Corpo, doença e biomedicina: uma análise antropológica de práticas corporais e de tratamento entre pessoas com HIV/AIDS

A epidemia do HIV/AIDS tem desafiado tanto a biomedicina como a ciência de modo geral. Tecnologias vêm sendo exploradas a fim de criar uma base terapêutica consistente às pessoas infectadas. Se os tratamentos exigem o consumo diário de medicamentos, os exames laboratoriais contemplam uma rotina a ser sempre mantida. Levam a um processo de mudança e adaptação pessoal junto de uma reorganização intensiva das formas de cuidado do corpo. As práticas clínico-terapêuticas devem ser entendidas, porém, como elementos particulares de processos culturais de grande alcance. Partindo de pesquisa etnográfica no Rio de Janeiro, discuto os efeitos sociais da biomedicina como um saber e uma cultura global sobre práticas sociais locais.

Corpo, beleza e cultura: reflexões a partida produção científica da educação física

Falar em corpo e beleza parece algo bastante familiar à Educação Física. Para tanto, consideraremos a relação entre os significados do corpo e da beleza identificados nas produções analisadas e os modelos de beleza na Educação Física. Essa pesquisa é de natureza qualitativa, tendo a Análise de Conteúdo para tratamento dos dados. O corpus de análise foi composto por 8 dissertações da área de Educação Física, publicadas no Banco de Teses da Capes no período de 2004 a 2008, selecionados a partir da temática corpo e beleza. Diante do exposto, foi possível observar que a compreensão do corpo e da beleza na área, vem sendo ressignificada ao admitir outras concepções estéticas de belo, o que representa o avanço ocorrido na área no trato do conhecimento do corpo e da beleza

A produção do conhecimento que trata do corpo e da beleza: implicações para a educação física

O texto trata-se de um recorte de uma pesquisa de mestrado realizada no Programa de Pós-Graduação em Educação da UFRN. Para tanto, consideraremos a relação entre os significados do corpo e da beleza identificados nas produções analisadas e os modelos de beleza na Educação Física. Essa pesquisa é de natureza qualitativa, tendo a Análise de Conteúdo para tratamento dos dados. O corpus de análise foi composto por 8 dissertações da área de Educação Física, publicadas no Banco de Teses da Capes no período de 2004 a 2008, selecionados a partir da temática corpo e beleza. Foi possível observar que a compreensão do corpo e da beleza na área vem sendo ressignificada, ao tratar de outras concepções estéticas, que consideram as singularidades expressas no corpo humano e na cultura da qual o indivíduo faz parte

Estudos sobre dançatividade: dança – corpo – performance

A partir de trabalhos que questionam limites de linguagens artísticas, discute-se o termo dançatividade enquanto potência do corpo-artista. A escolha dos trabalhos se orientou pela percepção de tal potência como impulso para a desterritorialização dos campos específicos da dança para se re-territorializar em outro campo de fronteira pela própria experiência do corpo

Entre corpos reais e virtuais: reflexões da dança contemporânea para pensar o corpo na educação física

Esta pesquisa objetiva identifi car as novas confi gurações de corpo advindas da interconexão entre Dança e Tecnologia, bem como compreender de que maneiras essas confi - gurações se aproximam e contribuem para a compreensão de corpo na Educação Física. O recurso metodológico é a análise de imagens dos vídeos de dança: Digital Brazuca e Corpo Aberto. Os vídeos analisados apontam para um repertório de saberes, que podem ser problematizados na área, e contribuem para reconfi gurar a relação homem/ambiente. Nesse sentido, promovem a plasticidade e a polissemia de relações entre o carbono e o silício, e desenham outras formas de compressão do corpo que incluem a complexidade, a incerteza, a reversibilidade e a descoberta

