative modernity” in China, as a discursive-political device, has been produced and repackaged with various contents and meanings, this thesis proceeds to explore the intellectual pedestal of Chinese modernity discourses from two aspects. First, how do the intellectual strategies of self-positioning and position-taking influence knowledge production and reproduction of the Chinese modernity discourse; second, how articulation and re-articulation of modernity discourse reflect the self-adjustments of intellectual politics as well as identity shifts. Through the comparative and diachronic examinations, it poses that, as Chinese modernity discourse is increasingly served as a symbolic capital or a strategy of intellectual politics, it gradually loses its authenticity or even becomes a signifier without signified. Meanwhile, the state-led modernization practice is reversely becoming homogenous, stable, and less diverse, although the dominant ideology, namely, socialism with Chinese characteristics, is, in itself, hybrid, paradoxical, and strategically manufactured.
published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy

During the early twentieth century, Japan was modernizing in all areas of science and art, including children’s literature. Ogawa Mimei (1882-1961) was a prolific writer who advanced various literary forms such as short stories, poems, essays, children’s stories, and children’s songs. As a writer, he was most active during the late Meiji (1868-1912) to Taishō (1912-1926) periods when he was a socialist. During that time, he penned many socialist short stories and children’s stories that were filtered through his humanistic, anarchistic, and romanticist ideals. In this thesis, I analyze Mimei’s socialist short stories and children’s stories written in the 1910s and 1920s. I identify both the characteristics of his writing style and the themes so we can probe Mimei’s ideological and aesthetic ideas, which have been discounted by contemporary critics. His socialist short stories challenged the dogmatic literary approach of Japanese proletarian literature during its golden age of the late 1920s and early 1930s. His socialist children’s stories also deviated from the standard of Japanese children’s literature in the 1950s and 1960s. In this thesis, I break away from the narrow views that confined Mimei to certain literary standards. This thesis is a reevaluation of Mimei’s literature on his own terms from a holistic perspective.

In 1936, André Jolivet (1905-1974), Yves Baudrier (1906-1988), Olivier Messiaen (1908-1992), Jean-Yves Daniel-Lesur (1908-2002), and Pierre Schaeffer (1910-1995) founded the group Jeune France. They initiated this group under the influence of politically nonconformist movements in France which had started in the 1920s. The ideology of Jeune France was to revive in music 'true human qualities', free from 'extreme political domination'. At a time when some composers, associated with a revolutionary Left wing, were exploring avant-garde ideas in music that included atonalism, serialism, and other advanced techniques out of the common practice, other composers fell into a nationalistic Right wing, recalling the French Catholic traditions, and promoting an exclusive and true 'French' music. In contrast to these polarizing trends, Jeune France tried to trace back its art to its origins, and the goal of Jeune France was to re-establish music composition as something less 'abstract' than the Left, and more 'human' than the Right. The most powerful sound that can reflect the tenets of humanism in music is probably the human voice, especially multiple voices in a choral setting. Thus unaccompanied choral works, in particular, came to be a hallmark of many major composers of the 20th Century. The prevailing social and political environment of the pre-World War Two era also played an important role in contributing to the revival of unaccompanied choral music as a major genre. To demonstrate how these general social and political forces operated in the particular in France at this time, I have used Daniel-Lesur's Le Cantique des Cantiques (1952) to show how these affected a composer at this time. The goal of this research has been to look in depth at both Daniel-Lesur and his most famous work, about which little has been written in English; and to add to a growing body of literature which explores the rise of unaccompanied choral compositions as an important genre in the early 20th Century, a shift that is tied to political, cultural, and social conditions as well as musical ones. Taking Le Cantique des Cantiques as a token of a type, I show how this work reflects these issues as well as the aesthetics behind Jeune France. Finally, I have tried to show just how the experience of Jeune France influenced Daniel-Lesur as a composer as it did his more famous contemporary, Messiaen.

This thesis contends that technologically-derived resurrections of human bodies and bodily fragments can be viewed as indicative of a 'post-biological' ontology. Drawing from examples in which human bodies are resurrected, both figuratively and actually, this thesis puts forward the term 'post-biological subject' as an ideological framework for conceptualising the reconfiguration of human ontology that results from various medical technologies that 'resurrect' the human body. In this instance, the term 'postbiological', borrowed from Hans Moravec who uses it denote a future in which human being is radically disembodied and resurrected within a digital realm, is used somewhat ironically: where Moravec imagines an afterlife in which the body is discarded as so much 'meat', the post-biological afterlife of the body in this thesis centres around a form of corporeal resurrection. Corpses, living organs and excreta may all be resurrected, some of them in digital format, yet this kind of resurrection departs radically from the disembodied spiritual bliss imagined in many conceptualisations of resurrection. The post-biological subject resists ontological delineation and problematises boundaries defining self and other, living and dead, and human and nonhuman and is fraught with a number of cultural anxieties about its unique ontological status. These concerns are analysed in the context of a number of phenomena, including melancholy, horror, monstrosity and the uncanny, all of which similarly indicate an anxious fixation with human ontology. The purpose of discussing post-biological bodies in relation to phenomena such as melancholy or the uncanny is not to reinstate as ideological frameworks the psychoanalytic models from which these concepts are derived, but rather to use them as starting points for more complex analyses of postbiological ontology. The first and second chapters of this thesis discuss instances in which the human body is posthumously modified, drawing on Gunther von Hagens's Body Worlds exhibition and the Visible Human Project. The Body Worlds plastinates are situated in a liminal and ambiguous ontological space between life and death, and it is argued that their extraordinary ontological status evokes a form of imagined melancholy, wherein the longed-for and lost melancholic object is a complete process of death. In the case of the Visible Human Project, it is argued that the gruesome and highly technologised process of creating the Visible Male, wherein the corpse is effectively dehumanised and iv rendered geometric, evokes the trope of horror, while at the same time being fraught with a nostalgic longing for a pre-technological, anatomically 'authentic' body. The third and fourth chapters of this thesis discuss instances in which the living human body is reconfigured, focusing on immortal cell lines and organ transplantation, and on medical imaging technologies such as computed tomography and magnetic resonance imaging. In the third chapter it is argued that organ transplantation and the creation of immortal cell lines give rise to profound anxieties about ontological contamination through their capacity to render permeable the imagined boundaries defining self, and in this way invoke the monstrous. The fourth chapter interrogates the representation of medical imaging in Don DeLillo?s novel White Noise, arguing that the medical representation of the body functions as a form of double, a digital doppelganger that elicits an uncanny anxiety through its capacity to presage death.

Orientador: Aline Vieira de Carvalho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A presente pesquisa analisa como se deu a construção dos discursos sobre Homem e Humanismo por Paul Rivet e Paulo Duarte, intelectuais que influenciaram de maneira fundamental o desenvolvimento de alguns dos principais pilares da Arqueologia acadêmica no Brasil. Essa investigação tem o objetivo de demonstrar que os conceitos não são verdades naturais e imodificáveis, mas construções discursivas que devem ser investigadas para ressaltar sua historicidade e seus usos políticos, e, portanto, sua capacidade de transformação e adaptação. Este trabalho foca-se especialmente na análise dos conceitos de Homem e Humanismo em Rivet e Duarte, procurando demonstrar que sua construção se deu obedecendo aos desejos, interesses e contextos de seus produtores. Relidas na atualidade, tais concepções podem abrir espaços para repensarmos termos que são caros à Arqueologia
Abstract: This research aims to analyze how speech construction about Human and Humanism were made by Paul Rivet and Paulo Duarte, intellectuals who deeply influenced the development of some of the main pillars of academic Archaeology in Brazil. This research aims to show that a concept is not an unchangeable and natural truth, but it is a discursive construction that should be investigated to stand out its historicity and politic uses, and therefore its transformation and adaptation capability. The main focus of this paper is to analyze the concepts of Man and Humanism in Rivet e Duarte, trying to show that the construction of these concepts were based on obeying the producers 'desires, interest and contexts. Read today, these concepts are able to open up spaces for rethinking terms that are important to Archaeology
Mestrado
Historia Cultural
Mestra em História

Seamus Heaney's prose poetics return repeatedly to the adequacy of poetry, its ameliorative, restorative response to the inimical reality of life in the public domain. Drawing on manuscript as well as print sources, this thesis charts the development of this central theme, demonstrating the extent to which it threads throughout the whole of Heaney's thought, from his earliest conceptual formation to his late cultural poetics. Heaney's preoccupation with this idea largely originates in his undergraduate studies where he encounters Leavis and Arnold's accounts of poetry's adequacy: its ameliorative cultural and spiritual function. He also inherits, from Romantic and modernist influences, two differing accounts of poetry's relationship to reality. That conflicted inheritance engenders a crisis within Heaney's own early theorisation of poetry's adequacy to the violence of public life. An important period of clarification ensues, out of which emerge the dualisms of his later thought, and his emphasis on poetry's capacity to encompass, and yet remain separate from, ‘history'. Accompanied by habitual appropriation of Christian doctrine and language, these conceptual structures increasingly assume a redemptive pattern. By the mid-1990s, Heaney's humanist commitment to a ‘totally adequate' poetry has assumed a thoroughly Arnoldian character. The logical strain of his conceptual constructions—particularly the emphasis on poetry's autonomy from history—becomes acutely apparent, revealing just how appropriate the ambivalent ideal ‘adequacy' is. The subsequent expansion of Heaney's poetics into a general affirmation of the arts illuminates the fiduciary character of his trust in poetry while exposing the limits of that trust: Heaney's belief in poetry's adequacy constitutes a humanist substitute for—indeed, an ‘afterimage' of—Christian belief. This, finally, is the deep significance of the idea of adequacy to Heaney's thought: it allows us to identify precisely the Arnoldian origin, the late humanist character, and the limits of his troubled trust in poetry.

Este estudo busca trazer elementos para explicar a crise que dissolveu a Unilabor, uma experiência autogestionária operária única a seu tempo, em São Paulo, através da análise da documentação interna da empresa, das informações prestadas por alguns dos participantes, entrevistados, e pelo recurso à hipótese de prevalência de uma racionalidade instrumental, a certa altura dos acontecimentos, em lugar da racionalidade substantiva pressuposta nos fundamentos da comunidade. Os elementos para a formulação e exame dessa hipótese provêm das teorias marxistas do trabalho, conforme reformuladas e atualizadas por autores como Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz e Ricardo Antunes, os quais, mesmo não uniformemente, apontam os elementos atuais de uma crise da categoria \'trabalho\' como elemento central da formação da riqueza. Também os conceitos de comunidade, solidariedade, esperança e amizade, conforme expostos e analisados por Giorgio Agamben e Terry Eagleton, servirão para problematizar as conclusões do trabalho. O aspecto estético, consubstanciado no desenho industrial utilizado nos móveis produzidos pela Unilabor, aparece como fundamento secundário da hipótese de insuficiência substantiva apresentada, pois pretendeu ser fator pedagógico, portanto de aprendizado de ofício, para os operários envolvidos na autogestão. Tal programa estético, tanto quanto a solidariedade, a amizade e a racionalidade substantiva, também mostrou-se insuficiente para a manutenção dos laços comunitários.
This study aims to gather elements to explain the crisis that dissolved Unilabor, a workers\' self-management experience in São Paulo that was unique in its time, through the analysis of the company\'s internal documentation, through information provided by some of the participants who were interviewed, as well as by resorting to the hypothesis of prevalence of an instrumental rationality, at one point, in place of the substantive rationality assumed in the fundamentals of the community. The elements for the formulation and analysis of this hypothesis come from Marxist theories of labor, as reformulated and updated by authors such as Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz, and Ricardo Antunes, who, albeit not uniformly, have pointed out the current elements of a crisis of the category \'work\' as a central element in the creation of wealth. Additionally, the concepts of community, solidarity, hope, and friendship, as defined and analyzed by Giorgio Agamben, and Terry Eagleton will be used to open the conclusions of this paper up to discussion. The aesthetic aspect, embodied in the industrial design of the furniture produced by Unilabor is present as a background for the substantive insufficiency hypothesis that is presented, since it intends to function as a factor that is pedagogical, thus concerning the learning of one\'s craft by workers involved in the self-management. This aesthetic program, as much as the solidarity, friendship, and substantive rationality, also proved to be insufficient for the maintenance of community ties.

