Suchergebnisse

The Catholic Church has traditionally raised four objections to the doctrine of human rights in its liberal version: the lack of reference to God as the source of human rights, individualism, the absence of a list of human duties accompanying individual rights, and the doctrine's vulnerability to proliferation and creative interpretation of those rights. The paper mainly focuses on the first two concerns. From the point of view of secular liberalism, the idea of God appears as an unnecessary by-product of the process of human evolution. From the point of view of Christianity, creation in the image and likeness of God is the source of man's inalienable dignity, and serves, at the same time, to safeguard his rights from reinterpretation by the state, should the state consider itself the source of such rights. Christianity presents man as an inherently social being, with two communities, i.e., the family and the nation, that are recognized as natural. Liberal individualism views people as a collection of elementary particles that collide with one another but never connect. The difference is fundamental when it comes to attitudes towards obligations prior to individual decisions, but also when it comes to a person's emotional backing. The human being, therefore, seeks to create either family-type ties, or merely ones based on a voluntary contract. It is a paradox that the more atomized a society is, the more necessary a strong state becomes to guarantee individual rights and a sense of security in times of crisis. As a result, a system called statist individualism comes to existence. Religion not only reveals the ultimate meaning of human life and the reasons for which it is worthwhile to be human, but it has also been a source of public morality. The liberal concept of neutrality and the privatization of religion reopen the question of the axiological foundations of the state. On the one hand, why, in the end, should people obey state laws when the state itself convinces them that they are morally neutral? On the other hand, this raises the question of the preferred model of education. From the point of view of the state and society, can a culturally and axiologically neutral education, in which children are taught about what is allowed and what is forbidden by law, but not about what is morally right and wrong, be sufficient? One answer suggests that a liberal state conceived in this way is unstable, and able to exist only for a while. The alternative would be a liberal state that is imperfect, culturally charged, and open to the presence of the Church as a public and publicly meaningful authority.
Benedict XVI, in a discussion on Marcello Pera's interpretation of the doctrine on human rights, says: "It was only thanks to your book that it became clear to me how much the encyclical Pacem in terris had set a new direction in thinking. I was aware of the strong influence of the encyclical on Italian politics: it gave a decisive impulse to the opening of Christian Democracy to leftist views. However, I did not realize to what great an extent it signified a new premise also to the basis of the party's thinking". Pera himself believes that the Church, by making the doctrine of human rights part of the Church Magisterium, proclaimed "by virtue of the Gospel committed to her" (Gaudium et spes, 41) has fallen into a "liberal trap".

The purpose of the article. In recent decades, modern Chinese opera has overcome national limitations and is increasingly attracting interested and appreciative listeners on different continents. Jin Xiang (1935–2015) is one of the modern Chinese composers who made this historical breakthrough with his work. He is the author of nine operas, among which the most famous was created in 1987. Wild Land (原野, there are also other translations of this title: "Plain", "Desert", "Big Field") and "Sunrise" (日出) that was created in the last year of his life. And if a number of researchers have devoted their scientific works to the analysis of the first of them, thanks to a considerable amount of time — thirty-five years since its writing, then the second has not yet been thoroughly studied by Chinese and foreign musicologists. However, the success of its two first nights on the stages of Beijing (2015) and Shanghai (2017) and the artistic resonance of these cultural events certainly make it necessary to carry out a musicological and, more broadly, an art-critical analysis of this composition.
The methodology combines a purely musicological complex (music-theoretical, music-historical and music-performance methods), which contributes to a comprehensive understanding of the specifics of the operas "Sunrise" by Jin Xiang and "La Traviata" by G. Verdi, with the method of comparative analysis, which allows drawing conclusions about the specifics of the literary primary source, and the comparative method necessary to establish the similarities and differences of the storylines in the libretto of the operas "Sunrise" (by Wang Fang, one of Cao Yu's daughters) and "La Traviata" (by Francesco Maria Piave), and the corresponding musical the specifics of the literary primary source, and the comparative method necessary to establish the similarities and differences of the storylines in the lib-retto of the operas "Sunrise" (by Wang Fang, one of Cao Yu's daughters) and "La Traviata" (by Francesco Maria Piave), and the corresponding musical operas by Jin Xiang and G. Verdi.
The results. The analysis of the opera "Sunrise" allows us to state that it organically combines the national Chinese and European principles of music-theatrical drama. The composer's reinterpretation of the Chinese tradition of singing in the part of the main heroine is successfully combined with the use of numerous European features in the parts of other characters, choral episodes, and sometimes also in orchestral accompaniment. All this allows us to emphasize Jin Xiang's successful embodiment of one of the main lines in the works of numerous Chinese composers of the late XX and early XXI centuries: the desire to apply the dialogical principle "East-West", which is realized in a combination of national and Western artists, in particular innovative — from the middle to the end of the XX century — traditions when they create modern bright opus.
The practical significance. Comparison of storylines, dramaturgical decisions and musical characteristics of the main characters, primarily female, of the European opera "La Traviata" and the Chinese "Sunrise" requires a more detailed musical and textual analysis, which can be logically carried out in subsequent publications. This should lead to a deeper understanding and comprehension of the trends that are inherent in this and a number of other bright opera works by Chinese composers of the late XX and early XXI centuries, which present modern Chinese musical culture to the world.

