Suchergebnisse

O presente artigo apresenta uma pesquisa que tomou como hipótese uma interpretação crítica da história da educação não formal no Brasil, que aborda seu surgimento ligado a um projeto conservador para mitigar a força da educação popular no período da Ditadura Civil Militar. A investigação partiu de tais indícios e de uma proposta metodológica da sociologia política que se refere ao estudo das formas sociais hegemônicas para buscar elos de tal processo na história da educação não formal. A exposição que segue apresenta os resultados de uma investigação com base em pesquisa bibliográfica e documental. De um lado, tal processo é especificado pela substituição dos programas de educação de adultos desenvolvidos no início dos anos 1960, no bojo dos movimentos de cultura popular, que tinham Paulo Freire como referência, pela instituição do Mobral (Movimento Brasileiro de Alfabetização). De outro lado, o exame dos documentos da UNESCO, sobretudo a partir dos textos de Philip Coombs, considerado o pioneiro no uso do termo educação não formal, como recomendação para superação da crise na educação. Em ambos os movimentos, o nacional e internacional, é possível identificar a gênese dessa forma social que se configura pela associação entre Estado, entidades privadas e sociedade civil. Essa forma altera os agentes e as finalidades de uma educação voltada às classes populares. A prevalência dessa forma social apresenta-se em outros momentos-chave da história da educação não formal, sobretudo na década de 1990, com o crescimento do terceiro setor, das ONGs e das fundações e institutos empresariais. ; This article presents a research that considered as a hypothesis a critical interpretation of the history of non-formal education in Brazil. Here we address its emergence linked to a conservative project to mitigate the strength of popular education during the period of the military dictatorship. The investigation started from such indications and from a methodological proposal of political sociology that refers to the study of hegemonic social forms to search for links of such process in the history of non-formal education. The following presentation discusses the results of an investigation based on bibliographic and documental research. On the one hand, this process is specified by the replacement of adult education programs developed in the early 1960s, amid popular culture movements, which had Paulo Freire as a reference, by the institution of Mobral (Brazilian Movement of Literation). On the other hand, the examination of UNESCO's documents, especially from the texts of Philip Coombs, considered the pioneer in the use of the term non-formal education, as a recommendation to overcoming a crisis in education. In both movements, national and international, it is possible to identify the genesis of this social form configured by the association between the State, private entities, and civil society. This form changes the agents and purposes of an education aimed at the popular classes. The prevalence of this social form appears at other key moments in the history of non-formal education, especially in the 1990s, with the growth of the third sector, NGOs and business foundations and institutes.

"Roger Freitas firmly situates his book, Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani, as biography, yet the text aspires to something more: both the blurb and the introduction promise to clarify 'what music at this time actually was.' More properly, Freitas offers an articulate analysis of the social valence of musical performance within the elite circles of the seventeenth-century Italian courts; he focuses on music as a skill with material benefits. The subject of Freitas's book, Atto Melani (1626-1714), was a castrato, trained as a singer, although eventually he moved away from performance, spending the latter years of his life as a diplomat. According to Freitas, Atto - referred to by his first name, as per contemporary convention - was the 'most highly documented' musician of the seventeenth century. With few exceptions, the documents that survive are letters written by Atto, and addressed to a cross-section of the most important political figures in Italy. In his relationship to courtly culture and as a court musician, Atto participated in an increasingly anachronistic model of 'musical performance,' one which persisted in contrast with newer, recognizably modern patterns of professionalization associated with the public operatic stage. This is, perhaps, one of the most valuable aspects of this study: Freitas has ably and coherently mapped out the way in which the intricate and asymmetrical obligations of patron and client functioned in seventeenth-century Italy, situating Atto's musical skills within a broad range of courtly services and deftly portraying the castrato's gradual shift from court musician to courtier."--page 87