This study tries to tackle the notion of “urban aesthetics” as it was articulated throughout the first three decades of the 20th century in Portuguese writing on the city, and practised in different forms of spatial production. A diffuse vocabulary – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – signals a persistent understanding of the city as a work of art, both in the way it was experienced – an “urban aesthetic” – and contrived – an “urban aesthetics.” The general ambition of this study is to give visibility to and to reconstruct the conditions of legibility of this set of writings and practices which responded to the once alluring call of the aesthetic. The territory elected to trace the conceptual and practical unravelling of these ideas – so intricately linked to the particularities of place – is Lisbon. In this city, the topic becomes almost unavoidable in writings on urban presents and futures after 1900. Aesthetic arguments were consistently and insistently employed to critically describe urban beauty or, more frequently, urban ugliness, to advocate aesthetic improvement and to justify or criticize concrete ideas and projects. This phenomenon is studied against a background of intense international exchange during this formative phase of the modern planning disciplines, from Town and City Planning to Städtebau and Urbanisme. Aesthetic considerations were manifestly present, and it is argued that aesthetic discourse in Lisbon signals the reception of internationally circulating ideas, words, images and people. More precisely, this study proceeds to a kind of archaeology of the gaze and discourse of “urban aesthetics,” studying the functions it performed within different social, cultural and political contexts and the relations and tensions with relevant urban realities which pervaded it. One conclusion is that the notion of an “urban aesthetics” remained ill-defined, a common place relying on shared adversity to the modern urban landscape rather than any explicit program or solution. Subsequently, the assimilation by municipal regulation and institutions of public demands of “aesthetic supervision” is reconstructed. The four years of municipal council activity of the architect Miguel Ventura Terra, from 1908 to 1913, were crucial in this tentative articulation of actual practices of aesthetic control and urban design, even if along the subsequent decades they were never given the desired legal and institutional breath. Finally, during the 1930s the vocabulary of “urban aesthetics” was appropriated by a new generation of architects, urban planners and politicians and put at the service of the urban ideals of a dictatorial New State, signalling the persistence of aesthetic considerations in the local institution of the discipline of planning. An epilogue proposes that the viewpoint of urban aesthetics can contribute to new perspectives over the production and experience of Lisbon during the first decades of the 20th century.
La presente investigación enfoca la noción de “estética urbana” tal como la fueron articulando las escritos sobre la ciudad y los diferentes modos de hacer cuidad durante las primeras tres décadas del siglo XX. Un copioso vocabulario – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – señala un entendimiento persistente de la ciudad experimentada y deseada como obra de arte. La aspiración global de la investigación es dar visibilidad y reconstruir las condiciones de legibilidad a este conjunto de escritos y prácticas que respondían a la llamada antes atractiva del estético. Lisboa es el territorio elegido para rastrear su enredo conceptual y material. Sobre todo a partir de 1900 el tema se vuelve una parada casi obligatoria en escritos sobre el presente y futuro de la ciudad. El uso de argumentos de carácter estético para describir críticamente la belleza o, más comúnmente, la fealdad urbana, para promover mejoras estéticas o para justificar o criticar ideas y proyectos concretos era consistente e insistente. En el trasfondo se apunta el cerrado intercambio internacional durante la formación de las modernas disciplinas urbanísticas, de la Town and City Planning a la Städtebau y el Urbanisme. Dentro del horizonte disciplinar, las consideraciones estéticas tenían lugar relevante, y el desarrollo de la “estética urbana” en Lisboa es interpretado como manifestación de la recepción de ideas, palabras, imágenes y personas que circulaban internacionalmente. Asimismo, se propone una especie de arqueología de la mirada y del discurso de la “estética urbana,” estudiando las funciones que la noción ejercía en distintos contextos sociales, culturales y políticos y las relaciones y tensiones que nacían del embate con realidades urbanas relevantes. Una de las conclusiones es que la noción de “estética urbana” apenas se definía; era un lugar común que se alimentaba más de la hostilidad compartida ante el moderno paisaje urbano que de un programa o solución explícito. Por otro lado, se indaga como las exigencias de la opinión pública de “supervisión estética” eran asimiladas o no en ordenanzas e instituciones municipales o nacionales. Los cuatro años en los que el arquitecto Miguel Ventura Terra integró el ayuntamiento de la ciudad, de 1908 a 1913, resultan decisivos en el pretendido despliegue de prácticas eficaces de controlo estético y diseño urbano, incluso cuando no recibieron la deseada amplitud legal e institucional durante las dos décadas siguientes. Después de 1926 el vocabulario de la “estética urbana” fue, por ende, apropiado por una nueva generación de arquitectos, urbanistas y políticos y puesta al servicio de los ideales urbanos de la dictadura del Estado Novo, sugiriendo que motivos estéticos persistan en la constitución de la moderna disciplina urbanística. Un epílogo propone que la mirada hacia y desde la estética urbana puede contribuir a esbozar nuevas perspectivas sobre la producción y experiencia de la ciudad de Lisboa durante las primeras décadas del siglo XX.
Este estudo aborda a noção de “estética urbana” ou “da cidade,” tal como foi formulada durante as primeiras três décadas do século XX em escritos sobre a cidade, e praticada em diferentes formas de produção de espaço. Um profuso vocabulário – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – assinala um entendimento persistente da cidade experimentada e desejada como obra de arte. A ambição global deste estudo é a de dar visibilidade a e reconstruir as condições de legibilidade deste conjunto de escritos e práticas que respondiam ao apelo outrora tentador do estético. O território elegido para rastrear a trama conceptual e prática destas ideias – tão intrincadamente ligadas às especificidades do lugar – é Lisboa. Sobretudo a partir de 1900 o tema torna-se passagem quase obrigatória em escritos sobre o presente e o futuro da cidade. Argumentos de carácter estético eram mobilizados de forma consistente e insistente para descrever criticamente a beleza e, mais comummente, a fealdade urbanas, para promover “embelezamentos” e para justificar ou criticar ideias e projectos concretos. Este fenómeno é visto contra o fundo de um denso intercâmbio internacional durante a formação das modernas disciplinas urbanísticas, da Town and City Planning à Städtebau e ao Urbanisme. Neste panorama, considerações estéticas marcavam presença, e o florescimento da “estética urbana” em Lisboa é entendida como sintoma da recepção desta circulação internacional de ideias, palavras, imagens e pessoas. Mais especificamente, este estudo propõe uma espécie de arqueologia do olhar e do discurso da “estética urbana,” estudando as funções desempenhadas por este termo em diferentes contextos sociais, culturais e políticos e as relações e tensões que nasciam do seu confronto com realidades urbanas relevantes. Uma conclusão é que a noção de “estética urbana” ficou por definir; era um lugar comum que dependia mais de uma animosidade partilhada perante a moderna paisagem urbana do que um programa ou solução explícita. De seguida, a assimilação (e não-assimilação) das exigências públicas de “supervisão estética” em regulamentos e instituições municipais ou nacionais é rastreada. Os quatro anos em que o arquitecto Miguel Ventura Terra foi vereador da cidade, entre 1908 e 1913, revelam-se cruciais nesta tentativa de articular práticas efectivas de controlo estético e desenho urbano, mesmo se durante as duas décadas subsequentes estas nunca receberam a desejada abrangência legal e institucional. A partir de 1926 o vocabulário da “estética urbana” foi apropriado por uma nova geração de arquitectos, urbanistas e políticos, e posto ao serviço dos ideais urbanos da ditadura do Estado Novo, sinalizando a persistência de motivos estéticos na constituição da moderna disciplina urbanística. Um epílogo propõe que o olhar para e desde a estética urbana pode contribuir a trazer novas perspectivas sobre a produção e experiência da cidade de Lisboa durante as primeiras décadas do século XX.

Thesis advisor: David Rasmussen
This thesis begins by analyzing three different philosophies on human rights. It looks to the foundations of these theories, but focuses primarily on the obligations that each system creates. It evaluates cosmopolitanism and two different institutionalist arguments, eventually settling on a tiered system of international responsibility as the strongest and most practical conception of rights. The second chapter of the thesis discusses the role of the International Criminal Court as a part of this tiered system, and as a means to promote human rights across the globe. This section evaluates the court by considering its historical foundations, its goals and responsibilities, and its actions over the past ten years. It concludes by providing recommendations for the future of the court
Thesis (BA) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program

L’œuvre de Helli Alexiou (1894-1988) est indissociable de sa vie, axée sur ses idées politiques de gauche et son métier de pédagogue. La thèse constitue une contribution à la littérature réaliste. Elle cherche à montrer, en quatre parties, la présence active de l’humanisme d’Alexiou dans l’évolution de son œuvre, et plus spécialement à travers la prise de conscience des souffrances humaines. La première partie aborde la vie de l’auteur et tente de la situer dans son milieu familial et son contexte historique en décrivant aussi son parcours pro¬fessionnel. La deuxième partie traite du statut de ses écrits littéraires en mettant l’accent sur ses aspects réalistes et huma¬nistes. La troisième partie est consacrée à sa mission et sa vocation éducatives. La quatrième partie analyse son roman Troisième lycée de jeunes filles, qui rassemble la plus grande partie de ces thèmes. / The work of Helli Alexiou cannot be dissociated from her life which was largely influenced by her left-wing political ideas and her pedagogic work. The thesis tries to show, in four sections, the active presence of humanism in the evolution of Alexiou’s work, focusing especially on human suffering. The first section deals with the author’s life, the family and historical environment and describes her professional itinerary. The second section takes into account her literary writings, emphasizing the realistic and humanistic aspects. The third section focuses on her teaching mission and teaching vocation. The fourth section analyses her book « Troisième Lycée de jeunes filles » which groups most of these topics.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

La tesi ha lo scopo di inquadrare Giordani nel contesto del mondo culturale cattolico tra le due guerre e di approfondire la sua proposta di «cristianesimo integrale» come soluzione alla crisi che negli anni Venti e Trenta viziò il mondo economico, il sistema politico e lo scenario culturale, a livello di principi fondamentali, di valori. Per questo si è dato assoluto rilievo ai rapporti di Giordani con molti intellettuali suoi contemporanei e con varie istituzioni culturali cattoliche. Il testo segue dapprima un indirizzo biografico, che permette di ripercorrere la vita di Giordani dalla giovinezza, segnata dalla guerra e dall’esperienza al fronte, alla sua serena fine, nel 1980. Si tratta di una testimonianza di come la sua conseguenzialità tra fede e opere abbia inciso negli ambienti che lo hanno visto protagonista, tanto che è stato avviato per lui il processo di beatificazione. La ricerca è stata condotta tenendo conto degli scritti di Giordani e della storiografia precedente, ma soprattutto utilizzando numerosi materiali d’archivio. In particolare i carteggi privati aiutano a ricostruire l’operato di Giordani a favore dell’impegno degli intellettuali cattolici negli anni oscuri del fascismo e la sua indefessa attività per la realizzazione di un nuovo umanesimo. Altro spazio è stato riservato ai rapporti maturati da Giordani con due esponenti del mondo cattolico italiano di quel periodo, ovvero Giovanni Papini e Piero Bargellini.
This dissertation aims at setting Igino Giordani within the broader framework of the catholic cultural environment between the two world wars. It focuses on his proposal of an «integral Christianity» as a solution to the recession which threatened the fundamental values and principles of the economy, politics and culture during the 1920's and 1930's. This is the reason why the relationships between Giordani and many of his colleagues and cultural catholic institutions have been studied in depth. The work starts with a biography, underlining how Giordani's youth has been affected by the war and the experience as a soldier, up to his peaceful death, in 1980. His life shows how the consistency of his actions with his faith made him an influent personality in his working environments, to the point that the beatification process has begun. The research is based on Giordani's writings and on the previous historiography, but the most important source is constituted by a large number of archive documents. Particularly, Giordani's private correspondence has been very useful in understanding how he acted in order to support the engagement of the catholic intellectuals during the dark fascist age and his endless activity in order to build a new humanism. The work also focuses on the relationships between Giordani and two members of the Italian catholic world of the time: Giovanni Papini and Piero Bargellini.

