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O Estado como liberdade e vida ética realizadas em Hegel
(Universidade Federal de São Carlos, 2020-10-28) Oliveira, Claudeni Rodrigues de; Baioni, José Eduardo Marques; https://lattes.cnpq.br/9613180348313909; https://lattes.cnpq.br/6792738020894786
The present thesis defends that freedom (Freiheit) in the philosophical thought of G. W. F. Hegel (1770-1831), as presented in the “third part” of Philosophy of Law (1821), only concretizes in the State (Staat). Although he recognizes that particularity is a mark of the superiority of the modern world in relation to the ancient world, Hegel is aware of the risks of its reduction to property (Eigentum). In the Philosophy of Law, this reduction to needs (Bedürfnisse), corresponds to the moment of bourgeois civil society (bürgerliche Gesellschaft), characterized as “loss” (Verlust) of family ethics (Familie), which, as moments of Ethics (Sittlichkeit), are suppressed (aufheben) by the State. Thus, although he recognizes that freedom in the modern world, also presupposes the right to property and the satisfaction of particular needs, Hegel, in the “third part” of the Philosophy of Law, the ethical organicity of youth writings and understands that only through institutional mediation (Vermittlung) that has its consummation in the State, individual freedom is realized. Thus, it concludes that only the State, as an effective reality (Wirklichkeit), is able to recognize the particular will and elevate it to universality, by enabling the individual to have concrete freedom and, in this way, an ethical life (Leben sittliches) realized.
O cinema de Chantal Akerman: estilo e claustrofobia em Saute ma ville (1968) e Jeanne Dielman 23 Quai du Commerce, 1080 Bruxelles (1975)
(Universidade Federal de São Carlos, 2020-10-28) Silva, Natália Marchiori da; Adamatti, Margarida Maria; https://lattes.cnpq.br/2629005451704968; https://lattes.cnpq.br/5542450613811924
This research analyzes two films by Belgian filmmaker Chantal Akerman, Saute ma Ville (1968) and Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), with the purpose of investigate the domestic claustrophobia sensation as an authorial trait of Akerman, an element that is referenced all over the filmograpy of the filmmaker. Therefore it is important to highlight the thematic and stylist crossings in the directress’s work. We emphasize along the analysis the montage, the sound use, the performance, the framework and duration of the plan as ways to build a cinema based on sensations. The Akerman’s formal and thematic choices are associate with the questions purpose by modern cinema, in the same time, weembracing the present affinities in her work with the feminist theory. Akerman combines elementes of referentiality to build her own cinema, an authorial cinema, which creates visibilities and fissure that produces sensitive forms of apprehension, and therefore, others critical possibilities to the women’s everyday, the domestic claustrophobia experienced in their daily lives.
Rio Sorocaba (São Paulo/Brasil): políticas públicas e suas potencialidades turísticas
(Universidade Federal de São Carlos, 2020-10-28) Ponce, Stefania; Marques, Silvio Cesar Moral; Santos, Maria Helena Mattos Barbosa dos; https://lattes.cnpq.br/3419477918842537; https://lattes.cnpq.br/3419477918842537
From a research about the potential of the Sorocaba river, in its urban extension, it can be observed that the river, in different stretches, can be used for leisure and tourism practices. In this work, I dedicated myself to detecting the tourist potential of this Sorocaba identity, a beacon of waiting for a refreshing time and part of the implementation of a tourism plan that values local socio-environmental, cultural and economic aspects. Here, an unprecedented survey will be made in terms of structuring the Sorocaba river as a navigable river, aiming to flow actions in the municipality of Sorocaba. Being a destination, with indentitary attractions for the State of São Paulo, requires a new way of seeing the composition of the urban landscape. The Sorocaba river incorporates different elements that allow, for future scenarios, the development of Sorocaba. It is part of the history of the development of the city and region's mobilities between highways, railways and population transformations. The Sorocaba river, which gave origin to the city's name, is born in the São Francisco mountain range and consists of small streams that integrate the Tietê river basin and flow into the reservoir (CAMPOS, 2018). In the old days there was more forest in Sorocaba than nowadays; in the virgin forest lived animals and a lot of birds. The Sorocaba river is our identity and inspires several ways of structuring a city with tourist potentialities, which are building a discernment while the possibilities of the city of Sorocaba.