Socio-political, economic and cultural changes in recent decades, multiplied by the deep social crisis that has engulfed the modern world, have affected not only production and political processes but also education. These new external and internal factors cause the need to adjust the existing conceptual foundations of training teachers to work in the New Ukrainian school, which determines the topicality of our study. The article analyzes the theoretical and methodological aspects of the professional development of a history teacher and their reflection in the semantic, operational and contextual components of the qualification component of the pedagogical skills of the New Ukrainian School teacher. The concept of "New Ukrainian School" is described as a key reform of the Ministry of Education and Science of Ukraine and the state educational policy of Ukraine on quality assurance of education is analyzed. It was found that according to the State Standard basic platform for the formation of the integral image of the pedagogical skills NUS teacher is formed by fourteen core competence. It creates a perfect image of the teacher. It is established that in the theory the teacher professionalism is defined as a specific psychological and personal production, characterized by professional competence and the ability to perform creatively professional tasks. The specification of cognitive-technological qualities are necessary for mastering the historical sciences is given, which in its content and form is based on the dual mechanism of mastering historical material in the direction from the knowledge of the historical fact to awareness of it as a part of one's own life. It is substantiated that the leading role in the teacher's professional development is in his ability to innovate, components of which are a clear motivation and meaningful innovative position, the ability not only to join innovation processes but also to be the initiator. According to the results of the study, the updated functional component of the professional activity of the New Ukrainian School teacher directs his professional evolution towards the modernization of the established general education model and causes reinterpretation of its place and role in the native education environment. ; Охарактеризовано концепцію «Нова українська школа» як ключову реформу Міністерства освіти і науки (МОН) в Україні та через її призму проаналізовано державну освітню політику України щодо забезпечення якості освіти. Досліджено теоретичні і методологічні аспекти професійного розвитку учителя історії та їх відображення у змістовому, операційному й контекстному компонентах кваліфікаційної складової педагогічної майстерності педагога НУШ. З'ясовано, що відповідно до Державного стандарту базову платформу для формування інтегрального образу педагогічної майстерності учителя НУШ утворюють чотирнадцять ключових компетентностей, репрезентована цілісність яких формує довершений образ педагога-практика. Установлено, що в теорії професійність педагога визначають як специфічне психологічне й особистісне утворення, якому властивості фахові компетентності і здатнісь до творчого виконання професійних завдань. При цьому професійність та результативність учителя історії проглядається й у сформованому ним стилі педагогічної діяльності та виборі педагогічної стратегії. Остання скеровує вектор професійної діяльності за одним із трьох напрямів: суто педагогічним, формально педагогічним або помилково педагогічним. Наведено специфікацію когнітивно-технологічних якостей, необхідних для засвоєння історичної науки, що за своїм змістом і формою ґрунтується на дуальному механізмі оволодіння історичним матеріалом – від знання історичного факту і до усвідомлення його як частини власного життя. Обґрунтовано, що провідну роль у професійному зростанні педагога відіграє його здатність до інноваційної діяльності, складовими якої є чітка мотивація та осмислена інноваційна позиція, спроможність не лише долучатися до інноваційних процесів, а й бути їх ініціатором.

International audience ; For the end credits of Jayro Bustamante's third feature film, the Mexican folk song "La Llorona", metamorphosed into "Llorona de los cafetales", has been rewritten to shed light on the process of reshaping this syncretic myth in the Guatemalan filmmaker's fantastic film. The ghost of the Mourner, which comes from both pre-Colombian and colonial backgrounds, mobilizes the issues of historical memory and reparation that Bustamante, a director with a strong political and social conscience, places at the heart of his narrative. Through a feminine spirit of justice, carrying the voice of the victims of the ixil genocide perpetrated in Guatemala in the midst of the civil war under the presidency of Efraín Ríos Montt (1982-1983), he forges a committed and demanding discourse, enveloped in a fantastic atmosphere that facilitates its commercial diffusion to young audiences both at home and abroad. It is precisely the different axes of reinterpretation of the archetypes of the Llorona that we propose to explore here: we will observe how the director appropriates the mythical substratum in order to infuse it, within the Guatemalan historical context, into a national political dimension that resides in the intersection of a double discourse of memory and feminism. ; Para los títulos de créditos finales del tercer largometraje de Jayro Bustamante, se reescribió la canción folclórica mexicana "La Llorona", metamorfoseada en "Llorona de los cafetales", para reflejar el proceso de reconfiguración de este mito sincrético en la película fantástica del cineasta guatemalteco. El fantasma de la Llorona, cuyas raíces son tanto precolombinas como coloniales, moviliza los temas de la memoria histórica y la reparación que Bustamante, director de fuerte conciencia política y social, sitúa en el centro de su historia. A través de un espíritu femenino justiciero portador de las voces de las víctimas del genocidio ixil perpetrado en Guatemala en plena guerra civil, bajo la presidencia de Efraín Ríos Montt (1982-1983), Bustamante forja un discurso comprometido y reivindicativo, envuelto en una atmósfera fantástica destinada a facilitar su difusión comercial hacia el público joven, tanto en su país como en el extranjero. Son precisamente los diferentes ejes de reinterpretación de los arquetipos de la Llorona los que nos proponemos explorar aquí: observaremos cómo el director se apropia del sustrato mítico para infundirle, a la luz del contexto histórico guatemalteco, una dimensión política nacional que reside en la intersección de un doble discurso memorial y feminista. ; Pour le générique de fin du troisième long-métrage de Jayro Bustamante , le chant folklorique mexicain « La Llorona », métamorphosé en « Llorona de los cafetales », a fait l'objet d'une réécriture qui éclaire le processus de remodelage de ce mythe syncrétique dans le film fantastique du cinéaste guatémaltèque. Le fantôme de la Pleureuse, issu d'un terreau à la fois précolombien et colonial, mobilise les problématiques de la mémoire historique et de la réparation que Bustamante, metteur en scène doté d'une forte conscience politique et sociale, place au cœur de son récit. Par le truchement d'un esprit féminin justicier, porteur de la voix des victimes du génocide ixil perpétré au Guatemala en pleine guerre civile, sous la présidence d'Efraín Ríos Montt (1982-1983), il forge un discours engagé et revendicatif, enveloppé d'une ambiance fantastique visant à en faciliter la diffusion commerciale aussi bien auprès du jeune public de son pays qu'à l'étranger. Ce sont précisément les différents axes de réinterprétation des archétypes de la Llorona que nous nous proposons ici de parcourir : il s'agira d'observer comment le réalisateur s'approprie le substrat mythique pour lui insuffler, à l'aune du contexte historique guatémaltèque, une dimension politique nationale qui réside dans l'intersection d'un double discours mémoriel et féministe.