The aim of this paper is to describe how Catalan humor works in the context of political TV satire, where everyday references mutate in order to show hidden meanings and parallel purposes. Using mainly pragmatic and discourse analysis as tools, we will try to decipher conversational exchanges that create hilarity and promote political critique. Tokens of linguistic (or verbal) humor as well as referential (or situational) humor will be analyzed, trying to show the range of their social and political implications. Our major tenet is that political satire operates as a two-sided process: on one side, it promotes communication within a specific social network, on the other, it affords criticism and self-criticism to emerge, which serve also as a useful evaluation of everyday public themes.

v.1 Jacobinism.--Sorel's Europe and the French revolution.--Memoirs of a royalist.--State organization.--Notes on Spain.--Monumeta ritualia ecclesiae anglicanae.--A Devonshire relic.--A visit to some Austrian monasteries.--The greyfriars.--National education.--Meaning of life.--Government of life.--Laughter.--Why tastes differ.--Psychology of the emotions. v.2 Descent of man.--Evolution and its consequences.--Specific genius.--Herbert Spencer.--Prehistoric and savage man.--Address to the British association.--Force, energy and will.-- Likenesses.--Herman Lotze and the mechanical philosophy.--A limit to evolution.--Organic nature's riddle.--What are animals and plants?--Weismann's theories.--Eimer on growth and inheritance. ; Mode of access: Internet.

This article sets out to explore the construction of the literary critic in Raymond Williams's first book Reading and Criticism and how William Shakespeare operates in it. In his work, the Welsh writer displays a paradox. On the one hand, he acknowledges the importance of social and historical conditions when training readers in the context of free and compulsory education in England. By means of this project, the critic becomes a pedagogue. On the other hand, the writer removes the object and the methodology of study as well as the figure of the critic from their social and historical frame. This paradox, made visible through the references to Shakespeare, does not mean that the pedagogue outstands the critic: the former exhibits the limits of Williams's first proposal, which are in keeping with the lack of historicity he ascribes to literary studies. ; Este artículo explora la construcción del crítico literario en la primera publicación de Raymond Williams, Reading and Criticism, y el estatuto que se le asigna en ella a William Shakespeare. En el desarrollo de su trabajo, el escritor galés deja entrever una paradoja. Por un lado, reconoce la importancia de las condiciones sociohistóricas en la delimitación de sujetos lectores en el marco de la democratización del acceso a la educación gratuita y obligatoria en Inglaterra. En este proyecto, el crítico deviene en pedagogo. Por otro lado, Williams sustrae el objeto y la metodología de estudio así como la propia figura del crítico literario de su marco contextual. Este artículo no concibe esta paradoja, visibilizada mediante las referencias a Shakespeare, como un desplazamiento del crítico por parte del pedagogo. Por el contrario, este último expone las limitaciones de la primera propuesta de Williams, concomitantes con la ahistoricidad a la que somete el estudio de la literatura.

All the major critics of postwar literature regard the fifties as a period in which literature was inept, conservative and conformist. This thesis argues that fifties literature was instead an active and successful agent in problematising conservative political orthodoxies, and in articulating alternative identities and politics. The study is concerned with two major themes: the relationship between literature and history, and the critical reputation and location of literature in nineteen-fifties Britain. It begins from positions that are already evident in postwar literary criticism towards both of these themes. Literature is understood in much of the critical writing of postwar Britain to be representative of social trends and attitudes, and its meaning is determined largely according to particular understandings of postwar British history and society. The literary text, if understood as 'representative', is capable of offering the reader direct access to the society of its production, and of reflecting the dominant trends and attitudes in a given period. Because it is the most recent period of realism in the history of English literature, the fifties seem to be particularly susceptible to this view. Reading fifties literature in the light of poststructuralist thinking on textuality and representation, this study argues that literature is not representative bu negotiates identities and social experiences of the fifties in a much more diverse way. These negotiations are demonstrated in readings of the work of John Osborne, Brendan Behan and Sam Selvon, and elaborated theoretically in the concluding chapters of the study. Literature's Poor Relation demonstrates that fifties literature is able to manoeuvre into a space wherein it can articulate oppositional and critical stances towards power, by firstly, imitating social detail and literary traditions, and secondly, reading these details and traditions in such was as to deconstruct them. The appearance of representativeness serves to seduce the reader into desiring the text (the idea that Look Back in Anger was representative attracted many of its original audiences to see it), and its readings and interpretations of history and identity deflect the reader's desire towards oppositional and critical moments in the text.