A experiência do corpo na dança butô: indicadores para pensar a educação

Neste artigo pretende-se refletir, apoiado em alguns ensaios de Merleau-Ponty e com base na fenomenologia, acerca do corpo e das narrativas e saberes que nele se anunciam na dança butô — modalidade que combina dança e teatro, criada no Japão na década de 1950. De modo geral, o corpo foi compreendido como elemento acessório no processo educativo, e essa compreensão ainda é predominante no contexto atual. Nossa reflexão tenta apontar outros caminhos de entendimento do corpo na educação, a partir de uma atitude que busca superar o instrumentalismo e ampliar as referências educativas, ao considerar a fenomenologia do corpo, e sua relação com o conhecimento sensível, como aquela capaz de amplificar a textura corpórea dos processos de conhecimento. Considerando a experiência do corpo na dança butô, apresentamos indicadores para pensar a educação, relacionados à experiência estética. Dentre eles destacamos: a plasticidade do corpo, a sua produção incessante de ressignificações, a sua abertura à inovação, a sua condição mutante, a sua ruptura com a mecanização gestual, a sua não dissociação entre homem e mundo, pensamento e sentimento. Todos esses aspectos que reúnem o saber recursivo, integrativo e criativo do corpo, são indicadores para pensarmos na educação, por tratar-se de uma nova possibilidade de leitura do real, a partir da linguagem do gesto, em que dialogam saberes e práticas inscritos na experiência corporal

Caracterização geológica, geomorgológica e geotécnica de um corpo de dunas na cidade de Natal-RN

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Caracterização macro, meso e microscópica das estruturas frágeis do corpo arenítico conglomerático da região de Santana do Acaraú (CE) e seu embasamento circundante

The structural framework of the sedimentary basins usually plays an important role in oil prospects and reservoirs. Geometry, interconectivity and density of the brittle features developed during basin evolution could change the permo-porous character of the rocks involved in generation, migration and entrapment of fluid flow. Once the structural characterization of the reservois using only sub-surface data is not an easy task, many studies are focused in analogous outcrops trying to understand the main processes by which brittle tectonic is archieved. In the Santana do Acaraú region (Ceará state, NE Brazil) a pack of conglomeratic sandstone (here named CAC) has its geometry controlled mainly by NE trending faults, interpreted as related to reactivation of a precambrian Sobral Pedro II Lineament (LSP-II). Geological mapping of the CAC showed a major NE-SW trending synform developed before its complete lithification during a dextral transpression. This region was then selected to be studied in details in order of constrain the cretaceous deformation and so help the understanding the deformation of the basins along the brazilian equatorial margin. In order to characterize the brittle deformation in different scales, I study some attributes of the fractures and faults such as orientation, density, kinematic, opening, etc., through scanlines in satellite images, outcrops and thin sections. The study of the satellite images showed three main directions of the macrostructures, N-S, NE-SW and E-W. Two of theses features (N-S and E-W) are in aggreement with previous geophysical data. A bimodal pattern of the lineaments in the CAC´s basement rocks has been evidenciated by the NE and NW sets of structures obtained in the meso and microscale data. Besides the main dextral transpression two others later events, developed when the sediments were complety lithified, were recognized in the area. The interplay among theses events is responsible for the compartimentation of the CAC in several blocks along within some structural elements display diferents orientations. Based on the variation in the S0 orientation, the CAC can be subdivided in several domains. Dispite of the variations in orientations of the fractures/faults in the diferents domains, theses features, in the meso and microscopic scale, are concentrated in two sets (based on their trend) in all domains which show similar orientation of the S0 surface. Thus the S0 orientation was used to group the domains in three major sets: i) The first one is that where S0 is E-W oriented: the fractures are oriented mainly NE with the development of a secondary NW trending; ii) S0 trending NE: the fractures are concentrated mainly along the trend NW with a secondary concentration along the NE trend; iii) The third set, where S0 is NS the main fractures are NE and the secondary concentration is NW. Another analized parameter was the fault/fracture length. This attribute was studied in diferent scales trying to detect the upscale relationship. A terrain digital model (TDM) was built with the brittlel elements supperposed. This model enhanced a 3D visualization of the area as well as the spatial distribution of the fault/fractures. Finally, I believe that a better undertanding of the brittle tectonic affecting both CAC and its nearby basement will help the future interpretations of the tectonic envolved in the development of the sedimentary basins of the brazilian equatorial margin and their oil reservoirs and prospects, as for instance the Xaréu field in the Ceará basin, which subsurface data could be correlated with the surface ones