Socio-political, economic and cultural changes in recent decades, multiplied by the deep social crisis that has engulfed the modern world, have affected not only production and political processes but also education. These new external and internal factors cause the need to adjust the existing conceptual foundations of training teachers to work in the New Ukrainian school, which determines the topicality of our study. The article analyzes the theoretical and methodological aspects of the professional development of a history teacher and their reflection in the semantic, operational and contextual components of the qualification component of the pedagogical skills of the New Ukrainian School teacher. The concept of "New Ukrainian School" is described as a key reform of the Ministry of Education and Science of Ukraine and the state educational policy of Ukraine on quality assurance of education is analyzed. It was found that according to the State Standard basic platform for the formation of the integral image of the pedagogical skills NUS teacher is formed by fourteen core competence. It creates a perfect image of the teacher. It is established that in the theory the teacher professionalism is defined as a specific psychological and personal production, characterized by professional competence and the ability to perform creatively professional tasks. The specification of cognitive-technological qualities are necessary for mastering the historical sciences is given, which in its content and form is based on the dual mechanism of mastering historical material in the direction from the knowledge of the historical fact to awareness of it as a part of one's own life. It is substantiated that the leading role in the teacher's professional development is in his ability to innovate, components of which are a clear motivation and meaningful innovative position, the ability not only to join innovation processes but also to be the initiator. According to the results of the study, the updated functional component of the professional activity of the New Ukrainian School teacher directs his professional evolution towards the modernization of the established general education model and causes reinterpretation of its place and role in the native education environment. ; Охарактеризовано концепцію «Нова українська школа» як ключову реформу Міністерства освіти і науки (МОН) в Україні та через її призму проаналізовано державну освітню політику України щодо забезпечення якості освіти. Досліджено теоретичні і методологічні аспекти професійного розвитку учителя історії та їх відображення у змістовому, операційному й контекстному компонентах кваліфікаційної складової педагогічної майстерності педагога НУШ. З'ясовано, що відповідно до Державного стандарту базову платформу для формування інтегрального образу педагогічної майстерності учителя НУШ утворюють чотирнадцять ключових компетентностей, репрезентована цілісність яких формує довершений образ педагога-практика. Установлено, що в теорії професійність педагога визначають як специфічне психологічне й особистісне утворення, якому властивості фахові компетентності і здатнісь до творчого виконання професійних завдань. При цьому професійність та результативність учителя історії проглядається й у сформованому ним стилі педагогічної діяльності та виборі педагогічної стратегії. Остання скеровує вектор професійної діяльності за одним із трьох напрямів: суто педагогічним, формально педагогічним або помилково педагогічним. Наведено специфікацію когнітивно-технологічних якостей, необхідних для засвоєння історичної науки, що за своїм змістом і формою ґрунтується на дуальному механізмі оволодіння історичним матеріалом – від знання історичного факту і до усвідомлення його як частини власного життя. Обґрунтовано, що провідну роль у професійному зростанні педагога відіграє його здатність до інноваційної діяльності, складовими якої є чітка мотивація та осмислена інноваційна позиція, спроможність не лише долучатися до інноваційних процесів, а й бути їх ініціатором.

Thirst for Colour is a collaboration with diverse groups that work with Whitman-Walker's oral history archive of the Queer and Trans history of the greater DC community and the narrative of the HIV/AIDS epidemic in Washington DC. The work is a reconstructed LGBT+ flag – work is a reflection on the emptiness of symbols and poses a question -what really constitutes a safe space? The work is developed in relation to the evolving history of flags, in particular the idea of forming and reforming identity. Part of the exhibition See you there: Making History at Whitman-Walker. --- "This beautiful piece, designed by Tina Gverović and constructed at The Corner at Whitman-Walker, is a multi-colored vortex with an approximate area of 78 square meters, or 844 square feet. It takes up a huge portion of the floor at The Corner in LIZ. For me, the sculpture has a kind of holy geometry. In its sheer mass, the piece centers itself. I feel a sense of unitary completeness. Across the circular landscape each person sees a different horizon from their view, inviting difference and perspective into the conversation. The large sculpture of swirling fabric joins in the tradition of elaborating on Gilbert Baker's rainbow flag design. Gilbert's original, first raised in 1978 at Pride in San Francisco, contained 8 colors, (Hot pink, red, orange, yellow, green, turquoise, indigo, and violet) celebrating the diversity of the LGBT community. From its inception the flag has undergone revisions and reinterpretations. Early on, a commercial version lost a color to the requirements of mass production, and a political version went from 7 to 6 to allow the flag to fly in two, equal halves of 3 colors each. The most common colors, (red, orange, yellow, green, blue and violet) are now seen throughout the world on clothes, pins, and even food. Tina Gverovic's contribution to the history of the rainbow pride design contains 11 different colors. It is warm and soft on the eyes; slightly muted compared to the high voltage tones which dominate the world of rainbow pride flags. In her sculpture, Tina has incorporated the recent widespread addition of 5 colors; Black, brown, and light pink, white, and light blue. The additions recognize Black and brown people of color and transgender people in the queer community. The new colors recognize a new focus on the intersectional nature of the queer rights movement. The overlapping fabric panels remind me of the AIDS Quilt, and the soft folds and suggestive galley placement make me feel like it is a place to stop and sit and remember. The AIDS Quilt was last publicly displayed in 1996 on the National Mall in Washington. Now at 48,000 panels it is a powerful testament to the lives that were lost to the crisis and provides a visceral reminder of their contribution. Tina's welcoming whirlpool contains 70 panels. The panels are carefully folded by gentle curves into a circle. For me, in the cloth's folds and eddies, and overlapping, colored panels, the design points to history of the struggle for liberation. The 11 alternating colors suggest the interwoven flow of LGB liberation and trans liberation and Black liberation. The piece is constructed from the inside out, and so, like the struggle for liberation, it is possible to imagine that you can keep adding to it." BENJAMIN BROOKS

