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This article presents a comparative analysis of two concepts proposed and developed in two very different areas: the concept of themata, proposed by Gerald Holton in the area of ​​the history of science and related to the processes of production and diffusion of scientific knowledge, and the concept of Pathosformeln, proposed by Aby Warburg in the area of history of art and related to some important historical and epochal continuities of artistic production. Despite the very different disciplinary contexts in which they were proposed, and despite the specificities that naturally ensure the identity of each of the concepts, it is shown in this article how themata and Pathosformeln have undeniable and important affinities. In fact, both correspond to entities that have a long historical persistence, a cyclical nature, and a great disciplinary, cultural and epochal transversality, in conjunction with a great capacity to assume specific forms at a given time and in a given context. Despite the roots in very different areas, the affinities are strong enough to recognize that themata and Pathosformeln belong to a conceptual network with great potential for understanding, not only the science and art, but also the historical and transdisciplinary dynamics of culture in general.

This investigated corresponds to the question of the subjectivity in Foucault from a critical reading. In archaeology it is evidenced existence of the subject of the enunciation while it appears derived from the objectivization games. In the genealogy, the notion appears of situated individual in the relations of power. In the genealogy of the ethics, the subject produced for the ethical experiences. Concludes that against the universalism of the subject's theories, these forms of subjectivity point with respect to a "historical ontologies of ourselves" letting not to discover what we are, and yes to refuse what in we become them. ; O tema investigado corresponde à questão da subjetividade em Foucault a partir de uma leitura crítica percorrendo os seus textos na transversal em três deslocamentos de análise. Na arqueologia constata-se a existência do sujeito do enunciado enquanto figura derivada dos jogos de objetivação. Na genealogia surge a noção de indivíduo situado nas relações de poder. Na genealogia da ética emerge o sujeito produzido pelas experiências éticas. Conclui-se que contra o universalismo das teorias do sujeito, essas formas de subjetividade apontam para uma "ontologia histórica de nós mesmos" oportunizando não descobrirmos o que somos, e sim recusarmos o que nos tornamos.

In this paper, we will investigate the political meaning of history in Kant's and Hegel's Philosophy of History. Both of them, each in its own way, the substantiation of a given political system - centered in the structuration of the Constitutional State - the fulfillment of human's history supreme finality. We will analyze, to this end, the works 'Idea for a Universal History with a Cosmopolitan Purpose', written in 1784, five years before the French Revolution and 'Reason in History - a general introduction to Philosophy of History', organized from the lectures given by Hegel in his maturity. In the final considerations, we'll try to problematize the notions of "sense" and "finality" of History.

Context: With the growing denunciations of violence and injustices in the social relationship, inside and outside schools, education based on human rights is insurgent in the current system of teaching and learning. Using the concept of school as a process of scientific, social and political construction, we planned the teaching and learning process of chemical interactions using the art of graffiti as a playful activity. Objectives: Reflection on chemistry teaching beyond the concepts of natural sciences, but also towards social issues to promote an education that transfigures the traditional model established by the hegemonic power during Brazilian history. Design: We use an ethnographic case study as a method. Scenario and Participants: In this way, we chose to bring graffiti art to chemistry workshops, since the paints are fixed on urban walls through chemical interactions between substances, building images and/or protest phrases that make us rethink the injustices and inequalities existing in Brazilian society and to dialogue the emergence of this art in the black movement with the political aspects of Human Rights. Thirteen students enrolled in a state basic education high school in the city of Goiânia-GO, Brazil, joined the workshops on Human Rights, Graffiti and Chemistry. Eight graffiti artists also participated in the workshop for free. Data collection and analysis: We used transcripts of semi-structured interviews and video-recorded workshops to categorise the data, analysing them with the Descending Hierarchical Classification technique and the use of dendrograms performed by the Iramuteq Software. Results: We obtained categories that evidence the chemical understanding of the content of chemical interactions and the socio-political understanding of human rights, and seven drawings on graffiti murals that show this correlation. Conclusions: The transgression of morals and the empowerment of the subordinate promote playfulness in the individual or collective social visibility of individuals, enabling better assimilation of scientific and social content.

This essay wishes to debate the concept of History in Karl Marx's work, in opposition to the "end of History" theory proposed by Francis Fukuyama. In a historic setting that involved the end of the communist era in the Soviet Union and in Eastern Europe, the American author introduces his ideas about the victory of liberal democracy being the culminating point in the history of humanity. Well, to what extent is it possible to consider a system like the one advocated by Fukuyama as the ultimate goal of mankind? Furthermore, to what extent can we consider that there actually is a goal that humanity is seeking to achieve? This essay intends to answer these questions through a Marxist understanding of History.

Concepções, métodos e formas do conhecimento histórico são expressos em diversos estudos na área de comunicação social. Buscamos analisar, na interface história e narrativa oral, aspectos da chamada mediação cultural, na qual a comunicação está para além da condição de canal. Acreditamos que os estudos comunicacionais não recaem, necessariamente, sobre especificidades técnicas, mas sobre a posição que a comunicação assume no campo histórico-cultural. Interações, expressas nos trabalhos de história oral, se configuram (e resultam) em processos comunicacionais que indicam construções sócio históricas e diferentes referenciais de pertencimento.