Reposicionamento da marca Portugal

RESUMO: A Marca de um País também vende. A imagem de um País é nos dias de hoje um activo muito importante para a sua economia. Uma marca é uma promessa feita ao consumidor, é o ponto de referência de todas as impressões, positivas e negativas adquiridas ao longo do tempo. O Marketing é a ferramenta que deverá percepcionar, estudar e apresentar factores de diferenciação, mostrar e convencer os consumidores das qualidades de um produto ou serviço. A realidade impõe uma atenção especial ao tema e a Marca Portugal teve um boom de programas de desenvolvimento e de promoção a partir dos anos 90 do séc. XX. O responsável pela gestão da Marca Portugal é o Governo, através da AICEP, Agência para o Investimento e Comércio Externo de Portugal, que tem como missão aumentar a notoriedade de Portugal, dinamizando o investimento estruturante e a internacionalização das empresas, criando condições competitivas e estimulando a exportação no Mercado Global, diversificando a oferta dos produtos e os Países de Destino. A falta de estratégia e os planos mal sucedidos, são alguns dos erros apontados à gestão da Marca Portugal, mas é determinante assumir claramente que a assumpção da Marca e o seu Reposicionamento é um vector estratégico para o desenvolvimento do País. Portugal tem boas referências, na indústria, nos serviços, tem produto, que podem ajudar a promover a imagem global de Portugal e contribuir para o aumento das receitas, seja das exportações, do Turismo ou do Investimento Estrangeiro. Portugal precisa de um Plano de Marketing e de uma entidade gestora de Marca, que garanta uma gestão eficaz da Marca Portugal, integrada e articulada com todos os produtos e serviços estratégicos para a exportação ou para o consumo interno. Esta dissertação apresenta um Modelo de Reposicionamento da Marca Portugal que agrega todos os pontos positivos que Portugal possui, como, a sua capacidade de vendas, o seu potencial para se investir, o que há para ser visitado, e desenvolve um programa sério e transversal que promova Portugal no estrangeiro e que atraia investidores e visitantes. ABSTRACT: The Brand of a Nation also sells. The image of a country is, nowadays, an important asset for its economy. A brand is a promise made to the consumer; it is the reference point for all impressions, positive and negative acquired over time. Marketing is the tool that must perceive, study and present differentiation factors, must show and convince consumers about the qualities of a product or service. Reality demands a special attention to this topic and the Portugal Brand experienced a development and promotion program boom since the 20th Century 90’s. Currently, the figure in charge of the management of the Portugal Brand is the Government, through AICEP, whose mission is to increase the notoriety of Portugal, captivating structural investment and the internationalization of enterprises, mainly small and medium businesses, creating competitive conditions and stimulating exports to the Global Market, diversifying product offer and Destination Countries. Some errors have been pointed out in the management of the Portugal Brand, such as lack of strategy and unsuccessful plans, but it is imperative to irrevocably understand that Brand assumption and its Repositioning is a strategic vector for the development of the Country. Portugal has good references, either in industry, or services, has product, that help promoting Portugal’s global image and contributing to an increase in revenues, either in exports, Tourism or Direct Investment. Portugal needs a Marketing Plan and a Brand management entity, such as a Brand strategic executive council, to ensure an effective management of the Portugal Brand, integrated and articulated with all the products and services flagged as strategic assets for exportation or domestic use. This thesis presents a Repositioning Model of the Portugal Brand that aggregates all positive aspects that Portugal has, such as sale capacity, potential for investment, lots of places to visit, and develops a serious and transversal program to promote Portugal abroad and to attract investors and visitors alike.

The Pedagogical Congresses of Portuguese Secondary Teaching : the participation of female teachers (1927-1928)

This paper was written within the context of the research project “The development of teacher’ associative organizations and unionism (1889-1990)” funded by the Fundação para a Ciência e Tecnologia (Foundation for Science and Technology). Five important congresses about secondary education were organized in Portugal between 1927 and 1931. These congresses served to claim the rights of teachers and the consolidation of the class, as well as to promote the discussion of scientific and pedagogical problems. In these congresses, the presence of female teachers was residual. However, the few teachers who participated had a significant contribution to the definition of secondary education during the following decades. Among other issues, it contributed to the discussion of female education and to analyze the importance of Biology and Physical Education in high schools. This paper presents the analysis of the minutes of the 1927s and 1928s Congresses. This analysis allowed the assessment of the important role played by a group of teachers to define, at the end of the first third of the 20th century, the future guidelines of Portuguese secondary education. It also reported that these teachers were pioneers who opened the way for the increasing number of teachers in secondary education during the 20th century.

A matter of fundamentals : sound and silence in the radio drama of Samuel Beckett

Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.