International audience ; For the end credits of Jayro Bustamante's third feature film, the Mexican folk song "La Llorona", metamorphosed into "Llorona de los cafetales", has been rewritten to shed light on the process of reshaping this syncretic myth in the Guatemalan filmmaker's fantastic film. The ghost of the Mourner, which comes from both pre-Colombian and colonial backgrounds, mobilizes the issues of historical memory and reparation that Bustamante, a director with a strong political and social conscience, places at the heart of his narrative. Through a feminine spirit of justice, carrying the voice of the victims of the ixil genocide perpetrated in Guatemala in the midst of the civil war under the presidency of Efraín Ríos Montt (1982-1983), he forges a committed and demanding discourse, enveloped in a fantastic atmosphere that facilitates its commercial diffusion to young audiences both at home and abroad. It is precisely the different axes of reinterpretation of the archetypes of the Llorona that we propose to explore here: we will observe how the director appropriates the mythical substratum in order to infuse it, within the Guatemalan historical context, into a national political dimension that resides in the intersection of a double discourse of memory and feminism. ; Para los títulos de créditos finales del tercer largometraje de Jayro Bustamante, se reescribió la canción folclórica mexicana "La Llorona", metamorfoseada en "Llorona de los cafetales", para reflejar el proceso de reconfiguración de este mito sincrético en la película fantástica del cineasta guatemalteco. El fantasma de la Llorona, cuyas raíces son tanto precolombinas como coloniales, moviliza los temas de la memoria histórica y la reparación que Bustamante, director de fuerte conciencia política y social, sitúa en el centro de su historia. A través de un espíritu femenino justiciero portador de las voces de las víctimas del genocidio ixil perpetrado en Guatemala en plena guerra civil, bajo la presidencia de Efraín Ríos Montt (1982-1983), Bustamante forja un discurso comprometido y reivindicativo, envuelto en una atmósfera fantástica destinada a facilitar su difusión comercial hacia el público joven, tanto en su país como en el extranjero. Son precisamente los diferentes ejes de reinterpretación de los arquetipos de la Llorona los que nos proponemos explorar aquí: observaremos cómo el director se apropia del sustrato mítico para infundirle, a la luz del contexto histórico guatemalteco, una dimensión política nacional que reside en la intersección de un doble discurso memorial y feminista. ; Pour le générique de fin du troisième long-métrage de Jayro Bustamante , le chant folklorique mexicain « La Llorona », métamorphosé en « Llorona de los cafetales », a fait l'objet d'une réécriture qui éclaire le processus de remodelage de ce mythe syncrétique dans le film fantastique du cinéaste guatémaltèque. Le fantôme de la Pleureuse, issu d'un terreau à la fois précolombien et colonial, mobilise les problématiques de la mémoire historique et de la réparation que Bustamante, metteur en scène doté d'une forte conscience politique et sociale, place au cœur de son récit. Par le truchement d'un esprit féminin justicier, porteur de la voix des victimes du génocide ixil perpétré au Guatemala en pleine guerre civile, sous la présidence d'Efraín Ríos Montt (1982-1983), il forge un discours engagé et revendicatif, enveloppé d'une ambiance fantastique visant à en faciliter la diffusion commerciale aussi bien auprès du jeune public de son pays qu'à l'étranger. Ce sont précisément les différents axes de réinterprétation des archétypes de la Llorona que nous nous proposons ici de parcourir : il s'agira d'observer comment le réalisateur s'approprie le substrat mythique pour lui insuffler, à l'aune du contexte historique guatémaltèque, une dimension politique nationale qui réside dans l'intersection d'un double discours mémoriel et féministe.

ABSTRACTIn 1980s, when digital technology flourished, computer was used solely as drawing tool, while in today's architectural environment, digital technology has undertaken the role of being the main component of the architectural production process. Parametric design, algorithmic design and similar digital design methods, gathered under the title of computational design, have been an important tool in the emergence of contemporary architectural products. With its alternatives, parametric design has been one of the most important current architecture's problem solvers, enabling control of all criteria, from production of forms to efficient use of topography and natural conditions to reflection of local cultural architectural texture. Parametric design with its ability to use all the criteria limiting design as a forming tool has become an instrument that arranges relations of architecture with different disciplines such as ecology, climatology, engineering, geography, sociology, history, archeology, lighting.In this context, parametric design with its potentials such as reinterpretation of traditional architectural forms, understanding of cultural infrastructure with its all layers and considering it as a form source has become a preferred approach in societies expressing their social and cultural changes through architecture, especially in buildings such as museums and libraries they construct. On the other hand, structures' harmony designed by using parametric design with cultural and environmental factors has been another reason for preference of this method. In UAE, which is a newly established country and attempt to create its cultural memory together with its economic power, in China, which weakened its ties with past after the Mao Revolution and is struggling to change its existing culture to contemporary one to support its economic power, in Istanbul/Turkey which has multilayered historical structure, the parametric form creation methods have been utilized for the museum building's design.In this study, firstly, parametric design's role method in memory space design will be discussed theoretically. Subsequently, it is aimed to embody the discussion over three pillars that deal with parametric design method with different approaches. In this sense, the Abu Dhabi Louvre Museum in UAE, which endeavors to create its social and cultural memory, the Yinchuan Museum in China, whose ties with the past have been weakened due to political reasons, and attempts to reconstruct its ancient culture with contemporary understanding of culture, and Istanbul City Museum, which uses parametric design method to present the stratified structure of its local and cultural memory, will be reviewed as model architectural structures of the study.One of the main objectives of the study is to show how parametric design is benefited in these three structures' designs, how parametric-based form creation methods varies with these three structures, and how the relationship between cultural memory and space is configured differently with parametric methods. Additionally, in the context of the possibilities provided by parametric design, an analysis of the artefact-form relations with the environmental factors of all three museums and discussion of these relations are among the objectives of the study. In the study, descriptive survey method was pursued, and an interview was conducted with Alper Derinboğaz, architect of the Istanbul City Museum (ICM).In the conclusion, information use provided by the parametric design as a form source in formation of societies' cultural memory, cultural-environmental adaptation possibilities and flexible design understanding were assessed, and the fact that non-euclid and topological form understanding strengthens the monumentality of museum structures were discussed.Keywords: memory, memory space, museum, parametric design.

