Exploração Vocacional, Ajustamento Académico e Personalidade : um estudo com estudantes do ensino superior pós laboral

Este estudo caracteriza os processos de exploração vocacional e de ajustamento académico, e os traços de personalidade de estudantes universitários a frequentar o ISLA Leiria. A amostra inclui 115 estudantes, de ambos os sexos (62,6%) mulheres e (37,4%) homens, com idades compreendidas entre os 18 e 61 anos, a frequentar o 1º Ciclo do Ensino Superior, no ano letivo de 2010/2011. As medidas aplicadas foram o Career Exploration Survey (CES, Stumpf et al., 1983, versão adaptada por Taveira, 1997), o Academic Adjustment Questionnaire (AAQ; Lent et al., 2005; versão adaptada por Lent & Taveira, 2004) e o Inventário de Personalidade Neo - Revisto (NEOPI-R; Costa & Crae, 1992; versão adaptada por Lima, 1997). Os resultados indicam que a exploração vocacional dos alunos está ativada, ao nível das suas crenças, comportamentos, e reações à exploração, e que estes se encontram envolvidos em objetivos de trabalho. Verificou-se que não existem diferenças estatisticamente significativas nos processos de exploração vocacional em função do sexo dos participantes e em função dos anos que frequentam. Em termos de personalidade os resultados apresentam um nível de Neuroticismo moderado, assim como uma Abertura à Experiencia moderada também. A Conscienciosidade, a Extroversão e a Amabilidade revelam níveis mais positivos. Não são verificados níveis significantes de diferença em função do sexo de pertença ou do anos que frequentam. Relativamente ao Ajustamento Académico o dado mais relevante é a fraca autoeficácia para ultrapassar obstáculos. Aqui também não são registadas alterações em função do sexo de pertença ou do ano que frequentam.

The dark side of the Mediterranean : expression of fear from the inquisition to the present

Inside the stones of its most famous buildings, Évora keeps mysteries and secrets which constitute the most hidden side of its cultural identity. A World Heritage site, this town seems to preserve, in its medieval walls, a precious knowledge of the most universal and ancient human emotion: fear. Trying to transcend many of its past and future fears, some of its historical monuments in Gothic style were erected against the fear of death, the most terrible of all fears, which the famous inscription, in the Bones Chapel of the Church of São Francisco, insistently reminds us, through the most disturbing words: “Nós ossos que aqui estamos pelos vossos esperamos”. If the first inquisitors worked in central Europe (Germany, northern Italy, eastern France), later the centres of the Inquisition were established in the Mediterranean regions, especially southern France, Italy, Portugal, and Spain. Consequently, the roots of fear in Évora are common to other towns, where the Inquisition developed a culture of fear, through which we can penetrate into the dark side of the Mediterranean, where people were subjected to the same terrifying methods of persecution and torture. This common geographical and historical context was not ignored by one of the most famous masters of American gothic fiction, Edgar Allan Poe. Through the pages of The Pit and the Pendulum, readers get precise images of the fearful instruments of terror that were able to produce the legend that has made the first grand inquisitor, Tomas de Torquemada, a symbol of ultimate cruelty, bigotry, intolerance, and religious fanaticism, which unfortunately are still the source of our present fears in a time when religious beliefs can be used again as a motif of war and destruction. As Krishnamurti once suggested, only a fundamental realization of the root of all fear can free our minds.

The Centre of Memories: work in progress. Case of the Michel Giacometti Labour Museum, Setúbal, Portugal

The work on Social Memory, focused on the biographic method and the paths of immaterial Heritage, are the fabric that we have chosen to substantiate the idea of museum. The social dimensions of memory, its construction and representation, are the thickness of the exhibition fabric. The specificity of museological work in contemporary times resembles a fine lace, a meticulous weaving of threads that flow from time, admirable lace, painstaking and complex, created with many needles, made up of hollow spots and stitches (of memories and things forgotten). Repetitions and symmetries are the pace that perpetuates it, the rhythmic grammar that gives it body. A fluid body, a single piece, circumstantial. It is always possible to create new patterns, new compositions, with the same threads. Accurately made, properly made, this lace of memories and things forgotten is always an extraordinary creation, a web of wonder that expands fantasy, generates value and feeds the endless reserve of the community’s knowledge, values and beliefs.