This chapter describes the advent of welfare state criticism as elite criticism in the Danish political debate. It focuses on three of the most prolific contemporary critics of the welfare state: founder of the libertarian populist party Fremskridtspartiet, Mogens Glistrup; Marxist and economist Jørgen Dich; and Bertel Haarder, member of the Danish Liberal Party. The chapter highlights how welfare state criticism as elite criticism came about in processes of conceptual circulation and transformation, which, at times, eluded individual intentions and control but nonetheless signified an ideational convergence. While many politicians, scholars, and intellectuals from different ideological camps voiced welfare state criticism as elite criticism, some played more crucial role than others in framing debate on crisis of the welfare state. Welfare state criticism as elite criticism was constructed in processes of circulation through which social commentators picked up, appropriated, and transformed rhetorical styles and political concepts to fit several highly diverse political agendas.

In the article the author offers a brief sketch of the history and different meanings of criticism as they were formed over the last three centuries. He points out the original meaning of the usage of the term and then points to the narrower meaning, especially that found in art criticism. He then claims that a large portion of art criticism has retained its essence and meaning unchanged since its beginning and that this is also true insofar as it has not changed when art is compared with new media and Chinese art. The author also notes that art criticism represents an important constituent part of art proper. ; V svojem članku prikaže avtor kratek potek zgodovine in različnih pomenov kritike kot so se ti oblikovali skozi zadnja tri stoletja. Pokaže na izvorni pomen tega izraza ter nato na razvoj kritike v angleškem družbenem, kulturnem in političnem prostoru, kjer je kritika vedno bolj postajala kulturna kritika. Opozori na njun današnji pomen. Čeprav je kritika danes izgubila jasno vsebino, to ni zmanjšalo njene tehtnosti in pomena pa naj je šlo za kritiko novih medijev ali kitajske umetnosti. Avtor tudi opozori, da tvori umetnostna kritika pomembno konstituanto umetnosti kot take.

The purpose of this paper is to disclose some issues of Brazilian Modernism (in the 1920's) and to discuss how the leading exponents of this movement attempted to shape a new and authentic way of evaluating the Brazilian national project, showing their views on cultural criticism as a whole. This paper is also an attempt to understand how contemporary criticism re-evaluates this aesthetic and critical project. The late 1970`s and early 1980`s can be seen as fundamental to all the changes in scenarios, images and discourses that took place in Brazil. These changes were not limited to the composition of pragmatic, academic and disciplinary scenarios, but there was an attempt to bring about changes in the face of Brazil. The new agenda of civil society began to be redefined and the relations between public and private worlds were in the spotlight again. The end of the authoritarian military rule was not only a rupture with the current institutional pattern, but it altered deeply the way of thinking about the country.

The author's interest in Commonwealth Literature is grounded in a concern about the place of English in post-colonial Malta. The writing of those who have been, like the Maltese, through the process of renegotiating their identity through and beyond Independence is of particular interest to our students. In addition, the fact that the author teaches English Colonial, Australian and African Literature within the Department of English has shown her how quick Maltese students are to grasp different aspects of identity construction in the work of these writers. An exploration of myth and history in Commonwealth Literature showed that the traditional European opposition between mythological thought and historic vision was untenable vis-a-vis the writer's practice in Africa, Australia and other Commonwealth countries. Writers such as Chinua Achebe, Ayi Kwei Armah, Wole Soyinka, Patrick White and Randolph Stow often show a mythopoeic sensibility as well as political consciousness. Such writers utilise myth but do not allow their novels to move outside a time referent. They project indigenous religions with their gods and rituals but remain grounded in their society's actual situation, which they are fully committed to ameliorate. ; peer-reviewed