As inter-ações entre espaço do corpo e o movimento dançado

This dissertation seeks to reflect about the relations between danced movement and body space (Kinesphere), and their contributions to the expansion of the expressive possibilities of the subject on dancing. According to Rudolf Laban there is no space that is empty, because it is always being modified and signified at every moment by the movement. Space exists because we interact with it, at the same time movement occours configuring a signifcant space that is incessantly transformed. In this sense, space, body and movement appear in this research as interconnected and interdependent. For this discussion we have as main interlocutor the studies of Rudolf Laban. The nature of this research is qualitative and descriptive. This is a context that embraces the phenomenon of dance and as such it is based on a dimension that doesn't deal with mensurability, but with the art scene, fruitful in its infinite openness to the creation of multiple significances for what has been lived. We also propose to present a report about the practical study developed in the discipline Coreologia in the licentiate course of Dance in UFRN, as well as the analysis of the interviews applied to students of this curricular component. The questions were developed in a way that lead to a reflection about the experience of those interviewed in this discipline, thus generating material for us to discuss how the students perceive dance based on the relational study between space and movement. We realize that this study may favor an understanding of the relations that the experienced movement in the act of the dance weaves along the spatiality that receives and fills our bodies, resignifying the vision of a space which is restrict to the mere place were the body moves and occupies. It also favors the reflections concerning the body that moves and creates spatiality when dancing, thereby bringing to the Performing Arts a chance to think and to experience on the expansion of the expressive gesture in dance and beyond it, led by the recognition of the principles that organize human movement pointed by Laban. It also contributes on the formation of the students in licentiate courses of Dance by questioning the ways to appropriate the contents worked in a graduation discipline as regards to the availability of the body for dance. This dissertation is divided in three parts, called Impulsos. In the First Impulso: “Primeiros Gestos Textuais”, we find an introduction to concepts and ideas of body, movement and space that permeates all the work. In the Second Impulso: "Nós", the triad body-space-motion is discussed using the metaphorical image of a knot that binds these three concepts. The third and final Impulso: "Enlaces" deal with impressions and discoveries lived during the experimentation of the principles of inter-actions studied here, in the lessons of the already mentioned discipline

O antagonismo do receptor de serotonina do tipo 7 da substância cinzenta periaquedutal dorsal reduz a ansiedade experimental basal, mas não aquela gerada pela retirada do etanol em ratos

Ethanol-dependent individuals who reduce or discontinue its use may present Alcohol Withdrawal Syndrome, which is characterized by unpleasant signs and symptoms, such as anxiety, that may trigger relapses. Ethanol, a psychotropic drug, is able to promote behavioral and neurophysiological changes, acting on different neurotransmitter systems, including the serotonergic, which has also been directly associated with aversive states, including anxiety. This study aimed to investigate the participation of type 7 serotonin receptor (5-HT7) of the dorsal periaqueductal gray (DPAG) on basal experimental anxiety and that caused by ethanol withdrawal. For this, 75-100 days old Wistar rats were subjected to two experiments. On the first one, animals underwent stereotactic surgery for implantation of guide cannulas used for administration of the drug directly into the DPAG. After seven days, the animals received doses of 2.5; 5 and 10 nmols of type 7 receptor antagonist SB269970 (SB) or vehicle intra-DPAG and, ten minutes after, they were exposed to elevated plus maze (EPM). In the following day, the animals were submitted to the same treatment and tested in the open field (OF). In the second experiment, animals received increasing concentrations (2%, 4%, 6%) of ethanol as the only source of liquid diet or water (control group), both with free access to chow. Seventy two hours and ninety six hours after the ethanol withdrawal, animals received SB (2.5 and 5.0 nmols) intraDPAG ten minutes before the test in the LCE and OF, respectively. In experiment 1, the dose of antagonist 10 nmols was able of reversing the anxiety generated by EPM. In the experiment 2, ineffective SB doses on the LCE (2.5 and 5.0 nmol) were not able to reverse the anxiety caused by the ethanol withdrawal in the EPM, although the dose of 2.5 nmols of SB has reversed its hipolocomotor effect in this test. This result suggests that the 5-HT7 receptor is involved in the modulation of the basal experimental anxiety in rats, but not in the anxiety caused by ethanol withdrawal in the DPAG.