La tesi ha lo scopo di inquadrare Giordani nel contesto del mondo culturale cattolico tra le due guerre e di approfondire la sua proposta di «cristianesimo integrale» come soluzione alla crisi che negli anni Venti e Trenta viziò il mondo economico, il sistema politico e lo scenario culturale, a livello di principi fondamentali, di valori. Per questo si è dato assoluto rilievo ai rapporti di Giordani con molti intellettuali suoi contemporanei e con varie istituzioni culturali cattoliche. Il testo segue dapprima un indirizzo biografico, che permette di ripercorrere la vita di Giordani dalla giovinezza, segnata dalla guerra e dall’esperienza al fronte, alla sua serena fine, nel 1980. Si tratta di una testimonianza di come la sua conseguenzialità tra fede e opere abbia inciso negli ambienti che lo hanno visto protagonista, tanto che è stato avviato per lui il processo di beatificazione. La ricerca è stata condotta tenendo conto degli scritti di Giordani e della storiografia precedente, ma soprattutto utilizzando numerosi materiali d’archivio. In particolare i carteggi privati aiutano a ricostruire l’operato di Giordani a favore dell’impegno degli intellettuali cattolici negli anni oscuri del fascismo e la sua indefessa attività per la realizzazione di un nuovo umanesimo. Altro spazio è stato riservato ai rapporti maturati da Giordani con due esponenti del mondo cattolico italiano di quel periodo, ovvero Giovanni Papini e Piero Bargellini.
This dissertation aims at setting Igino Giordani within the broader framework of the catholic cultural environment between the two world wars. It focuses on his proposal of an «integral Christianity» as a solution to the recession which threatened the fundamental values and principles of the economy, politics and culture during the 1920's and 1930's. This is the reason why the relationships between Giordani and many of his colleagues and cultural catholic institutions have been studied in depth. The work starts with a biography, underlining how Giordani's youth has been affected by the war and the experience as a soldier, up to his peaceful death, in 1980. His life shows how the consistency of his actions with his faith made him an influent personality in his working environments, to the point that the beatification process has begun. The research is based on Giordani's writings and on the previous historiography, but the most important source is constituted by a large number of archive documents. Particularly, Giordani's private correspondence has been very useful in understanding how he acted in order to support the engagement of the catholic intellectuals during the dark fascist age and his endless activity in order to build a new humanism. The work also focuses on the relationships between Giordani and two members of the Italian catholic world of the time: Giovanni Papini and Piero Bargellini.

Esta investigación pretende contribuir a la comprensión histórica del papel que jugó la homeopatía en el desarrollo científico y social en Cataluña a principios del siglo XX (1890- 1924) a partir de los esfuerzos de este colectivo para profesionalizarse y relacionarse con la ciencia ortodoxa del momento. La tesis explora las diferentes estrategias de legitimación utilizadas por el colectivo de médicos homeópatas para no ser excluidos de la corriente científica que se estaba definiendo, y parte de la hipótesis de que en las primeras décadas del siglo XX, en un contexto en que se estaba definiendo el marco conceptual de la medicina de nuestros días, los procesos de construcción social y científica fueron claves en la legitimación y en la consecuente obtención de autoridad, de cada uno de los sistemas médicos que componían la ciencia médica del momento. En este sentido, la memoria profundiza en ámbitos claves en el desarrollo de la medicina: la institucionalización de la disciplina y sus órganos de difusión; el mercado competencial de consultorios y dispensarios junto con la relación del remedio homeopático con el mercado farmacéutico y la consecuente transformación del paciente en cliente; y la introducción del laboratorio y los discursos experimentales como aspectos claves en la consolidación científica de la medicina. A partir del estudio de las relaciones bidireccionales en estos diferentes ámbitos, la tesis muestra los debates, las controversias y los cambios epistemológicos que tuvieron lugar dentro del propio movimiento homeopático y que fueron claves en el desarrollo de la disciplina. A la vez, esta investigación introduce como, a partir de las estrategias utilizadas para su legitimación, la homeopatía participó en la consolidación de la sociedad liberal / capitalista, dotando a la capital catalana de instituciones para el mantenimiento del orden social y resignificando la terapéutica homeopática para incluir el remedio homeopático en un mercado potente, y a la vez revela las conexiones entre las clases aristocráticas y burguesas con la presencia pública de la disciplina a través del análisis del Hospital Homeópata del Niño Dios. Esta memoria presenta desde una perspectiva historiográfica novedosa y caracterizada por su enfoque crítico, las estrategias de legitimación, los procesos de inclusión, exclusión, recepción y adaptación de los nuevos descubrimientos científicos por parte de un sistema médico que pretendía legitimar sus postulados para no ser excluida de la medicina oficial. La tesis revela las estrategias claves en la construcción social y científica de la homeopatía en Cataluña: la estrategia institucional, la discursiva y la metodológica o experimental, que paradójicamente en algunos casos provocó la legitimación social y la deslegitimación científica de la homeopatía.
This research aims to contribute to the historical understanding of the role played by homeopathy in scientific and social development in Catalonia at the beginning of the 20th century (1890-1924) from the efforts of this group to professionalize and relate to the orthodox science of this time. The thesis explores the different strategies of legitimation used by the group of homeopathic doctors not to be excluded from the scientific current that was being defined, and part of the hypothesis that in the first decades of the 20th century, in a context in which the conceptual framework of today’s medicine was being defined, the processes of social and scientific construction were key in the legitimation and the consequent obtaining of authority, of each of the medical systems that made up the medical science of the moment. In this sense, the memory deepens in key areas in the development of medicine: the institutionalization of the discipline and its organs of diffusion; the competence market of clinics and dispensaries along with the relationship of the homeopathic remedy with the pharmaceutical market and the consequent transformation of the patient into a client; and the introduction of the laboratory and experimental discourses as key aspects in the scientific consolidation of medicine. From the study of bidirectional relationships in these different areas, the thesis shows the debates, controversies and epistemological changes that took place within the homeopathic movement itself and that were key in the development of the discipline. At the same time, this research introduces how, from the strategies used for its legitimation, homeopathy participated in the consolidation of the liberal / capitalist society, endowing the Catalan capital with institutions for the maintenance of social order and resignifying homeopathic therapeutics to include the homeopathic remedy in a powerful market, and at the same time reveals the connections between the aristocratic and bourgeois classes with the public presence of the discipline through the analysis of the Hospital Homeópata del Niño Dios. This report presents, from a novel historiographic perspective and characterized by its critical approach, the strategies of legitimation, the processes of inclusion, exclusion, reception and adaptation of new scientific discoveries by a medical system that sought to legitimize its postulates so as not to be excluded. of official medicine. The thesis reveals the key strategies in the social and scientific construction of homeopathy in Catalonia: the institutional strategy, the discursive and the methodological or experimental, which paradoxically in some cases caused the social legitimization and the scientific delegitimization of homeopathy.

Esta tesis da una visión sintética de las diferentes corrientes escultóricas internacionales que confluyen en el panorama actual español. Una vez contextualizada nuestra joven escultura se pasa a estudiar las reacciones individuales concretas de nuestros escultores, dejando claro que estos análisis individuales son solo una fase de la metodología sin que constituyan una finalidad por sí mismos. A través del análisis de las posiciones individuales se detectan una serie de planteamientos que rebasan las posturas particulares concretas y que se expresan mediante unos "ejes de discusión". Estos ejes se organizan como estructuras bipolares que asocian determinadas posiciones opuestas o antagónicas en un esfuerzo notable por deshacerse del concepto de "negación de lo anterior" como finalidad. Con esta intención revisa el arte conceptual español y constata la permanencia de alguno de sus postulados en la segunda mitad de la década de los 80, una vez superada la fase de pura negación del concepto en los primeros años de la actual década. Con la misma vocación positiva se cuestiona conceptos tales como proceso y proyecto, mostrándonos el primero como una línea descompositiva tendente al signo elemental, mientras que nos presenta el proyecto como afirmación, posterior al proceso, en la cual tiene cabida la expresión de lo complejo. Relaciona tal énfasis de lo complejo con el carácter ecléctico del actual panorama.

This essay concerns the temperance movements Blue Ribbon and White Ribbon inNorrbotten, Sweden. Their ideas about alcohol, industrialisation, family, humanity andproductivity. The period examined is 1905-1985, which nearly covers the whole of themovements history. Swedish and international research on the subject reveals temperancemovements had a negative view on the industrial society during the late 19th and early 20thcentury. The perceived problems were alcoholism and predatory capitalism. The family wasvalued highly both in itself and through its importance for the future well-being of the nation.The same results applies to Blue Ribbon and White Ribbon in Norrbotten. In addition greedwas seen as problematic, as well as lost productivity due to alcohol consumption. Humanitywas seen as very important, both within and between countries.

La Tesis Doctoral "Entre la vida y el arte. Proyectos artísticos de los 90 que se conciben desde y para las personas" propone la inclusión en el ámbito de investigación de las artes visuales de una serie de propuestas plásticas de finales del siglo XX que centran su interés en las formas de vida de la contemporaneidad, y más en concreto, en las formas de vida de la alteridad o del 'otro'. Ese otro se entiende como el individuo o conjunto de individuos que, al pertenecer a un grupo minoritario o anónimo, resulta a menudo invisible para la sociedad que lo acoge. Pero además estos proyectos artísticos cuentan con la singularidad de aproximarse al otro desde la perspectiva, las vivencias y los sentimientos de ese mismo otro; pues, tras ella subyace la idea de que sólo mediante una perspectiva múltiple es posible repensar la complejidad de una sociedad desde su misma base, diversa. Así, repensar al otro equivale a repensar el propio yo o, en otras palabras, equivale a repensar nuestra identidad, tanto individual como colectiva. La investigación de la actitud o el comportamiento artístico, que versa sobre la alteridad y se construye a partir del otro, se lleva a cabo a través de siete proyectos artísticos firmados por Sophie Calle, Gillian Wearing, Ángel Corral, Donigan Cumming, Adrienne Salinger, Montse López y por el colectivo Big Hope, respectivamente. En cada capítulo, siete en total, se efectúa una aproximación o estudio detenido de un proyecto dado y se enfatiza su rasgo más sobresaliente, rasgo que, a su vez, constituye un aspecto distintivo del comportamiento artístico pretendido.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work aims to investigate Gastão Cruls (1888-1959), an author of medical short stories and novels in the first half of the 20th century. Through a study of his biography, gathered from documents of his family’s personal collection and his works – specially Coivara (1920), A Amazonia Mysteriosa (1925), Elsa e Helena (1927), Vertigem (1934) e De Pai a Filho (1954) – we aim to reveal polyphonic dimensions of discourse between his historical subject, his fictional work and his own historical period. Our approach is essentially Bakhtinian which allows Gastão Cruls to be a great historiographic object of study considering that he composes a historical personality as the member of an extensive spectrum of social relationships and practices. Metaphorically, we could draw a comparison between him and an intersection point: intertwined with a remarkable visibility in Brazilian intellectual elite, also intersected by plethora of multiple interests and interdisciplinary actor in publishing segments. We observed that the overlapping of his personal, historical and fictitious spheres revealed historical features of the medical training during Rio de Janeiro’s Belle Époque: doctors and patient’s daily routines, human suffering in clinical conditions according to Medicine of his time, the national discussions concerning the future of Brazil and even the inception of psychoanalysis into Brazilian Medicine. Those are the kind of historical issues discussed in his fictitious works
A presente pesquisa tem como objetivo investigar Gastão Cruls (1888-1959), autor de contos e romances de teor médico na primeira metade do século XX. Através de sua vida, por nós rastreada por documentos de seu acervo familiar pessoal, e suas obras - especialmente Coivara (1920), A Amazonia Mysteriosa (1925), Elsa e Helena (1927), Vertigem (1934) e De Pai a Filho (1954) - procurarmos revelar dimensões discursivas polifônicas entre sujeito histórico, sua obra fictícia e seu próprio tempo. Nossa abordagem é essencialmente bakhtiniana, tornando Gastão Cruls uma ótima possibilidade de objeto historiográfico, pois compõe uma personalidade histórica que era membro de um largo espectro de convívio e de atuação. Metaforicamente, podemos adotar sua comparação a um ponto de intersecção: perpassado por correntes de destaque notável na elite intelectual brasileira, também cruzado por uma gama de interesses múltiplos e atuante interdisciplinar em segmentos de publicação. Pudemos observar que a sobreposição de tais âmbitos pessoais, históricos e fictícios, nos relevaram questões históricas referentes à formação médica na Belle Époque carioca, o quotidiano de doutores e pacientes, o sofrimento humano nas condições clínicas segundo a medicina da época, as discussões nacionais concernentes ao futuro do país e a até mesmo a entrada da psicanálise na medicina brasileira. São tais as questões históricas discutidas em suas obras fictícias

