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Although not its focal concern, it is noteworthy that the specificity of the aesthetic is a recurring theme in Habermas's work. While the question ofthe possibility, or even the necessity, ofa communicative theory ofaesthetic experience is left unanswered both by the "transformation ofphilosophy" (Apel) and by critical theory's linguistic turn, Habermas describes the specificity ofthe aesthetic and of artistic phenomena in tern1S of two closely related dimensions: the historical-sociological and the philosophical. The former concerns the relations between art, culture, and society as analyzed in the context oflate capitalism and the project ofmodernity while the latter treats the specificity ofthe aesthetic by means ofthe pragmatics oflanguage. Both dimensions converge in the systematic horizon ofThe Theory ofCommunicative Action, yet are already touched upon in The Structural Transformation ofthe Public Sphere as weH as in essays on Bloch, Adorno, and historical materialism, aH dating from the 1960s. 1 These approaches, however, are fully incorporated in Habermas's thought only in his Legitimation Crisis as weIl as in an essay on Benjamin published shortly prior. 2 The unitary way of addressing the problem of the specificity of the aesthetic and of artistic phenomena in general is apparent in these writings, in discussions between Habermas and Marcuse, and in two essays in Toward a Reconstruction ofHistorical Materialism. 3 In each case the relevance of aesthetic experience for disCUfsive will formation is especiaHy emphasized. In a textpublished a few years later, "Modemity: An Unfinished Project," Habermas sketches for the first time the bases of the systematic integration of the historical-sociological and philosophical approaches to the specificity of the aesthetic. Given the importance the aesthetic dimension assurnes in this text, particularly in its attempt to rehabilitate the enlightening power ofworks ofart within ordinary life, it might have been expected that Habermas would then pay more attention to the domain ofart and perhaps advance a philosophical position regarding the foundations of aesthetics. This was, for instance, the response ofGerard Raulet. He very properly observes that Habem1as develops a central motif of Adomo' s reflections on aesthetic modernity-the autophagic dynamies of its development as a~yth turned against itself-while at the same time rejecting another of Adorno's (as weH as the later Marcuse's) central motifs: the somewhat one-sided emphasis on the esoteric work ofart, against which Habermas recovers Benjamin,s hope in a "profane enlightenment":

RESUMOFoi realizada pesquisa sobre a atual situação da geração de resíduos nos laboratórios do Departamento Acadêmico de Química e Biologia da Universidade Tecnológica Federal do Paraná. Inicialmente, foram selecionados para realização do estudo os laboratórios de ensino nos quais se realizavam as aulas práticas das disciplinas do curso de Química. Observou-se maior geração de resíduos nos laboratórios de Química Orgânica e Inorgânica. Os roteiros de aulas práticas dessas disciplinas foram analisados, sendo posteriormente propostas alterações para eliminar a geração de resíduos contendo chumbo, bário, acetato de etila e clorofórmio. Roteiros modificados contendo as alterações propostas foram elaborados e analisados pelos docentes das disciplinas, testados em laboratório e aplicados em uma aula prática. Os resultados obtidos, a avaliação dos docentes e a percepção dos alunos apontaram para a possibilidade da efetiva aplicação dos novos roteiros, sem causar prejuízo didático às aulas e ao aprendizado dos alunos.Palavras-chave: prevenção à poluição; resíduos; química verde; gerenciamento de resíduos de laboratório. ABSTRACTThis research was about the current situation of residue generation at the laboratories of the Academic Department of Chemistry and Biology, Federal Technological University of Paraná, Brazil. At first, we selected the teaching laboratories in which the Chemistry's practical classes were taken. The results showed that the Organic and Inorganic Chemistry laboratories were responsible for most of the residue generation. An analysis of practical methods of these particularly subjects was done, and then, changes on how to eliminate residue generation containing lead, barium, ethyl acetate and chloroform were proposed. New methods with all the proposed changes were designed, analyzed by the teachers, tested in laboratories, and then applied in practical class. The results, teacher's evaluation and student's perception lead to the possibility of an effective implementation of the proposed amendments, without causing any harm to didactic teaching and learning.

A crítica estética da modernidade está de tal maneira imbricada na filosofia clássica alemã que as origens de uma praticamente se confundem com as da outra. Schiller foi certamente a figura mais representativa desse entroncamento originário; mas coube a Hegel ser não só o formulador de sua versão mais radical, num misto inigualável de anarquismo, esteticismo e messianismo mitológico, como também o seu crítico mais sóbrio, quando não resignado.Palavras-chave: Filosofia Clássica Alemã; Crítica Estética da Modernidade; Schiller; Hegel.

RESUMO: Essa pesquisa é resultado da análise de 143 representações humanas pré-históricas pintadas, circunscritas nos sítios arqueológicos do Vale do Moxotó e do quadrante nordeste da Bacia Hidrográfica do Pajeú. O estudo foi realizado com a utilização do Quadro Analítico do Fenômeno Gráfico que, enquanto ferramenta metodológica, propõe que o fenômeno gráfico seja analisado em três dimensões, distintas entre si, mas que se interligam e se completam: Temática; Cenográfica; e Técnica. A escolha das categorias foi orientada para cumprir um duplo objetivo: apontar o perfil gráfico regional e efetuar comparações análogas entre os perfis já definidos para o Nordeste do Brasil. A pesquisa resultou na indicação de três padrões cenográficos que podem ser indicados como perfis para o Vale do Moxotó. Os dados, coletados de acordo com a metodologia proposta para o estudo, apontam proximidade técnica e cenográfica dos perfis gráficos delineados para o Vale do Moxotó e os definidos para a Região do Seridó. Palavras-chave: Pintura rupestre; Perfil gráfico; Vale do Moxotó; Vale do Catimbau.ABSTRACT: This research analyzes 143 prehistoric painted human representations circumscribed in archaeological Valley of Moxotó and the northeast quadrant of the Pajeú Basin. The study was conducted using the Analytical Framework that while methodological tool, proposes that the graphic phenomenon is analyzed in three dimensions, distinct from each other, but that interlock and are complementary: thematic, scenic and technical. The choice of the categories was guided to fulfill two objectives: regional point the graphic profile, and make similar comparisons between the profiles already defined for the Northeast of Brazil. The research resulted in the appointment of at least three patterns scenography that can be displayed as profiles for Moxotó Valley. The data, collected according to the methodology proposed for the study, indicate the proximity of technical and scenic graphic profiles outlined for Moxotó Valley and defined for the Seridó Region.