Alfabetização e educação de adultos : um percurso de 1910 a 1926 : das intenções políticas às medidas concretas

Este trabalho visa contribuir para uma melhor percepção da problemática do analfabetismo, em Portugal, no primeiro quartel do século XX, tendo em conta o ideário educativo republicano e as suas concretizações a nível do ensino primário. Neste sentido, foram traçadas as linhas estruturantes desta problemática: uma, centrada nas ideias educativas sobre o analfabetismo e os debates no quotidiano escolar e jornalístico; e a outra referente às concretizações e realizações educativas republicanas que operacionalizaram o combate ao analfabetismo. O conceito de analfabetismo foi o fio condutor de todo o trabalho, do qual se delinearam as seguintes áreas: (i) Dos finais da Monarquia Constitucional à República: breve perspectiva histórica e educativa; (ii) O analfabetismo e suas causas; (iii) O combate ao analfabetismo; (iv) Escolas móveis e cursos nocturnos na promoção da alfabetização e, (v) Programas escolares: as propostas governamentais. A cada área corresponde um capítulo. A fonte principal deste trabalho foi a Imprensa de Educação e Ensino, consultada na Biblioteca Nacional, pois a mesma oferece uma complexa vastidão de materiais pertinentes para o tema. Entre os vários periódicos compulsados, destacam-se A Federação Escolar, Educação Nacional e O Professor Primário. A pesquisa exploratória e selectiva também conduziu ao semanário Sul da Beira. Muitas obras e estudos da época foram ainda pesquisados, com destaque para as actas dos Congressos da Liga Nacional de Instrução. Igualmente se afigurou significativo perscrutar o Diário da Câmara dos Deputados, o Diário do Senado da República e ainda o Diário do Governo para serem trabalhados, respectivamente, os debates parlamentares e a legislação. Assim, foi objectivo do trabalho configurar um painel revelador do tema que mobilizou personalidades académicas, jornalísticas e políticas, no período compreendido entre 1910 e 1926.

The light representation of religion and power in sound

The thematic and anathematic in music-making a reflection occurring after listening to an art song and a pop song from the 19th and 20th century Levantine music. Bach’s Orchestral Suites keep popping up, elegantly unveiling “the truth”.

Who am I? An identity crisis Identity in the new museologies and the role of the museum professional

Whilst the title of this essay suggests more than one “new museology”, it was rather a licence poétique to emphasize the two major theoretical movements that have evolved in the second half of the 20th Century[1]. As a result of the place(s)/contexts where they originated, and for clarity purposes, they have been labelled in this essay as the “Latin new museology” and the “Anglo-Saxon new museology”; however they both identify themselves by just the name of “New Museology”. Even though they both shared similar ideas on participation and inclusion, the language barriers were probably the cause for many ideas not to be fully shared by both groups. The “Latin New museology” was the outcome of a specific context that started in the 1960s (de Varine 1996); being a product of the “Second Museum Revolution”(1970s)[2], it provided new perceptions of heritage, such as “common heritage”. In 1972 ICOM organized the Santiago Round Table, which advocated for museums to engage with the communities they serve, assigning them a role of “problem solvers” within the community (Primo 1999:66). These ideas lead to the concept of the Integral Museum. The Quebec Declaration in 1984 declared that a museum’s aim should be community development and not only “the preservation of past civilisations’ material artefacts”, followed by the Oaxtepec Declaration that claimed for the relationship between territory-heritage-community to be indissoluble (Primo 1999: 69). Finally, in 1992, the Caracas Declaration argued for the museum to “take the responsibility as a social manager reflecting the community’s interests”(Primo 1999: 71). [1] There have been at least three different applications of the term ( Peter van Mensch cited in Mason: 23) [2] According to Santos Primo, this Second Museum Revolution was the result of the Santiago Round Table in Chile, 1972, and furthered by the 1st New Museology International Workshop (Quebec, 1984), Oaxtepec Meeting (Mexico, 1984) and the Caracas Meeting (Venezuela, 1992) (Santos Primo : 63-64)

Transformative museology

“…we have to take into account the fact that museology and museums are two completely different things.” Martin R. Shärer[1] In the 20th century, growing populations produced a growing body of heritage. The transmission of this heritage to succeeding generations coalesced into three major modern institutions: universities, library/archives and museums. Traditional systems of social and cultural memory had become overloaded and therefore evolved conceptually. This evolution took place within the primary context of a naturally occurring museology through the process I call museogenesis. The term museogenesis refers to the origin and development of museological thought in a specific cultural context. By museological thought, I refer to ideas and theories surrounding the parameters of “the natural and cultural heritage, the activities concerned with the preservation and communication of this heritage, the institutional frame-work, and society as a whole” (Mensch 1992). This broadly inclusive definition relates museology to another broadly defined concept: cultural context. By cultural context, I refer to the “webs of significance and systems of meaning which is the collective property of a group” (Geertz 1973). [1] ICOFOM Study Series – ISS 34, 2003, ISS 34_03.pdf, p.7