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The main focus of discussion in this work is the Grupo Jaguaribe Carne de Estudos, an artistic and cultural movement founded in 1974 in the city of João Pessoa, Paraíba, by brothers Pedro Osmar and Paulo Ró. The group has gone through more than four decades of work, developing a set of activities called “guerrilha cultural” - which ranges from artistic production in various languages (music, poetry, visual arts, etc.) to the support and direct intervention in social, cultural and educational projects. Assuming that you can tell a story of Jaguaribe Carne, this paper aims to reconstitute the group´s trajectory, by highlighting some of its most distinctive features, such as the founders´biography, early activities, performances, collaborators, projects and discography; approach the artistic and cultural production in Brazil and Paraíba during the military regime; discuss the concept of “guerrilha cultural” as well as the possible relations and dialogues between the group from Paraíba and other contemporary movements, such as the “alternatives”, the “desbunde” and the Tropicália; analyze, by taking the concept of hybridity as a theoretical tool to understand popular music, some of the group´s compositions, present in the LP Jaguaribe Carne Instrumental and in the CD Vem no Vento. In terms of methodology, this work develops from a crossing between bibliographical, oral, audio-visual and musical sources.
Este trabalho tem como principal foco de discussão o Grupo Jaguaribe Carne de Estudos, movimento artístico-cultural fundado em 1974 na cidade de João Pessoa, na Paraíba, pelos irmãos Pedro Osmar e Paulo Ró. O grupo já atravessa mais de quatro décadas de atuação, desenvolvendo um conjunto de atividades denominadas de “guerrilha cultural” - um trabalho que engloba desde a produção artística em diversas linguagens (música, poesia, artes plásticas, etc.) até o apoio e a intervenção direta em projetos de cunho social, cultural e educacional. Partindo do princípio de que é possível contar uma história do Jaguaribe Carne, este trabalho busca reconstituir a trajetória do grupo, atentando para alguns dos seus aspectos mais distintivos, tais como a biografia de seus fundadores, o início das atividades, as apresentações, os colaboradores, os projetos e a produção discográfica; abordar a produção artístico-cultural brasileira e paraibana durante o período do regime militar; discutir o conceito de “guerrilha cultural”, bem como as possíveis relações e diálogos entre o grupo paraibano e outros movimentos que lhe são contemporâneos, a exemplo dos “alternativos”, do “desbunde” e da Tropicália; analisar, tomando o conceito de hibridismo como uma ferramenta teórica de compreensão da música popular, algumas composições do grupo presentes no LP Jaguaribe Carne Instrumental e no CD Vem no Vento. Em termos metodológicos, o trabalho se desenvolve a partir de um cruzamento entre fontes bibliográficas, orais, audiovisuais e musicais.

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The beginning of this research lies at the wish of understanding the relation among the population from the region of Seridó, the death and the dead when cholera morbus, smallpox and yellow fever‟s epidemic outbreak exterminated part of the population from that region, causing deep modifications in the funeral culture. Thus, our aim is to analyze how this epidemic impact contributed to a changing action towards people‟s funeral habits and attitudes concerning death and the dead in Seridó as from 1850. During the 18th century and the first half of the 19th century, the attitudes of the inhabitants from the Province of Rio Grande do Norte regarding life‟s finite limit were based on the familiarity between the living and the dead, which led to a relation characterized by rituals after the death and the burial inside churches. This procedure was largely used by the Catholic Christians and it allowed a close contact between the dead and the living because when the congregation was inside the church they would walk around, sit and pray on the grave. The impact of the epidemic was fundamental to change the funeral culture. The diseases were responsible for a high mortality rate and consequently the burial inside the churches turned out being unfeasible because there was no time enough to the bodies‟ decomposition. As a result, the hygienist discourse that, under European influence, struggled against the ad sanctos burial was enhanced in order to prevent from other diseases and in favor of public hygiene. Under this perspective, a secularizing process takes place in Seridó, alike other Brazilian regions such as in São Paulo and Rio de Janeiro. It is this process we want to comprehend, based on official documents produced by the Presidents of the Province and Municipal Counties, wills and parochial obituary registers, besides visual resources like ground plans, photographs and videos, so that the secularized cemeteries of the region are analyzed.
Esta pesquisa surgiu a partir do desejo de compreender a relação que a população do Seridó manteve com a morte e com os mortos no momento em que os surtos epidêmicos de cólera-morbo, varíola e febre amarela grassaram na região, provocando modificações na cultura fúnebre. Assim, nosso objetivo é analisar como o impacto dessas epidemias, que atingiram esse espaço a partir de 1850, contribuiu para a ação transformadora sobre os costumes fúnebres e as atitudes da população para com a morte e os mortos. As atitudes dos habitantes da capitania do Rio Grande do Norte quanta à finitude da vida tinham como eixo central, durante toda a extensão do século XVIII e a primeira metade do século XIX, a familiaridade entre vivos e mortos, relação definida pelos rituais efetivados no momento pós-morte e pelas inumações no interior das igrejas. Essas inumações, utilizadas pelos cristãos católicos, permitiam o contato direto entre vivos e mortos: os fiéis que frequentavam as igrejas passavam, sentavam-se e faziam suas orações sobre as sepulturas. O impacto das epidemias nas transformações na cultura funerária foi fundamental. As doenças provocavam alto índice de mortalidade, tornando inviável o enterramento no interior das igrejas, uma vez que não havia tempo suficiente para a total decomposição dos corpos. Logo, constituíram-se em um dos elementos catalisadores do discurso higienista, que há tempos lutava, sob influência europeia, contra o enterramento ad sanctos, com base na prevenção de males e a favor da higienização pública. Dentro dessa conjuntura, o Seridó, a exemplo de outras regiões brasileiras, como São Paulo e o Rio de Janeiro, iniciou o processo de secularização da morte. É esse processo que pretendemos compreender, tendo como base o uso de documentação oficial produzida pelos Presidentes de Província e os de Comarcas Municipais, testamentos e registros paroquiais de óbito, além de recursos visuais, como plantas baixas, fotografias e vídeos, para análise dos cemitérios secularizados da região.

Este trabajo de investigación plantea una relación entre los puentes y su historia, estructura y funcionalidad, su análisis estético formal y la escultura. Como método de aproximación se utiliza una doble vía: la via histórica, mediante un recorrido por los puentes de todas las épocas, poniendo en paralelo la evolución formal de los mismos con los materiales y tecnologías utilizados. A la vez, se intercalan, de manera comparativa, propuestas escultóricas que se aproximan al lenguaje de los puentes por analogía. No se marcan límites temporales ni tampoco espaciales, entendiendo que el lenguaje de los puentes es un lenguaje universal. La vía analítica se resuelve con una propuesta que parte de tres ámbitos de conocimiento perceptivo, interpretativo y gráfico; para concluir con la conceptualización de categorías visuales que son susceptibles de ser aplicadas a una lectura estético-formal de los puentes. La mayor aportación de este estudio se desprende de la amplitud de sus objetivos, lo que deja caminos abiertos, pero también un recorrido iniciado del que destacaría las siguientes aportaciones: el planteamiento interdisciplinar, la sistematización, la propuesta de metodología y la conexión interdisciplinar.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Along the first decades of the twentieth century European and North American doctors became increasingly interested in medical practices rated heterodox and that overall sought to develop a more humane approach to medicine. Later on such practices became known as holistic, for their attempt to take all aspects of human beings into consideration. In France, that movement gained particular momentum in the interwar period and acquired peculiar features that distinguished it from the rest of Europe, Germany in particular, where medical holism was firmly consolidated by that time. Several of the most outstanding French holistic doctors coauthored a book entitled Médecine officielle et médecines hérétiques, published in 1945. This book can be seen as a manifesto against the contemporary official medicine, which according to the authors had surrendered to the evils of the modern civilization. Taking that book as point of departure, our analysis sought to understand the epistemological dialogue established between the holistic and the official medicines within the context circumscribed by the main lines of thought in the beginning of the twentieth century
Nas primeiras décadas do século XX, desenvolveu-se no cenário médico europeu e norte-americano um maior interesse por práticas médicas consideradas heterodoxas, que visavam, acima de tudo, uma medicina mais humanista. Posteriormente foram qualificadas como abordagens holísticas, por terem uma visão integradora dos diversos aspectos do ser humano. Na França, esse movimento apresentou um impulso maior no período entreguerras, com características próprias que o diferenciaram do restante da Europa, especialmente da Alemanha, onde o holismo médico encontrava-se bem consolidado no mesmo período. Em 1945 foi publicada a obra Médecine officielle et médecines hérétiques, reunindo personalidades importantes do holismo médico francês. A obra constituiu um manifesto frente à medicina da época, que, segundo os autores, necessitava de humanização, pois estava rendida aos males da modernidade. Nossa análise, apoiada nessa mesma obra, visa compreender o diálogo epistemológico entre a medicina holística e a hegemônica naquele período, dentro do contexto traçado pelas principais linhas de pensamento do início do século XX

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present study focused on the development and institutionalization of the science of eugenics in the United States during the first decades of the 20th century. For this purpose, we focused on the ideas of Charles B. Davenport (1866-1944), his work team, and the institutional networks he contributed to establish. Davenport initially learned the notions and methods developed for eugenic research by Francis Galton (1822-1911) and Karl Pearson (1857-1936), who essentially applied statistical methods. However, by the same time the studies by Gregor Mendel (1822-1884) were rediscovered giving impetus to the incipient field of genetics and were also assimilated by Davenport into his eugenic project. Together with a discussion of the overall historical context that favored the development of eugenics in the US, we analyzed the works by Davenport as well as by some of his main collaborators, such as psychologist Henry Goddard (1866-1957) and eugenicist Harry Laughlin (1880-1943), as well as the repercussions of eugenics in US society in the early decades of the 20th century
A presente pesquisa abordou o desenvolvimento e institucionalização da ciência eugenista nos Estados Unidos nas primeiras décadas do século XX. Para tanto, focou-se nos trabalhos de Charles B. Davenport (1866-1944), seu grupo de trabalho e as redes institucionais que estabeleceu. Inicialmente, Davenport assimilou os conceitos e métodos de pesquisa eugenista desenvolvidos por Francis Galton (1822-1911) e Karl Pearson (1857-1936), que aplicaram basicamente uma abordagem estatística. No entanto, no mesmo período, são redescobertos os trabalhos de Gregor Mendel (1822-1884), associados à incipiente pesquisa genética, também assimilados por Davenport no seu projeto eugenista. Junto de uma discussão do contexto histórico geral que favoreceu as teses eugenistas nos EUA no período sob consideração, foram analisadas as publicações científicas de Davenport e de alguns de seus principais colaboradores, como o psicólogo Henry Goddard (1866-1957) e o eugenista Harry Laughlin (1880-1943), assim como as repercussões desse desenvolvimento na sociedade norte-americana nas três primeiras décadas do século XX

A partir del momento en que el escultor entiende su obra como un elemento trascendente, donde la imagen que crea adquiere una vocación de transmisión de ideas, aparece un comportamiento donde la reflexión sobre los mecanismos de creación y las consecuencias expresivas, que se derivan de este hecho, fundamentan el quehacer artístico. Este trabajo se centra, precisamente, en este tema: el de la relación entre la teoría y la práctica en la escultura y concretamente en el ámbito de la escultura catalana contemporánea. El tema de la relación entre la teoría y la práctica se ha enfocado desde la articulación de tres conceptos que fundamentan el trabajo artístico: proceso, materia y comportamiento. Proceso, materia y comportamiento sirven para efectuar un recorrido por las propuestas de la escultura contemporánea, referenciándolas con las actitudes y las formas que se desarrollan en la escultura catalana.

En esta tesis doctoral, se exploran las diferentes técnicas cimáticas existentes (la cimática es la ciencia que estudia las representaciones visuales generadas por las ondas de sonido y los fenómenos periódicos de vibración sobre la materia), y se realiza un riguroso estudio desde una perspectiva audio-visual. A partir de los resultados, se desarrollan herramientas para su aplicación en las diferentes disciplinas artísticas contemporáneas.