This paper is a continuation of deliberations on meaning (sense) of public spaces. It refers to unofficial spaces for informal activities, which could be called informal alternative spaces or maybe even a bit exaggeratedly "spaces-of-resistance". Their extremely important features include absence of control and lack of rules, which distinguish them from other spaces. The paramount advantage visitors gain from these places is the ability to give the space a meaning of their own, thus changing the users's position from that of a mere user into the user in possession. It also changes his/her relation to the space which ceases to be only a 'closed object'. It is brought into use, as it is created and linked only for the time of the actor-user's (own) performance. The experimental character of the game leads to a reinterpretation of the meaning (or even necessity to change it) that the space has. Such an approach breaks with the patterns embedded in a collective imaginarium, which promote safe, comfortable behaviours – an unofficial, alternative space must be created each time from scratch, such space is a process. It is not treated as a product, it becomes space of commitment – it becomes political space, but as such, it is a challenge and thus it is interesting only for few people. By meeting each other and being with others we fulfill our basic psychological need, but simultaneously we enter into different roles in a social game in which our own "win" often counts above all. Our private satisfaction can also be valued by a sense of community, collaboration, having something in common, and this obviously can bring benefits to everyone. However, without a deeper thought practices that seek and provide best possible conditions for staying in space can lead to a certain inertia, which can turn into "algorithmization" in satisfying space users, specialized only in passive satisfaction of thoughtless users. ; W tekście, kontynuując moje rozważania dotyczące sensu przestrzeni publicznych, odnoszę się do nieoficjalnych przestrzeni aktywności, które można nazwać przestrzeniami nieformalnymi, alternatywnymi lub może nawet nieco na wyrost "przestrzeniami oporu", których niezmiernie istotnymi wyróżniającymi od innych przestrzeni cechami są brak kontroli i brak reguł. Najważniejszą zaletą dla korzystających z tych miejsc jest możliwość nadawania swoich znaczeń przestrzeni, co zmienia ich pozycję z użytkowników na "będących-w-posiadaniu". Zmianie ulega również ich relacja do przestrzeni, która przestaje być jedynie oddanym do użytkowania "zamkniętym obiektem". Powstaje i jest związana regułami/relacją jedynie na czas podjętej przez aktorów-użytkowników (ich własnej) gry. Eksperymentalny charakter tej gry skłania do reinterpretacji (a nawet konieczności) zmiany znaczenia przestrzeni. Takie podejście zrywa ze wzorami osadzonymi w zbiorowym imaginarium, które promują bezpieczne, wygodne zachowania – przestrzeń alternatywną, nieoficjalną trzeba tworzyć za każdym razem od nowa, taka przestrzeń jest procesem. Nie jest traktowana jak produkt, staje się miejscem zaangażowania – staje się "polityczna" (ideologiczna), jednak jako taka stanowi pewien kłopot, wyzwanie, a przez to interesuje niewielu. Spotykając się z innymi ludźmi, realizujemy swoją podstawową psychologiczną potrzebę, ale równocześnie wchodzimy w różne role w społecznej grze, w której liczy się często przede wszystkim nasza własna "wygrana". Nasza prywatna satysfakcja też może być wartościowana przez poczucie wspólnoty, współdziałanie, posiadanie czegoś wspólnego a to oczywiście może przynieść korzyści dla wszystkich. Jednak bez pogłębionej refleksji praktyki poszukujące i zapewniające jak najlepsze warunki do przebywania w przestrzeni mogą doprowadzić do pewnej bezwładności, która z kolei może się przerodzić w "algorytmizację", wyspecjalizowaną jedynie w biernym zadowalaniu bezrefleksyjnych użytkowników.

This is a theoretical study that aims at analyzing the political implication of humor in contemporary work. For this purpose, Freud's psychoanalytical theory, the social critic reference and subjectivation are used to analyze the work in the contemporaneity. It is assumed that humor at organizations has as its main functionality to reveal the excesses and dogmas maintained by work, allowing the reinterpretation of them, and suggests changes in a work context that permeate the critic to the constituted power, inviting the collective to the creation of a new workspace. From the present study, it is noticed that humor inaugurates a new social speech, and its origin lies in the helplessness. It keeps the social function, but pursues the policy, without which it can not rise. Therefore, humor denounces hypocrisies and idealizations common to a group and dispossesses something previously established by either the subject or an institution or way of government. Describing the neoliberal political scenery, where the phallicist or managerial speech of work is placed, allowing recognizing in the humor social elements contributions to the contemporary labor work. ; Este es un estudio teórico que tiene como objetivo analizar la implicación política del humor en el trabajo contemporáneo. Para ello, se utiliza del referencial teórico psicoanalítico freudiano, de la crítica social y de la subjetivación para analizar el trabajo en la contemporaneidad. Se parte de la hipótesis de que el humor en las organizaciones tiene como principal funcionalidad revelar excesos y dogmas mantenidos por el trabajo, y permite una relectura de los mismos, como también sugiere modificaciones en el contexto de trabajo que pasan por la crítica al poder constituido, y así invita el colectivo a la creación de un nuevo espacio de trabajo. A partir del presente estudio, se percibe que el humor inaugura un nuevo discurso social, y tiene su origen en el desamparo. Guarda una función social, pero persigue la política, sin la cual no se eleva. Por lo tanto, el humor denuncia hipocresías e idealizaciones comunes a un grupo, y deja sin territorio algo previamente establecido por un sujeto, una institución o forma de gobierno. Describir el actual escenario político neoliberal, donde se asienta el discurso falicista o gerencialista del trabajo, permite reconocer en los elementos sociales del humor contribuciones al mundo laboral contemporáneo. ; Este é um estudo teórico que tem por objetivo analisar a implicação política do humor no trabalho contemporâneo. Para tal, utiliza-se do referencial teórico psicanalítico freudiano, da crítica social e da subjetivação para analisar o trabalho na contemporaneidade. Parte-se da hipótese de que o humor nas organizações tem como principal funcionalidade revelar excessos e dogmas mantidos pelo trabalho, permitindo uma releitura desses, e sugere modificações no contexto de trabalho que perpassam a crítica ao poder constituído, convidando o coletivo à criação de um novo espaço de trabalho. Percebe-se que o humor inaugura um novo discurso social, tendo sua origem no desamparo. Guarda uma função social, mas persegue a política, sem a qual não se eleva. Portanto, porta a denúncia de hipocrisias e idealizações comuns a um grupo, e desterritorializa algo previamente estabelecido por um sujeito, uma instituição ou forma de governo. Descrever o atual cenário político neoliberal, onde se assenta o discurso falicista ou gerencialista do trabalho, e permite reconhecer nos elementos sociais do humor contribuições ao mundo laboral contemporâneo.