In 2014, South Africa celebrated 20 years of democracy. Within these 20 years of democracy, there were many changes in the education sector. The teaching of history, particularly South African history, has survived many challenges during and after apartheid. During the apartheid era, to a certain extent the teaching of South African history was subjected to political abuse and became a springboard of politicians to justify the existence of the racial divide that had previously engulfed the country. Equally, the study offers critical and epistemological criticisms levelled against the teaching of South African history in secondary schools in the post-apartheid era. The selected criticisms include, inter alia, the question of the relevance of history in post-apartheid South Africa; the limitations of further political abuse of the discipline by educators, as well as the politicians; the lack of analytical skills in the teaching and interpretation of historical facts; and the notion of further perpetuating the racial divide in the country which was once riddled by such divisions. Epistemologically, earlier selected criticisms which took place during the apartheid era will also be referred to, to demonstrate that the teaching of South African history has always been subjected to criticisms that advantaged the then ruling National Party's (NP's) government in South Africa. DOI:10.5901/mjss.2014.v5n20p2303

Citation: Houghton, Winifred A. Ninteenth century criticism. Senior thesis, Kansas State Agricultural College, 1897. ; Morse Department of Special Collections ; Introduction: Criticism does not flourish in great creative epochs, neither do great works come during any great critical epoch; but rather they alternate. In Greece, all the creative force was spent before anything like criticism, in the shape of Aristotle's definitions and canons for tragedy appeared. Upon the Greek works or a basis was founded the first epoch of systematic criticism which the world had seen—the Alexandrian era, as it is called. From this period with the advancing ages criticism has grown and flourished until now it is one of the most important factors in the literary world. Matthew Arnold says that "Real criticism is essentially the exercise of curiosity as to ideas on all subjects, for their own sakes, apart from any practical interest they may serve, it obeys an instinct prompting it to try to know the best that is known and thought in the world, irrespectively of practice, politics, and everything of the kind, and to value knowledge and thought as they approach this best, without the intrusion of any other considerations whatever." This is true of all criticism whether of poetry or of other forms of literature and science.

published_or_final_version ; Politics and Public Administration ; Doctoral ; Doctor of Philosophy

This dissertation investigates the ways in which traditional Native American and Canadian First Nations ideas and concepts of history influence contemporary art made by artists with these backgrounds. It further takes into account an understanding of historicity as an approach to the philosophies that underlie concepts of history. The methodologies used in this analysis include investigations of mythology and ritual practice, ideas about landscape, and the roles of personal lives and biographies as forms of historical documentation. It also includes an examination of specific government laws and treaties, which are forms of more standard historical sources. Throughout the text, there is a concern with the ways in which artists use their practice to reclaim historical agency lost in the process of colonization. This agency is manifest in myriad ways, including the reference of traditional myths and ritual practices described in academic texts and artistic critiques of the laws enacted by settler governments. This dissertation also considers the manner in which this agency is transferred from artist to art object, allowing the artwork to manifest and display the agency of the artist herself or himself. Through the use of traditional concepts of history and historicity, Native American and Canadian First Nations artists reassert their rights of agency within the historical record. They do so through reference to traditional ideas and as full participants in the contemporary art world. In so doing they reclaim a degree of control over their own histories, producing works and discourses that present, or intentionally refuse to present, a continuity with the historical past that has otherwise often been denied to modern indigenous Americans

The world of theatre criticism is rapidly changing in its form, function and modes of operation in the twenty-first century. The dominance of the internet has led to a growing trend of selfappointed theatre critics and bloggers who are changing the focus and purpose of the discussion around live performance. Even though the blogosphere has garnered suspicion and hostility from some mainstream newspaper critics, it has also provided significant intellectual and ideological challenges to the increasingly conservative profile of the professional critic. This book features 16 commissioned contributions from scholars, arts journalists and bloggers, as well as a small selection of innovative critical practice. Authors from Australia, Canada, Croatia, Germany, Greece, Italy, Latvia, Russia, the UK and the US share their perspectives on relevant historical, theoretical and political contexts influencing the development of the discipline, as well as specific aspects of the contemporary practices and genres of theatre criticism. The book features an introductory essay by its editor, Duška Radosavljevic.