La presente tesis se basa en el estudio de las múltiples variantes plásticas que la luz ha permitido desarrollar dentro de la escultura contemporánea, siendo prioritaria una aproximación a las poéticas generadas por la utilización de ese material determinado o el que se deriva de su observación. Para ello se ha diseñado una estructura consistente en varios capítulos destinados a analizar la poética en general referida a las obras de arte que conjugan luz y el concepto de tridimensionalidad en un ámbito contemporáneo dado que analizamos el arte y a los artistas que trabajan en este ámbito después de la Segunda Guerra Mundial. En la introducción podemos ver un análisis de carácter más histórico respecto al marco conceptual que estamos analizando, mencionando algún caso puntual anterior al periodo histórico en el que nos movemos, con el interés de entender mejor los procesos creativos que han generado las nuevas realidades creativa en el ámbito de la luz y la escultura. También aclaramos conceptos como la motivación personal, el interés temático, los objetivos y la metodología seguida para realizar esta tesis. En un primer capítulo, analizamos las expresiones escultóricas que utilizan la luz como material poético inherente, haciendo un repaso de las maneras de hacer o interpretar la escultura o las intervenciones tridimensionales desde todas las perspectivas y formas de crear utilizadas por artistas de todo el mundo e inscritos (o aún no) en determinadas tendencias. Esto hace que el análisis sea amplio y contrastado con ciertos comportamientos del espectro artístico contemporáneo en un mundo cada vez más global y conectado en todo momento. En este capítulo también se hace una breve reflexión poética referida a la luz y a las intervenciones escultóricas contemporáneas. En el segundo capítulo se refiere a las distintas formas de intervenciones artísticas que utilizan la luz como elemento fundamental, desde una tipificación que recoge unas catorce formas de interpretar el arte desde estos parámetros específicos de luz y espacio tridimensional, todo ello ejemplificado con una buena cantidad de artistas de una relevancia que justifican cada uno de los diferentes apartados por su particular manera de trabajar su producción artística. El tercer capítulo recoge información de algunos acontecimientos significativos que han representado un impulso para nuestro objeto de estudio, haciendo un repaso desde “Luzboa” en el 2004, a la gran exposición celebrada en el museo ZKM de Karlsrühe “Light art from artificial light” entre los años 2005 y 2006, la Bienal de Venecia del año 2011, las “Festes Decennals Candela 2011” (Valls, Tarragona) con su exposición “LUMENS”, que se celebra cada diez años, y el XI Foro Internacional de Escultura celebrado en la ciudad alemana de Celle en el año 2012 y organizado por “Sculpture Network”. El cuarto capítulo está destinado a cuatro entrevistas realizadas a artistas (con una representatividad justificada en el panorama artístico nacional e internacional) que aportan su visión personal en un documento que recoge sus motivaciones conceptuales y aspiraciones artísticas en todas sus posibilidades, artistas estos de ámbito nacional e internacional, dos de ellos locales, otro nacional y un último extranjero que aporta una nota distinta por su manera de trabajar. También quedan recogidas en el quinto capítulo, a modo de conclusiones, algunas reflexiones personales acerca de la propia obra artística con ejemplos de desarrollo de proyectos escultóricos con luz y las evidencias pedagógicas recogidas en ejemplos de alumnos que han trabajado en estas dinámicas como consecuencia del tipo de docencia recibida. Por último, y cerrando el trabajo, la base bibliográfica, hemerográfica y de Internet, además de los anexos pertinentes.

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Starting at the end of World War I Brazil and Germany developed strong commercial, cultural and scientific relations. However, from 1938 onwards foreign citizens, German in particular, were subjected to political persecution by the Estado Novo government, which saw them as a threat to the nationalistic program launched by Getúlio Vargas. Such change in policy is evident in the extant documents relative to German scientists who came to carry out expeditions in Brazil before or after 1938. Whereas Otto Schulz-Kampfhenkel and Hans Krieg, who arrived in 1935 and 1937, respectively, were enthusiastically welcomed by government officials and the São Paulo and Rio de Janeiro elites, Adolf Schneider and Helmut Sick, who came in 1939, were harassed by the press, the material they collected was confiscated, and after Brazil and Germany severed diplomatic relations, in 1942, they were sent to prison. Schulz-Kampfhenkel and Krieg sought intentionally to break the Brazilian law, but did not receive any punishment, except for the confiscation of the zoological specimens Krieg attempted to export illegally to Germany. Contrariwise, although Schneider had complied with all the procedures required by the Council for Supervision of Artistic and Scientific Expeditions, he was depicted as a spy in the mass media, jailed and eventually expelled from Brazil. Sick, in turn, deeply engaged in his ornithology studies and looking to escape the war in Europe, continued his work of collection, albeit without official permit, until also he was arrested and portrayed as a spy. The contacts they had with Brazilian scientists might have spared Schneider and Sick from persecution in 1939, but their situation became untenable once Brazil declared war on the Axis in 1942
Desde o fim da Primeira Guerra, Brasil e Alemanha mantiveram fortes relações comerciais, culturais e científicas. A partir de 1938, porém, cidadãos estrangeiros que viviam no Brasil, alemães principalmente, passaram a sofrer perseguição do governo do Estado Novo, que via nas comunidades de imigrantes uma ameaça ao projeto nacionalista de Getúlio Vargas. A mudança de postura do Brasil em relação à Alemanha fica clara ao analisar a documentação sobre cientistas alemães que vieram realizar expedições antes e depois de 1938. Enquanto Otto Schulz-Kampfhenkel e Hans Krieg, que chegaram em 1935 e 1937, respectivamente, tiveram uma calorosa recepção por autoridades e membros das sociedades paulistana e carioca, Adolf Schneider e Helmut Sick, que desembarcaram no país em 1939, foram hostilizados pela imprensa, tiveram material apreendido e foram presos em 1942, por conta do rompimento das relações diplomáticas entre Brasil e Alemanha naquele ano. Schulz-Kampfhenkel e Krieg tentaram burlar as leis brasileiras, mas não sofreram nenhuma sanção, a não ser a apreensão de material zoológico que Krieg tentava exportar ilegalmente. Schneider, apesar de ter realizado todo o procedimento exigido pelo Conselho de Fiscalização das Expedições Artísticas e Científicas no Brasil (CFE), acabou sendo retratado como espião pela imprensa, foi preso e expulso do país. Sick, apesar de estar coletando aves sem autorização em 1941, estava comprometido com seus estudos ornitológicos e queria fugir da guerra na Europa, mas ainda assim foi preso e também retratado como espião. O contato que Schneider e Sick tinham com cientistas brasileiros pode ter evitado que sofressem repressão do governo brasileiro ainda em 1939, mas a declaração de guerra do Brasil ao Eixo, em 1942, tornou a situação de ambos insustentável

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The Second Vatican Council can be considered the most important event of 20th century Catholicism, generating theological and pastoral impacts and mobilizing ecclesial structures. The Revista Eclesiástica Brasileira established itself in this scenario, constituting itself as an instrument of communication of conciliar instructions and perspectives to the Catholic Church in Latin America and as one of the main instruments of conciliar reception. The object of this thesis is the reception of the Second Vatican Council by the Catholic Church in Brazil and in Latin America transmitted through the REB. The process of conciliar reception points to the construction of the Latin American ecclesial subject and, consequently, to an identity that is in the dialogue between the conciliar perspective of the aggiornamento and the local socio-cultural reality. This process, identified in the decolonial perspective, passes through the self-understanding of Latin American Catholicism and culminates in a proper theology, that of liberation, and in a proper ecclesiality, that of the Ecclesial Base Communities. The process of conciliar reception was established in three distinct but consequential phases, namely: ignorance, participation / initiative and appropriation. The research method used for collecting data is documental and bibliographic. The issues of REB in the period concerning the conciliar process, added to the production of the Franciscan friar and conciliar expert Boaventura Kloppenburg, offer a substratum for the understanding of the reception by the Latin American Catholic Church. The bibliographical production of Liberation Theology is here read in the perspective of the appropriation of the conciliar parameters. The process of conciliar reception engenders, procedurally, an editorial change of the REB that accompanies the participation and appropriation of the parameters of Vatican II
O Concílio Vaticano II pode ser considerado o acontecimento mais importante do catolicismo do século XX, gerando impactos teológicos e pastorais e mobilizando as estruturas eclesiais. A Revista Eclesiástica Brasileira estebeleceu-se nesse cenário, constituindo-se como instrumento de comunicação das instruções e perspectivas conciliares à Igreja católica na América Latina e como um dos principais instrumentos de recepção conciliar. Assume-se como objeto desta tese a recepção do Concílio Vaticano II pela Igreja católica no Brasil e na América Latina veiculada por meio da REB. O processo de recepção conciliar aponta para a construção do sujeito eclesial latino-americano e por consequência de uma identidade que está no diálogo entre a perspectiva conciliar do aggiornamento com a realidade sociocultural local. Tal processo, identificado na perspectiva descolonial, passa pelo autoentendimento do catolicismo latino-americano e culmina em uma teologia própria, a da libertação, e em uma eclesialidade própria, a das Comunidades Eclesiais de Base. O processo de recepção conciliar se estabeleceu em três fases distintas, porém consequentes, a saber: do desconhecimento, da participação / iniciativa e da apropriação. O método de pesquisa assumido para a coleta de dados é documental e bibliográfico. Os fascículos da REB do período concernente ao processo conciliar, somados à produção do frade franciscano e perito conciliar Boaventura Kloppenbuirg, oferecem um substrato para o entendimento da recepção pela Igreja católica latino-americana. A produção bibliográfica da Teologia da Libertação é aqui lida na perspectiva da apropriação dos parâmetros conciliares. O processo de recepção conciliar engendra, processualmente, uma mudança editorial da REB que acompanha a participação e apropriação dos parâmetros do Vaticano II

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The traditional approach to medicine in the West was grounded on the classification of the endless human diversity in classes (complexions). With the rise of modern science, the focus of medicine gradually shifted to the physical and chemical processes proper to living matter. Consequently, the practice of medicine became dependent on the diagnosis of clinical entities, which were classified according to their etiopathogenic mechanisms, in turn dependent of biomolecular phenomena. Despite this mainstream direction, countless typological classifications burst out in the first decades of the 20th century in a wide range of contexts anthropology, criminology, psychology, education, etc. including medicine. To understand this phenomenon, this study focused on biotypological theories grounded on the assertion that there is an intrinsic relationship between human types and embryological layers, the work by Marcel Martiny (1897-1982) in particular. Analysis carried out within three overlapping spheres addressing sociohistorical, epistemological and historiographical aspects allowed identifying strong eugenic element in biotypological theory as formulated in the first half of the 20th century within the context known as medical Holism . This was also the background for Martiny, whose experimental work is restricted to anthropometric measurements that then were related with physiological and biomolecular phenomena exclusively by way of analogy. After World War I biotypological theory was depurated from all eugenic elements, whereas its lack of any empirical foundation was neglected and despite its contradictions, it is discussed even in our own days as if it were sound science
A medicina tradicionalmente vigente no Ocidente se baseava na classificação da heterogeneidade humana em diversos tipologias (compleições). Com a formulação da ciência moderna, gradualmente, a base da medicina passou a focar os fenômenos físicos e químicos que ocorrem na matéria viva. Assim, a prática clínica passa a depender do diagnóstico de entidades nosológicas, classificadas segundo seu mecanismo etiopatogênico, por sua vez, dependente de mecanismos biomoleculares. No entanto, nas primeiras décadas do século XX acontece uma explosão de classificações tipológicas numa variedade de contextos antropologia, criminologia, psicologia, pedagogia, etc. incluindo a medicina. Para abordar esse fenômeno, focou-se as teorias que afirmavam uma relação intrínseca entre as tipologias humanas e os folhetos embrionários, em particular, a obra de Marcel Martiny (1897- 1982). A análise realizada em três esferas superpostas, levando em conta aspectos histórico-sociais, epistemológicos e historiográficos, permitiu identificar fortes componentes eugenistas nas biotipologias desenvolvidas na primeira metade do séculos XX, dentro do chamado holismo médico . Esse é também o pano de fundo do trabalho de Martiny, que utiliza como método, basicamente, medições antropométricas, cuja vinculação aos fenômenos fisiológicos e biomoleculares é realizada de maneira puramente analógica. Depois da Segunda Guerra Mundial, a teoria das biotipologias foi depurada de seus elementos eugenistas, sua falta de fundamentação empírica foi omitida e, apesar de todas suas contradições, continua a ser apresentada como ciência provada em diversos contextos, especialmente, nas abordagens médicas holistas