Despite its relevance, work is underrepresented in debates about social justice. In this way, political philosophy remains distant from real people s lives, and cannot address objectionable forms of work. The thesis contributes to fill in this gap, addressing the problem of labor justice with particular attention to labor inequalities. First, the thesis shows that the resources provided by most contemporary views of justice are only partly equipped to address problems of labor justice. Normative models belonging to various traditions are scrutinized: distributive justice, critical theory, relational egalitarianism, contemporary normative debates about work. The thesis considers each of these models both as a critical interlocutor and as a potential resource in the conceptualization of labor justice. Three paradigmatic cases of labor inequality are thus considered to assess these models through a contributive justice test : dirty work , the gendered division of labor, and technological heteromation. The analysis shows that without some conception of equality, we have no tools to address objectionable forms of division of labor. And in order to avoid a view of meaningful work for the few , concerns for autonomy and freedom are to be complemented with concerns for equality. Second, the thesis suggests an alternative perspective based on the norm of contributive parity . According to this ideal, unjust forms of work are to be changed when they prevent people from contributing to social cooperation as peers, not because they do not meet some inherent meaning of work or fail to fulfill some predefined idea of human nature (pluralism). This way, this conception of labor justice avoids the paternalistic consequences and moral solipsism of some theories of meaningful work, while still defending the need for justice at work. Overall, this norm contributes to shift the focus of the debate from problems of the inherent meaning of work and self-realization, to the problem of fair cooperation. Since requirements of labor justice cannot be met by free occupational choice or income redistribution alone, but relate also to social relationships, decision-making processes, and the nature of tasks and occupations, the thesis advocates a multidimensional conception of labor justice. Contributive parity requires that in order for all to contribute to social cooperation as peers, at least four dimensions of labor justice should be satisfied: economic- distributive (equal freedom from material need for real free occupational choice, and fair access to the product of one s labor as well as to social wealth), social-relational (being treated as equals both in labor interactions and in labor structures), political-democratic (taking part in decisions that concern one s work), and contributive (the quality and quantity of one s labor). Contributive parity is best realized when these dimensions of labor justice are realized jointly: it is not sufficient that wage is fair, one should consider also workers status, voice and contributive justice (multidimensionality). This way, concerns for distributive justice are not merely dismissed, but rather integrated into a more comprehensive framework. The concept of contributive parity is a reinterpretation in the context of labor justice of the norm of participatory parity proposed by Nancy Fraser (2003). The thesis autonomously amends and develops some of her intuitions into the direction of a multidimensional, egalitarian, deontological, and pluralist view of labor justice, while incorporating insights from relational egalitarianism and distributive justice into a more comprehensive framework. Overall, far from offering a fully-fledged theory of labor justice, the ideal of contributive parity is intended to provide a critical-normative standard that helps to assess existing forms of division of labor and competing strategies of labor justice, and therefore to envisage alternative, fair forms of work.

How many are the top and middle-level Brazilian federal bureaucracy appointees, and to which party are they affiliated? Are there differences among presidential mandates regarding the number of these professionals and their party affiliation? This study seeks to answer these questions, by building a new database that gathers the number of party-affiliated public officials that were appointed to Cargos de Direção e Assessoramento Superior (DAS) (position of director and high level consultant). Descriptive analysis found that the proportion of party-affiliated among appointees increased during the Workers' Party (PT) governments and higher among appointed professionals that were not civil servant. The power-sharing among parties – mainly between the party of the president and the others – varies significantly according to the government. The partisan control over appointees is milder in middle-level and stronger at top-level positions. However, a minority of appointees are party members, even among the top-level bureaucracy. Therefore, we suggest that the political networks go beyond the party affiliations. To understand these networks it is necessary to reassess the role of party politics in shaping the executive agenda and enable reinterpretation of how presidents build and manage the government coalition and the support to their agenda in the legislative arena. ; ¿Cuántos son y a qué partidos están afiliados los nominados para los puestos de rango superior y medio de la burocracia federal brasileña? ¿Hay diferencias entre los mandatos presidenciales? Para responder a estas preguntas, construimos una base de datos inédita referente a los afiliados a partidos políticos que ocupan cargos directivos y de asesoramiento superior (DAS). Nuestro análisis descriptivo muestra que la proporción de afiliados aumentó en los gobiernos del Partido de los Trabajadores (PT) y es mayor entre los nominados sin vínculo con el sector público. La concentración de poder entre los partidos –principalmente entre el partido presidencial y los demás– varió de modo significativo entre presidentes. El control del partido sobre los nominados afiliados es más moderado en los cargos de nivel medio y mayor en los rangos superiores. Sin embargo, los afiliados son minoría, incluso en los puestos de mayor poder político-administrativo. Por lo tanto, sugerimos que posiblemente las redes de conexión política que definen a los cuadros de la burocracia decisoria también se construyan por medios extrapartidarios, y comprenderlas es decisivo para dimensionar el peso de la política partidaria en la burocracia ministerial y reinterpretar cómo el Poder Ejecutivo construye y administra la coalición de gobierno y su apoyo en el Poder Legislativo. ; Quantos são e a quais partidos estão filiados os nomeados para os cargos do alto e médio escalão da burocracia federal brasileira? Há diferenças entre mandatos presidenciais? Para responder essas perguntas, construímos uma base de dados inédita referente aos filiados a partidos políticos em cargos de direção e assessoramento superior (DAS). Nossa análise descritiva aponta que a proporção de filiados aumentou nos governos do Partido dos Trabalhadores (PT) e é maior entre nomeados sem vínculo com o setor público. A concentração de poder entre os partidos – principalmente entre o partido presidencial e os demais – variou de modo significativo entre presidentes. O controle partidário sobre os nomeados filiados é mais brando nos cargos de nível intermediário e maior nos níveis superiores. Entretanto, os filiados são minoria, mesmo nos cargos de mais alto poder político-administrativo. Por isso, sugerimos que, possivelmente, as redes de conexão política que definem os quadros da burocracia decisória também se constroem por meios extrapartidários e compreendê-las se mostra decisivo para dimensionar o peso da política partidária na burocracia ministerial e reinterpretar como o Poder Executivo constrói e gerencia a coalizão de governo e seu apoio no Poder Legislativo.