Louise Bourgeois se está convirtiendo en una de las artistas modernas más conocidas en occidente, su fama es casi una parodia del anonimato en el que vivió durante la mayor parte de su vida artística. En el último cuarto de siglo se ha escrito una cantidad abrumadora de literatura sobre su trabajo, siendo su obra mostrada en grandes exposiciones internacionales itinerantes y convirtiéndose en el centro de estudio de críticos, académicos y estudiantes. ¿Qué es lo que aún queda por decir sobre esta artista tan ampliamente estudiada? Este fue una de las grandes interrogantes que se me plantearon al iniciar mi trabajo de tesis en 2010. Por un lado es muy difícil aportar algo diferente cuando hay equipos de personas en los grandes museos que junto con especialistas externos redactan catálogos para sus exposiciones, pero por el otro, tantos profesionales han arrojado luz sobre su obra que es posible profundizar en ella desde numerosos campos de conocimiento distintos. La clave está en la obra de Bourgeois, un cuerpo de obra que se extiende durante la mayor parte del siglo XX e inicios del XXI, que es capaz de reinventar los términos de su expresión artística pero que es coherente con sus temas durante todo el re- corrido. Una obra enigmática, asombrosa y muy personal que es capaz de abrazar innumerables interpretaciones. Para mí no ha sido un camino fácil ni directo. Cuando empecé la tesis quise abordar el trabajo a partir de la idea de “la habitación propia de Virginia Woolf”, leyendo el trabajo de Bourgeois como la construcción progresiva de un espacio literal y metafórico donde ser y devenir mujer y artista. Seguidamente me concentré en el concepto de celda, con la ambición de elaborar una genealogía de este concepto a partir de la vida y la obra de diferentes mujeres desde el siglo XV. Finalmente, mi investigación y mi experiencia vital durante la escritura de la tesis me llevaron a la propuesta actual, el análisis de la escultura en Bourgeois como un espacio matricial, donde es posible la revuelta interior. Mi trabajo ha consistido en relacionar la obra de Bourgeois con la teoría de los géneros de Christopher Bollas, el concepto de revuelta de Julia Kristeva y el estudio de la subjetividad de Nick Mansfeld. En la primera parte de la tesis se propone una introducción a la vida y obra de Louise Bourgeois exponiendo los factores que propiciaron que su trabajo fuera considerado contemporáneo durante más de siete décadas. El segundo capítulo se centra en su emblemática serie Cells y se describe como una estructura generativa y matricial. El tercer capítulo recorre la propuesta de Bourgeois a partir del concepto de revuelta y del protagonismo de la subjetividad en el trabajo de la artista. Durante la redacción de esta tesis he usado intermitentemente la primera persona. Podría parecer no procedente desde una perspectiva académica más tradicional. He creído oportuno hacerlo porque este trabajo me ha ocupado durante un largo periodo de mi vida y me he comprometido con él; este estudio ha influido en mi vida y mi vida ha dado forma a esta investigación. En segundo lugar porque uno de los temas centrales de la tesis es la subjetividad en el trabajo de Bourgeois, una subjetividad que nace a través de su experiencia vivencial y que se manifiesta a lo largo de todo su arte. Espero que la estructura del índice de esta tesis, así como las relaciones conceptuales y visuales que en ella se han establecido, permitan acercarse al trabajo de Louise Bourgeois desde un nuevo prisma, y sean de utilidad para el futuro estudio de la artista.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The recent history of our country is formed by institutional violence and disregard for the rule of law. The experiences of those who have faced dictatorial impositions should be examples of the struggle for a better country. In this way, Raphael Martinelli's memoirs become important for the understanding of the period for this research, from 1939 to 1973. Trade unionism, especially in the Santos Jundiaí railroad, and the struggle against the civil-military dictatorship established after 1964, are examples of topics to be reflected and observed, so that we can review concepts and values today. This work attempts to trace a biography of political activist Raphael Martinelli, who has his life summarized in: a quick pass for youth football, the team of the São Paulo Athletic Club, current National Athletic Club, the experience of being a railroad in the São Paulo Railway, the presidency of the Railroad Workers' Union in São Paulo and the National Federation of Railroad Workers, head of the CGT, political persecution with the 1964 coup, participation in the National Liberation Action (ALN) and imprisonment in 1971, in Operation Bandeirante (Oban). The documentation used for this research is summarized in the biography “Iron Stations: Raphael Martinelli”; documents from your personal collection, such as police records, videos, interviews. To know the history of Martinelli is to get in touch with moments of political and social changes of our country. Its context of life is marked by four central points, that divided the chapters of this thesis: soccer, railroad, syndicalism and armed struggle. The themes are discussed from their experiences and memories. Through them we can see other possibilities, from a country that at the moment when it was learning to discuss democratic issues, such as the Basic Reforms, proposed by President João Goulart; and the relations between workers through their main representation, the union, suffered a heavy blow, with the seizure of power by the military, backed by civilian sectors, as wealthy landowners
A história recente de nosso país é formada pela violência institucional e pelo desrespeito ao estado de direito. As experiências daqueles que enfrentaram as imposições ditatoriais devem ser exemplo da luta por um país melhor. Dessa maneira, as memórias de Raphael Martinelli tornam-se importantes para o entendimento do período destinado à esta pesquisa, 1939 a 1973. O sindicalismo, em especial na ferrovia Santos Jundiaí, e a luta contra a ditadura civil-militar, instaurada a partir de 1964, são exemplos de temas a serem refletidos e observados, de maneira que possamos rever conceitos e valores nos dias de hoje. Nesse trabalho, tentamos traçar uma biografia do militante político Raphael Martinelli, cuja vida pode ser resumida em: uma passagem rápida pelo futebol na juventude, no time do São Paulo Athletic Clube, atual Nacional Atlético Clube; a experiência de ser ferroviário na São Paulo Railway; a presidência do Sindicato dos Ferroviários, em São Paulo; e da Federação Nacional dos Ferroviários; dirigente do Comando Geral dos Trabalhadores (CGT); a perseguição política com o golpe de 1964; a participação na Ação Libertadora Nacional (ALN); e a prisão em 1971, na Operação Bandeirante (Oban). A documentação que utilizamos para essa pesquisa resume-se na biografia “Estações de Ferro: Raphael Martinelli”; em documentos de seu acervo pessoal, tais como: fichas policiais, vídeos, entrevistas. Conhecer a história de Martinelli é entrar em contato com momentos de mudanças políticas e sociais de nosso país. Seu contexto de vida é marcado por quatro pontos centrais, que dividiram os capítulos desta tese: futebol, ferrovia, sindicalismo e luta armada. Os temas são discutidos a partir de suas experiências e memórias. Por meio delas, torna-se possível observarmos outras possibilidades de um país que – no momento em que estava aprendendo a discutir questões democráticas, como as Reformas de Base, propostas pelo presidente João Goulart, e as relações entre trabalhadores, por meio de sua principal representação, o sindicato – sofreu um duro golpe, com a tomada do poder pelos militares, apoiados por setores civis, como ricos proprietários

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This research is part of the History of Education and is linked to the Research Line: State, Policies and History of Education of the Post-Graduation Program in Education of the Federal University of Goiás. It is a bibliographical and documentary research of a historical character that, through the theoretical and methodological presuppositions of Cultural History, analyzed the reading book Goiaz heart of Brazil, published in two editions, 1934 and 1983, and written by Ofélia Socrates do Nascimento Monteiro. The first source, the first textbook of regional history, was adopted by the Government of the State of Goiás in 1934 to attend the third and fourth year classes of the school groups in the region of Goiás. In the diversity of possible research questions presented in the book, our clipping was based especially on the analysis of the type of teaching and school that is presented in the object of study investigated, contextualized in the legislation of the current period of writing and the adoption of this object school material. In this exercise, we compare passages of the work with the theoretical foundation listed. The methodological course was to meet the studies of History of Education in Brazil and in Goiás in the first half of the 20th century, especially in the 1930 s. We also carried out a bibliographical review around the themes: New School, Reading Book, History Teaching for children and Primary education in the 20th century, present in theses and dissertations raised in the Brazilian Digital Library of Theses and Dissertations (BDTD) and in the Catalog of Thesis and Dissertations of CAPES. The problematic is supported, particularly, in the evidences of use of the Intuitive Method in a work used during the New School movement, and in the identification of an education that surpasses the walls of the school, also occurring in the domestic environment. Studies and conceptions about the constitution of school groups in the State of Goiás, Intuitive Method, New School movement, History teaching, school material culture also supported the research.
Esta pesquisa se inscreve no campo da História da Educação e está vinculada à Linha de Pesquisa: Estado, Políticas e História da Educação do Programa de Pós-Graduação em Educação da Universidade Federal de Goiás. Trata-se de uma pesquisa bibliográfica e documental, de caráter histórico que, por meio dos pressupostos teórico-metodológicos da História Cultural, analisou o livro de leitura Goiaz coração do Brasil, publicado em duas edições, 1934 e 1983, e escrito por Ofélia Sócrates do Nascimento Monteiro. A respectiva fonte, primeiro livro didático de História regional, foi adotada pelo governo do Estado de Goiás em 1934, para atender às classes dos terceiros e quartos anos dos grupos escolares da região goiana. Na diversidade de questões possíveis de investigação, presentes no livro, nosso recorte se alicerçou, especialmente, na análise do tipo de ensino e de escola que é apresentado no objeto de estudo investigado, contextualizados na legislação da época vigente da escrita e da adoção deste objeto escolar material. Nesse exercício, confrontamos passagens da obra com o embasamento teórico elencado. O percurso metodológico foi ao encontro aos estudos de História da Educação brasileira e de Goiás na primeira metade do século XX, sobretudo na década de 1930. Fizemos, ainda, uma revisão bibliográfica em torno das temáticas: Escola Nova, Livro de Leitura, Ensino de História para crianças e Ensino primário no século XX, presentes em teses e dissertações levantadas na Biblioteca Digital Brasileira de Teses e Dissertações (BDTD) e no Catálogo de Teses e Dissertações da CAPES. A problemática se ampara, particularmente, nas evidências de uso do Método Intuitivo em uma obra utilizada durante o movimento escolanovista, e na identificação de um ensino que ultrapassa os muros da escola, ocorrendo também no ambiente doméstico. Estudos e concepções acerca da constituição dos grupos escolares no Estado de Goiás, Método Intuitivo, movimento da Escola Nova, ensino de História, cultura material escolar também fundamentaram a pesquisa.

"L'Anell de pedra" és una aliança amb la natura i una reflexió oberta sobre la comunicació que s'experimenta en contacte amb ella. Presenta un ordre en la complexitat de l'acte creatiu i manifesta la voluntat de fer un pacte estable. Vol ser una gnosi, un fil d'unió entre el pensament estètic, la sensibilitat espiritual i el paradigma emergent. Amb la informació disponible sobre l'existència paradoxal de les coses, la tesi defineix una gràfica virtual amb tres àrees de realitat:

· El món exterior construït amb matèria inerta, base comuna de la realitat.

· Les coses sensibles encarnades en el cicle de la vida i la mort.

· Allò que emergeix de l'activitat mental, les hipòtesis de treball científic i les obres d'art.

Aquests universos estan traspassats per un fil invisible unit a les lleis de la física, als processos metabòlics i bioquímics que constitueixen la base de la vida. La visió del paradigma emergent, post cartesià, unifica la matèria, la vida i la ment i ens obliga a definir de bell nou la relació existent entre l'home i la resta d'éssers vius. La raó humana no és una característica diferenciadora de la resta d'animals, sinó que és una qualitat que ens unifica amb ells, ens situa en la mateixa línia d'evolució de la vida. En la roda dels canvis, en la transformació de la matèria, tant sols estem en altre nivell, en una fase de complexitat diferent.
L'art pot ser ara una manera que l'home fa servir per connectar amb l'alè invisible del món, amb el llenguatge encriptat que presenta la natura. Des de la perspectiva de la realitat estètica, l'obra d'art és el vehicle que posa en comunió la matèria i les seves produccions, és el nodol de les xarxes de relació entre la matèria, la vida i la cultura.
L'Anell de pedra vol mitigar el dolor de la vida i apaivagar els nivells d'incertesa. La seva forma presenta un ordre amb el qual es mira el misteri inefable del món, en ell queda emmirallat un patró de conducta que s'auto replica, que balla sobre un fons caòtic i genera ontologia. Aquesta percepció de la matèria sensible l'he anomenada "la realitat estètica". Tot emergeix d'aquesta premissa; la qualitat creativa de la matèria. El món que veiem, és la seva obra i en ella intentem trobar-nos i acomodar la nostra existència. La ressonància creadora, les "hierofanies" que emanen d'una muntanya, no són la veu del sagrat, són constatacions de la realitat estètica, intuïcions creatives, "revelacions", fruït d'anàlisis de la raó científica. Hem de pensar, però, que tot és físic, incloent les emocions i els pensaments, tot emergeix d'una memòria implicada en la matèria que es desplega als ulls per mitjà de reaccions físiques i químiques. L'univers es revela a la mirada com holografies, creacions instantànies de la ment que queden unides per xarxes de relació física. En el fons caòtic del món i la ment, tot és atzar i necessitat, intercanvi d'energia i informació.

El procediment de treball ha portat varies direccions:

· Constatar en l'experiència de camp que la ressonància de la matèria es comunica i traspassa els tres àmbits anunciats.

· La recerca i documentació d'aspectes sensibles en la natura, com a eina que ajuda a conèixer la condició humana.

· Elaborar la idea que l'art és també el llenguatge de la natura, ja que aquesta està sotmesa al cicle creatiu de la vida i de la mort.

· La vida també és art i aparença; pregunta obsessiva que cerca el seu significat en una contínua transformació.

CONCLUSIONS: Com a escultor he assajat escenaris per fer accions en la cara fosca de la realitat: les ocultacions. Com a resposta a les meves conviccions, allí, on les simetries fonamentals de les partícules presenten el principi d'incertesa, he presentat l'obra, allí he redactat el compromís conceptual de l'aliança. En el món exterior, en el de les coses tangibles he instal·lat la forma de l'anell de pedra.
"El anillo de piedra" es una reflexión abierta desde la escultura que trata sobre la comunicación débil y sobre la comunión que se establece con la naturaleza. Presenta un orden en la complejidad del acto creativo y expresa la voluntad de establecer una alianza dentro de la oscuridad del mundo. Quiere ser una gnosis, un hilo de unión entre el pensamiento estético, la sensibilidad espiritual y el paradigma emergente, la nueva formulación de la realidad. Con la información disponible sobre la existencia paradójica de las cosas, la tesis define una gráfica con tres áreas de realidad:

· El mundo exterior construido con materia exánime pero común a todo lo que nos rodea.

· Las cosas sensibles encarnadas en el ciclo de la vida y de la muerte.

· Las acciones que emergen de la actividad mental, las ideas, ilusiones, fascinaciones, hipótesis de trabajo científico y las obras de arte.

Presenta estos universos traspasados por un hilo invisible, unidos siempre a las leyes de la física, a los procesos metabólicos y bioquímicos que constituyen la base de la vida. La visión del paradigma emergente, post cartesiano, unifica la materia, la vida y la mente y nos obliga a definir de nuevo la relación existente entre el hombre y el resto de seres vivos. Las propuestas de la tesis nos invitan a formar parte del fluir creativo de la naturaleza. Se reflexiona sobre la razón estética y apunta que no es una característica que nos diferencie del resto de los animales, sino que es una cualidad que nos unifica con ellos; nos sitúa en la misma línea de evolución, así, podemos de pensar que tan sólo nos encontramos en una fase diferente.

Las aportaciones del procedimiento creativo son:

· Constatar en la experiencia de campo que la resonancia de la materia se comunica y traspasa los tres ámbitos anunciados.

· La búsqueda y documentación de aspectos sensibles en la naturaleza ha proporcionado una respuesta estética que mitiga los niveles de incertidumbre y nos reconcilia con el mundo.

· La vida es arte y apariencia en proceso permanente, cuestión que nos obliga a elaborar una idea firme más allá del escenario de los objetos. El arte es también el lenguaje de la naturaleza, ya que ésta está sometida al ciclo de la vida y de la muerte.

Conclusiones: como escultor he ensayado espacios para hacer acciones en la cara oculta de la realidad: las ocultaciones. Como respuesta a mis convicciones, allí, donde les simetrías fundamentales de las partículas presentan el principio de incertidumbre, he presentado la obra, allí he redactado el compromiso conceptual de la alianza. En el mundo exterior, en el de las cosas tangibles y contingentes, he instalado la forma, el Anillo de piedra.
ENGLISH SUMMARY:

"Stone ring" is an open reflection and experiment of poor communication, which introduces order into the complexity of the creative act and reveals the will to create an alliance with Nature.

It is a work of gnosis, a connection between the aesthetic thought, the spiritual sensitivity and the emergent paradigm; a new world order. By means of information on the paradoxical existence of things, the thesis defines a virtual graphic displaying three areas of reality:

· The external world built with spiritless material, common to everything.

· Sensible things involved in the cycle of life and death.

· Everything that arises from mental activity; ideas, illusions, fantasies, hypotheses of scientific and art works.

These universes are connected by an invisible thread which is united to the laws of physics, metabolic and biochemical processes that constitute the basis for life.
The post Cartesian vision of the emergent paradigm unifies matter, life and soul, and forces us to redefine the relationship between man and other beings; nature.
Reason does not make us different from other animals. In fact, it is a quality that unifies us, that places us in the same evolution chain, despite representing different phases of evolution.

The procedure for the project has focused on three main areas:

· Prove through field experience that resonance of matter can communicate and move through the three above-mentioned areas

· Use research as a tool to document sensitive aspects of nature and reduce levels of uncertainty

· Develop the ideas that art is the language of nature, subjected to the cycle of life and death and that life is art and appearance.

CONCLUSIONS:

As a sculptor, I have conducted research in different settings in order to perform actions on the dark side of reality: concealments. To prove my convictions, I have presented my work where the main symmetries of particles display the uncertainty principle. The display is found in the external world of tangible objects and is where I have placed the Stone ring and ultimately written the conceptual compromise of alliance.

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This dissertation s objective is to investigate the origins of the concept of Entropy as defined by Claude Shannon in the development of the Information Theory, as well as the influences that this concept and other ones from the same theory had over other sciences, especially in Physics. Starting from its origin in Mechanical Statistics, the concept of entropy was transformed into a measure of amount of information by Shannon. Since then the approach proposed by Information Theory has influenced other areas of knowledge and there were many attempts of integrating it with physical theories. The analysis on Information Theory main authors works viewed under a historical outlook, added to the analysis of proposals for its integration with Physics will allow to demonstrate that the integration is currently at the level of approach to physical problems and not at a more fundamental level as it was some scientists expectation
Esta dissertação tem por objetivo investigar as origens do conceito de Entropia formulado por Claude Shannon no desenvolvimento da Teoria da Informação, bem como as influências que este e outros conceitos da mesma teoria tiveram em outras ciências, em especial a Física. Partindo de sua origem na Mecânica Estatística, o conceito de Entropia foi transformado numa medida de quantidade de informação por Shannon. Desde então, a abordagem proposta pela Teoria da Informação influenciou outras áreas do conhecimento, e ocorreram várias tentativas de integrá-la às teorias físicas. A análise das obras dos principais formuladores da Teoria da Informação, colocadas em seu contexto histórico, aliada à análise das propostas de integração desta teoria com a Física permitirá demonstrar que a interação atual entre as áreas ainda se dá ao nível de abordagem dos problemas físicos, e não numa forma mais fundamental como era a expectativa de alguns cientistas

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Made available in DSpace on 2018-12-04T11:48:16Z (GMT). No. of bitstreams: 1 João Paulo Cardoso.pdf: 911847 bytes, checksum: fc606a4d430e6ee06ed627e9e27826bf (MD5) Previous issue date: 2018-10-11
According to Sacrosanctum Concilium 13, pious exercises should be recommended, but with determination that there should be harmonization with the liturgy. The Popular Piety can not substitut, in any way, the official liturgical practices of the Church. In this study we make analysis of the current reality, which will be based on ‗Liquid Modernity‘, expression of the Polish Sociologist Zygmunt Bauman. With this expression, Bauman identify the moment we are living, in which everything is predicted to be fleeting, including the human relations. In this context, the harmonization between Liturgy and Popular Piety is impaired, causing a mismatch between liturgical practices, with their stable norms, and popular devotions, prone to change more easily. However, pious exercises should be encouraged, even with the variants of the present time. For this analysis, the theoretical foundations are sought in the Directory on Popular Piety and the Liturgy, documents of the Popes, in the set of works written by Bauman and many others that help in understanding of the relation between the Popular Piety and the Liturgy in this period of history which Bauman classifies as ‗Liquid Modernity
De acordo com a Sacrosanctum Concilium 13, os exercícios piedosos devem ser recomendados, porém com a determinação de que de haja harmonização com a Liturgia. A Piedade Popular não pode substituir, de forma alguma, as práticas litúrgicas oficiais da Igreja. Nesse estudo fazemos uma análise da realidade atual, que será pautada pela ‗Modernidade Líquida‘, expressão do sociólogo polonês Zygmunt Bauman. Com esta expressão, Bauman identifica o momento que estamos vivendo, em que tudo está previsto para ser passageiro e fugaz, inclusive as relações humanas. Neste contexto, a harmonização entre Liturgia e Piedade Popular fica prejudicada, causando um descompasso entre as práticas litúrgicas, com suas normas estáveis, e as devoções populares, propensas a se alterarem mais facilmente. Contudo, os piedosos exercícios devem ser incentivados, mesmo com as variantes do tempo atual. Para esta análise, os fundamentos teóricos são buscados no Diretório sobre a Piedade Popular e a Liturgia, documentos dos papas, no conjunto de obras escritas por Bauman e tantas outras que auxiliam na compreensão da relação entre a Piedade Popular e a Liturgia neste período da história que Bauman classifica como ‗Modernidade Líquida

This thesis argues that Barth’s asymmetrical structuring of the Trinity in I/1, his doctrine of election in volume II, his concept of the humanity of Christ as the imago Dei in III/2 and his account of the obedience of the Son being reflected in his incarnate life, as detailed in IV/1 and IV/2, are not just coherent but mutually reinforcing. The thesis demonstrates that Barth uses a nexus of crucial terms, including ‘correspondence’ [Entsprechung], ‘reflection’ [reflex/Abbildung] and ‘overflowing’ [Ueberstroemen], to express that God’s actions and relationships ad extra reveal who God is. The concept of ‘correspondence’, tentatively present in the first two volumes, gathers pace through III/2 and achieves full force in volume IV, where the obedience of Christ in IV/2 ‘reflects’ or ‘mirrors’ the obedience of the Son in IV/1. Crucially, the fact that the economic Trinity ‘reflects’ the immanent Trinity, or (differently stated) that the immanent Trinity ‘overflows’ into the economy, establishes a direction, an asymmetry, to the relationship of ‘correspondence’. In ch. II of the thesis we argue that the asymmetry developed in the doctrine of the Trinity in I/1 is the basis for this asymmetric correspondence. Barth describes the triune life as one of giving and receiving existence, suggesting a divine order with an irreversible direction, an asymmetric order. This is shown to be particularly evident in Barth’s defence of the filioque clause which enables him to claim that the Spirit is the one in whom the ruling Father and obedient Son are united ad intra. On this basis we argue, in ch. III, that, when Barth revises his doctrine of election, he comes to see it as the event of triune reflection: the Father, Son and Spirit electing to reflect who they are with a direction of determination, an asymmetry, which is irreversible. In this respect we argue against Bruce McCormack, who sees election as the event in which God elects triunity. In ch. IV we read Barth’s III/2 account of the humanity of Christ as the imago Die, as an attempt to demonstrate that God’s economy of salvation corresponds to who he is. This theme comes into full focus in the first two part-volumes of volume IV, explored here in ch. V. The obedience of Christ reflects, corresponds to, the obedience of the Son. There is obedience in God. This concept, which so mystifies Paul Molnar and Rowan Williams, is shown to be theologically consistent with a doctrine articulated by Barth some thirty years previously: his asymmetrically structured doctrine of the Trinity.