Thesis (Master)--Izmir Institute of Technology, City and Regional Planning, Izmir, 2019 ; Includes bibliographical references (leaves: 91-99) ; Text in English; Abstract: Turkish and English ; Cities are complicated and dynamic structures. Urban agenda has changed constantly. Urban planning has to follow and reshape this dynamism as a return. Cities are under constant restructuring with parallel to spatial, economic, social and political conditions. In recent years, urban transformation has become turning point in planning system and occupied dominant role as a policy tool in Turkish context. Urban transformation has come to the planning agenda as an indispensable policy tool. Especially in the last two decades, urban transformation projects became a tool of spatial restructuring processes and solving major problems such as illegal housing, disaster risk, and uncontrolled urban sprawl. Moreover, with the generalization and reinterpretation of the context of transformation caused conceptual and practical confusion. The implementation of the urban transformation projects is taken place almost in all Turkish cities; however, it has felt more in big metropolitan cities as in the case of first Istanbul and then Ankara. The city of İzmir, seems to be subjected to all these discussions. This study first discusses the urban transformation concept as a tool of planning, by clarifying its principles on a global scale. After, it evaluates Turkey's performance on a holistic approach, which means all interventions that caused transformation at the citywide level in the case of İzmir central areas. The analysis has conducted using multidimensional spatial data in GIS database in relation to general policies and legislation. All urban transformations projects in İzmir have digitalized geographically on a map to evaluate their location and attributes in relation to urban plans. As a result of these analyses, it has been concluded that despite the urban transformation concept was proposed as a solution to problems of the cities, it has evolved into a new problematic because of fragmented and speculative rent seeking activities or ineffective applications. The study aims to highlight these deficiencies and offer solutions. ; Kentlerin karmaşık ve dinamik yapısının bir sonucu olarak, kentsel gündem ve planlama sorunları değişmekte ve yeniden şekillenmektedir. Kentlerle ilgili araştırma konuları, mekansal, ekonomik, sosyal ve politik değişimlere paralel olarak zaman içerisinde evrilmiştir. Son yıllarda, kentsel dönüşüm ve bununla ilişkili yenileme, rehabilitasyon, iyileştirme gibi kavramlar kentsel planlama gündeminde önemli bir yer tutmaktadır. Türkiye'de dönüşüm uygulamalarının kentsel plan ve proje süreçlerinde baskın bir rolünün olduğu görülmektedir. Bu uygulamaların etkileri başta metropoller olmak üzere, tüm ülkede, Batı deneyimlerine göre daha yoğun olarak hissedilmektedir. Kentsel dönüşüm uygulamalarının yasadışı konut, afet riski, kontrolsüz kentsel yayılma gibi kentsel sorunlara bir çözüm oluşturması beklenirken, özellikle son yirmi yılda kentlerin mekansal yeniden yapılanma süreçlerinde yeni sorunlar yarattığı görülmüştür. Bunun yanı sıra, kavramın popülerleşmesiyle, çeşitlenen müdahale biçimleri "dönüşüm" kavramı altında genellenmektedir. Bu durum, dönüşüm kavramının kapsamının belirsizleşmesine yol açmış, çeşitlenen doğru müdahale biçimlerinin kurgulanmasını geri plana atmıştır. Bu çalışmada öncelikle kentsel dönüşüm kavramı global ölçekten planlamanın bir aracı olarak tartışılmıştır. Türkiye'deki uygulamaların değişme biçiminin incelenmesinin ardından, müdahale biçimleri bütüncül bir yaklaşımla, hem kentsel dönüşüm çalışmalarını hem de büyük kentsel projelerin bu çalışmalara etkilerini de göz önünde bulundurarak ele alınmıştır. Bütün bu çalışmalar, CBS ortamında dijitalleştirilerek haritalandırılmış ve analizlerle yorumlanmaya çalışılmıştır. Bu analizler sonucunda, kentsel dönüşümün şehirlerin sorunlarına çözüm olarak önerilmesine ve bazı noktalarda bunu başarmasına rağmen, yanlış ya da eksik uygulamalar nedeniyle bugün geldiği noktadaki sorunlar tespit edilmeye ve çözüm önerileri getirilmeye çalışılmıştır.

Resumen: centramos el presente estudio sin distanciarnos excesivamente de los acuerdos legislativos y administrativos que, durante las décadas iniciales del siglo XXI, han orientado los nuevos planes de enseñanza propuestos y discutidos en el marco del Espacio Europeo de Educación Superior (EEES), así como su asimilación internacional. La finalidad consiste en encuadrar un debate necesariamente permeado, en la actualidad, por ímpetus de cambio y reinterpretación cuyas claves se encuentran más allá de los modelos educativos pero que los condicionan. Los cuales dirigen una manera de entender la formación a lo largo de toda la vida, de cara a la instrucción de generaciones marcadas por requisitos laborales y profesionales altamente flexibles en las sociedades posteriores a las crisis generalizadas. Si partimos de la práctica del arte y de la experiencia en la enseñanza superior en bellas artes, concretamente en el campo disciplinar de la escultura, tratamos como objetivo fundamental la posibilidad y los cauces de la transmisión del arte. Esto sucede una vez introducido el plan de estudios perfilado en los acuerdos de Bolonia, reforma que afecta directamente a la perspectiva que el tiempo aporta a todo aprendizaje basado en la experiencia estética, proveniente de la praxis del arte.Palabras-clave: enseñanza artística superior, arte contemporáneo, escultura, metodología, sistema universitario Resumo: concentramos o presente estudo sem distanciar-nos indevidamente dos acordos legislativos e administrativos que, durante as décadas iniciais do século XXI, orientaram os novos planos de ensino propostos e discutidos no âmbito da Área Europeia de Ensino Superior (EEES), bem como a sua assimilação nível internacional. O objetivo é enquadrar um debate necessariamente permeado, hoje, pelo ímpeto da mudança e da reinterpretação cujas chaves estão além dos modelos educacionais, mas que os condicionam. Eles direcionam uma maneira de entender a aprendizagem ao longo da vida, a fim de educar gerações marcadas por um trabalho altamente flexível e exigências profissionais nas sociedades pós-crise. Se partimos da prática da arte e da experiência no ensino superior nas artes plásticas, especificamente no campo disciplinar da escultura, tratamos como objetivo fundamental a possibilidade e os canais de transmissão de arte. Isso acontece uma vez que o currículo delineado nos acordos de Bolonha foi introduzido, uma reforma que afeta diretamente a perspectiva que o tempo traz para todos os aprendizados com base na experiência estética, provenientes da práxis da arte.Palavras-Chave: educação artística superior, arte contemporânea, escultura, metodologia, sistema universitário Abstract: We focus the present study without unduly distancing ourselves from the legislative and administrative agreements that, during the initial decades of the 21st century, have guided the new teaching plans proposed and discussed within the framework of the European Higher Education Area (EHEA), as well as its assimilation international. The purpose is to frame a debate necessarily permeated, today, by impetus of change and reinterpretation whose keys are beyond educational models but that condition them. They direct a way of understanding lifelong learning, in order to educate generations marked by highly flexible work and professional requirements in post-crisis societies. If we start from the practice of art and experience in higher education in fine arts, specifically in the disciplinary field of sculpture, treat it as fundamental objective the possibility and channels of transmission of art. This happens once the curriculum concerned in the Bologna agreements, reform that directly affects the perspective that time gives all learning based on the aesthetic experience from the practice of art introduced.Key-words: higher art education, contemporary art, sculpture, methodology, university-system

El viaje es, en todas sus dimensiones, generador de intercambio, ya sea éste de índole económica, política o social, actuando, igualmente, como transmisor cultural y responsable de las proyecciones que de una región o monumento se realizan en los países de origen de los viajeros. A partir de este postulado básico, y empleando el viaje como motor de esta tesis, planteamos el proceso de creación de la Alhambra en el imaginario decimonónico británico, imágenes que marcarán a varias generaciones y perdurarán en el tiempo hasta nuestros días. La realidad percibida por estos viajeros en ciertas áreas se extrapolaba a Andalucía o a España en su conjunto, comenzado a conformarse así la encarnación ideal de un sueño que habitaba en la memoria colectiva británica. Nuestro objetivo es demostrar cómo el arte no es ajeno a esta influencia; el romanticismo anglosajón, modelo de revolución cultural europea, así como la propia revolución industrial, tendrán que ver, y mucho, en el modo en el que se recibe, percibe y transforma la Alhambra en tierras británicas. Queremos mostrar la interrelación entre estos dos fenómenos empleando la teoría de la traducción como metáfora de construcción de la idea de Alhambra. Se ha escogido la figura del arquitecto Matthew Digby Wyatt como caso sintomático de ambos fenómenos, el del viaje y el alhambrismo, y dentro de su amplia obra se ha elegido como caso de estudio la Moorish Billiard Room del 12 de Kensington Palace Gardens. Dicha estancia encarna el momento cumbre de la interrelación entre el viaje decimonónico y la reinterpretación de la Alhambra, un fenómeno que abarca algo más de un siglo y que se movió entre la realidad de las estructuras arquitectónicas y la ensoñación de la fantasía oriental. ; In every dimension, travelling generates exchange, either financial, political, or social, acting as well as a cultural transmitter and accountable for the landmarks or regional projections established in travellers' home countries. From this main tenet, and considering travelling as the main driver for this thesis, the building of the Alhambra as a part of the nineteenth century British imaginary will be explained. Those images would mark several subsequent generations and persist nowadays. Travellers extrapolated the reality perceived in certain areas to the whole of Andalusia or Spain, which triggered the ideal realisation of a dream rooted in the collective memory in the UK. Our aim is to prove that arts were not immune to this influence. The interest for Orientalism, with its roots in the previous century, played an important role in the extension of wanderlust. Both the Anglo-Saxon Romanticism, a model for the European cultural revolution, and the Industrial Revolution itself influenced significantly in the way the Alhambra is conveyed, perceived and transformed in the British Islands. This paper aims to show the interrelationship between these two phenomena using the theory of translation as metaphor for the construction of the idea of the Alhambra. The architect Matthew Digby Wyatt was chosen as an example where both phenomena, travelling and passion for the Alhambra, converged, and from his extensive work, the Moorish Billiard Room in Kensington Palace Gardens, 12, was selected as a particular case study. That room epitomises the culmination in the interrelationship between travelling in the nineteenth century and the reinterpretation of the Alhambra. This phenomenon spanned over a century and swung back and forth from the factual architectural structures to the daydream of the East fantasy. ; Tesis Univ. Granada. Departamento de Historia del Arte