El nostre estudi -basat en les fonts documentals originals i el treball de camp-, aporta una lectura del corpus de l’obra a la llum del sistema conceptual desenvolupat pels Baschet, per facilitar la comprensió dels principis acústics i les seves aplicacions. L’objectiu d’aquesta tesi és posar en valor aspectes estètics i tècnics -en relació als posicionaments vitals dels Baschet respecte la noció de l’Escultura Sonora com a objecte de participació pública-, per afavorir la reflexió i contribuir a establir les bases per a la conservació, recerca i desenvolupaments posteriors, tot insertant-se naturalment en la pròpia trajectòria de l’Escultura Sonora Baschet.
Our study -based on original documentary sources and field work- provides a reading of the corpus of work under the light of the conceptual system developed by Baschet, to ease the understanding of acoustic principles and their applications as well. The aim of this thesis is to highlight the technical and aesthetic aspects -in relation to the vital statements of Baschet respect the notion of Sound Sculpture as an object for public participation- to encourage ponder and help laying the foundation for conservation, research and further development, while inserting naturally in the path of the Baschet Sound Sculpture.

Les deux conflits mondiaux qui ouvrent le XXe siècle métamorphosent radicalement le monde contemporain, entraînant des révolutions majeures au niveau social, politique, artistique, philosophique. Un courant de renouveau humaniste à la recherche de nouvelles valeurs pour l’homme voit le jour ; parmi les multiples propositions, celle de l’œuvre et de la pensée de l’écrivain français Jean Bruller, dit Vercors. Faisant de l’homme le cœur de son projet intellectuel et artistique, Vercors se questionne sur l’existence de l’espèce humaine, sa nature et sa place dans le monde, sur la définition d’homme et le spécifiquement humain. La présente thèse s’attache à explorer les différentes formes théoriques, éthiques et esthétiques que prend cette pensée dans la production de l’auteur, dans le but d’analyser les particularités qui la relient ou la différencient des propositions qui lui sont contemporaines. Le corpus proposé est construit autour d’un dialogue théorie-fiction, qui prend également en compte les dessins de jeunesse de l’artiste. La mise en relation étroite entre la vie, l’œuvre, la pensée et le contexte socio-historique permettra de reconstruire et d’appréhender le projet de l’auteur, ainsi que de définir la place concrète du texte littéraire dans la réflexion vercorienne. Ce dispositif d’interrelations profitera aussi des approches pluridisciplinaires que l’écrivain convoque dans son œuvre (histoire, philosophie, anthropologie, biologie et psychologie). Le tout nous servira de paradigme pour explorer les variations existantes dans sa fiction, espace où la pensée de l’homme de Vercors trouve sa réalisation la plus aboutie
The two world conflicts that opened the 20th century radically transformed the contemporary world, giving rise to major social, political, artistic and philosophical revolutions. A trend of humanist revival in search of new values for Humankind was born. Among the many formulations was that of the work and thought of the French writer Jean Bruller, also known as Vercors. Having designated Human being at the centre of his intellectual, artistic (notably literary) project, Vercors questioned himself about the existence of the human species, its nature, its place in the world, the definition of human being, based on what is specific in being human. This doctoral dissertation investigates the different theoretical, ethical and aesthetic forms that this idea of human being takes in the author’s productions, in order to analyze the distinctive features that link and differentiate it from alternative contemporary humanist thinking. The proposed corpus is built around theory-fiction dialogue, which also takes into account the artist’s first drawings. Closely linking life, work, thought and sociohistorical context makes it possible to reconstruct and comprehend the author’s project, as well as to define the concrete role of the literary text in the vercorian reflection. This system of interrelations also benefits from the multidisciplinary approaches that the writer brings to his work (history, philosophy, anthropology, biology and psychology). The thesis, as a whole, serves as a paradigm to explore the different variations existing in his fiction, where Vercors’ thought on Humankind is most compellingly developed

Text in Afrikaans
Summary in Afrikaans and English
This study is an attempt to analyse and describe syncretism as an encompassing phenomenon from a historical-educational perspective. In recent times, the ideas of globalization, the influence of modern science, as well as certain ideas concerning modern education, are closely related to the manifestation of syncretism. A study of various exemplars from the past and present disclosed the essences of syncretism, thus unveiling the religious growth-motives that underlie syncretism, which also played an important role in the development of Western civilization and the modem world. The multi-faith idea (the idea of unity and synthesis), the idea of secularization, and the idea of relativity, were identified as prominent characteristics of syncretism. The identification and analysis of the essences of syncretism and supporting religious principles. become possible when syncretism is set in opposition to the Biblical and reformational thought processes. Bible-based education provides an alternative to syncretism in a fast changing and post-modern world. It gives perspective on the instruction to people to care for and develop God's creation. The intrinsic characteristics of Bible-based education were used as evaluation criteria in an attempt to expose syncretism. The characteristics of Bible-based education which also provide a framework for establishing a corrective to the problematic educational situation, are the following: • the acknowledgement of the Holy Trinity as central to man's existence; • the Bible/Holy Scriptures as essential for a Christian world and life view; • the essence of a Christian anthropology; • education as the fulfilment of God's covenant with man; • the directive role of Bible-based norms; • the transfer of culture through education • Biblical cosmology as an expression of the Christian faith; • the reformational aspect of Bible-based education. In the evaluation of syncretism, it was discovered that the relationship between man and the Holy Trinity would be negatively affected if the Christian religion were not regarded as the only source of truth concerning the salvation of man and the true meaning of life. The influence of syncretism necessitates a reformational and antithetical approach, which constantly emphasises the importance of the educator's role in the teaching and education of the child in the modem educational system.
In hierdie studie word gepoog om die sinkretisme as omvattende verskynsel vanuit 'n histories-opvoedkundige perspektief te ontleed en te omskryf. Die globaliseringsverskynsel, die inwerking van die modeme wetenskap en bepaalde idees in die moderne onderwys hang saam met die manifestasie van die sinkretisme in die eietyd. In 'n eksemplariese verlede- en eietydse studie is grondig ondersoek ingestel na tendense en verskynsels wat die wesenlike van die sinkretisme openbaar. Religieuse grondmotiewe in die Westerse beskawingsontwikkeling het 'n wesenlike bydrae gelewer tot die opkoms van die sinkretisme van die moderne wereld. Die wesenskenmerke wat prominent in die eksemplariese ondersoek betreffende die realisering van die sinkretisme gemanifesteer het, was die multireligieuse/intergeloofsidee en sintesedenke (eenheidsidee), die sekulariseringsverskynsel en die relatiwiteitsverskynsel. Die identifisering en ontleding van die wesenskenmerke van die sinkretisme en ondersteunende religieuse grondmotiewe word moontlik indien die sinkretisme teenoor die Bybelse en reformatoriese denkhouding gestel word. Bybelgefundeerde onderwys bied 'n altematief vir die sinkretisme in 'n snel veranderende en postmodeme wereld en gee perspektief aan die mens se beheersingsopdrag in die skeppingswerklikheid. Die wesenskenmerke van Bybelgefundeerde onderwys is as evalueringskriteria aangewend in 'n poging om die sinkretisme in sy ware gedaante te ontbloot. Die wesenskenmerke wat terselfdertyd die raamwerk vir die daarstel van 'n korrektief vir die problematiese onderwyssituasie bied, is: • God Drie-enig as sentrale uitgangspunt; • die Bybel/Heilige Skrif as essensieel vir 'n Christelike lewens en wereldbeskouing; • die Christelike mensbeeld (antropologie) as voorwaarde vir Bybel-gefundeerde onderwys • onderwys en opvoeding as die bevestiging van God se verbond met die mens; • die rigtinggewende rol van Bybelgefundeerde norme; • kultuuroordrag en Bybelgefundeerde onderwys; • die Bybelse skeppingsleer as 'n uitdrukking van die Christelike geioof; • die refonnatoriese/gereformeerde inslag van Bybelgefundeerde onder­wys In die evaluering van die sinkretisme is bevind dat die mens se grondverhouding met God Drie-enig aangetas word indien die Christelike godsdiens nie as die enigste bron van waarheid betreffende die mens se redding en toekomsverwagting beskou word nie. Die inwerking van die sinkretisme noodsaak in die moderne onderwyssisteem 'n reformatoriese en antitetiese denkhouding wat die mens deurlopend opskerp ten opsigte van sy rol as opvoeder in die opvoeding en onderwys van die kind.
Educational Studies
D. Ed. (History of Education)

Es'kia Mphahlele's concept of African humanism was a seminal influence on Black Consciouness thought and provided the philosophical basis for a landmark body of South African criticism and aesthetics wilh roots in Africa. African humanism as a black ethos, combined with rich metaphoric speech, symbols, values and myths resurrected from the deep African past, afforded the author a powerful cultural weapon with which to criticize centuries of colonialism, racism, and state apartheid, related western industrial forces of economic exploitation and alienation. Moreover, the counterweights of African humanism and alienation in the dialogue of two selves -- one that is Western-educated and colonized and the other African -- contribute key elements of realism, vitality, humour, insight, cultural identity, and characterization to Mphahlele's most effective protest writing which, in turn, has helped to shape a black nationalist vision which has surprising relevance to South Africa in the 1990s.
English Studies
M.A. (English)

Submitted in fulfilment of the requirements of the degree of Doctor of Technology: Public Management, Durban University of Technology. South Africa, 2014.
Between 1983 and 1987, an estimated 20 000 people from Matebeleland and parts of Midlands Province in Zimbabwe were killed in an operation code named Gukurahundi by state security agents; mostly the Central Intelligence Organisation and a battalion [5th Brigade] especially trained for this operation. Since that time no official apology or any form of healing process has been proffered by the ZANU PF government which was responsible for these atrocities. As a result, most communities in these areas have never been afforded opportunities to openly talk about their experiences and to seek relief for their painful memories of the past. If anything, the government has continued to cause enduring pain by periodically actively suppressing any such attempts. It has become an accepted norm that after violent conflicts that programmes aimed at reconciliation, healing and forgiveness should be undertaken as part of the peacebuilding efforts. Where such has not occurred, there is a fear that there might be a return to violence at some point in that country or community. The question that this research seeks to answer is whether, in view of the absence of any apology or official healing programme, these communities can heal themselves? Using a participatory action research approach, this research sheds some light on what communities could possibly do on their own to deal with their hurts. It also identifies conditions that would make such healing sustainable and what currently prevents that from taking place. It finds that through a broadly-based array of actions such as creating safe and empathetic spaces for storytelling, both verbal and written, group-based healing workshops and other psychosocial approaches, as well as a critical analysis of participants’ contexts in order to understand what needs transformation, it is possible for traumatised communities to attain a measure of relief from their emotional and psychological wounds. It also finds that this relief could be more sustainable if certain conditions were eliminated.

Esta investigação centra-se numa proposta de compreensão crítica das artes plásticas, concretamente das representações pictóricas vinculadas a um compromisso humanista, nas décadas centrais do século XX, em Portugal. Num contexto histórico, social e político, internacional e nacional, de guerras e de ditaduras, emerge a necessidade de uma ruptura vanguardista estética, de resistência e oposição ética. Sustentada num pensamento e discurso ideológico, busca-se, em vários países, uma nova estética, alicerçada numa nova atitude do artista, consciente e comprometida, manifestando-se numa praxis artística participada e em linguagens visuais ancoradas na realidade social e na figuração. Partindo da análise compreensiva dos pressupostos teóricos fundadores de um debate estético, dos subsídios e influências, ideológicos, artísticos e visuo-plásticos, contributivos de uma estética do realismo humanista, para um estudo analítico das intervenções e experimentações artísticas, nas suas múltiplas expressões, intenta-se uma investigação e reflexão aprofundadas para uma reavaliação crítica da arte neo-realista, nomeadamente da sua importância na história da arte portuguesa contemporânea.
This research focuses on a proposal for critical understanding of visual arts, specifically the pictorial representations linked to a humanistic commitment during the midtwentieth century in Portugal. In a historical social and political international and national context, of wars and dictatorships, emerges the need for an avant-garde aesthetical break, a resistance and ethical opposition. Based on an ideological thinking and discourse, a new aesthetic is sought in many countries. Such aesthetic is based on a new conscious committed attitude of the artist manifested in a participatory artistic praxis and in visual languages anchored in social reality and figuration. From a comprehensive analysis of the theoretical grounds for an aesthetical debate, of the ideological, artistic and visual-plastic grant and influences, which contribute for an aesthetical humanist realism, we progress to an analytical study of the artistic interventions and experimentations in their multiple expressions, we attempt a comprehensive research and reflection directed to a critical reappraisal of the neo-realist art, particularly regarding its importance in the history of Portuguese contemporary art.