Avaliação dos efeitos da retirada do etanol em curto e longo prazo sobre respostas comportamentais relacionadas à ansiedade e sobre células imunorreativas para a serotonina no núcleo dorsal da Rafe em ratas

Ethanol withdrawn individuals present a wealth of signs and symptoms, some of them related with anxiety. To better understand brain areas involved in anxiety caused by ethanol abstinence, preclinical studies have been employing models of ethanol consumption followed by withdrawal in rodents submitted to behavioral tests of anxiety, such as the elevated plus-maze. The aim of this study was to investigate if short- or long-term ethanol withdrawal could alter both anxiety-related behaviors in the elevated plus-maze (EPM) and open field tests and the number of serotonin immunorreactive cels in the dorsal raphe nucleus, a midbrain area associated with anxiety. Female Wistar rats (90 days old) were submitted to increasing concentrations of ethanol (2% for 3 days, 4% for 3 days and 6% for 15 days) as the only source of liquid diet and the control group received water ad libitum. Both groups received food ad libitum. In the behavioral experiments, on 21st day of consumption, ethanol was substituted by water (withdrawal) and 72 h or 21 days after withdrawal animals were submitted to the EPM, where it was evaluated the percentage of time and entries in the open arms and the entries in the enclosed arms during 5 minutes. Twenty and four hours after testing in the EPM, animals were submitted to the open field test for 15 minutes, where the distance traveled by the animals was observed along this period. During the first 5 minutes, the distance traveled, entries and time spent in the center of the test were analyzed. In the immunohistochemistry study, animals were submitted to 21 days of consumption of ethanol followed or not by 72 hours and 21 days of withdrawal previously perfusion, brain tissue preparation and quantification of serotonin dyed cells in the dorsal and caudal portions in the dorsal raphe nucleus. Behavioral data showed that both short- and long-term ethanol withdrawals reduced the open arms exploration in the EPM. In the open field test there were no locomotor activity changes during the total 15 minutes; however, longterm ethanol withdrawal reduced the exploration in the center of the open field during the first 5 minutes. In the immunohistochemistry step, there were no differences, when short- and long-term withdrawn groups were compared with control group; nevertheless, the chronic consumption of ethanol decreased the number of serotonergic immunorreactive cells in the dorsal part of dorsal raphe nucleus. Taken together, results here obtained suggest that both short- and long-term ethanol withdrawals promoted an anxiogenic-like effect that was not related with changes in the serotonin immunorreactivity in the dorsal and caudal parts of the dorsal raphe nucleus.

A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

Vestimentas em performance: composições em modos do corpo

This research deals with the possible relationships between the body and the garment in performative scenic states across the contemporary scene, the philosophy of fashion and the philosophical arguments of profanity and dispositive. Some works were observed and cited in this dissertation, for this I conducted structured interviews with eight artists of performance, as a methodological strategy that could bring data about the experiences of this dresses and/or naked bodies on the scene, in addition to literature and revealing the action of clothing on the body as well as its influence on the subjectivities of that whom performes and the public. These relationships can be experienced in the process of creating costumes in contemporary scene naming the possibility of modes of the body, as ways that emerge and constitute as creative, discursive and aesthetic alternatives.

O corpo em Michel Onfray

This inquiry looks it to think of the body through Hedonistic Philosophy of Michel Onfray. To compose his written, the philosopher launches strong criticism to the asceticism (constituted by the philosophical tradition and by the monoteístas religions), accusing it of despise the body and the pleasure of his teachings, anchored by the Christian moral. However, his philosophy defends the hedonismo and emphasizes the pleasure as an ethical / moral beginning, which aims the other as much as the individual himself, elevating the body and his potentialities through five senses. The contemplated philosophy allowed us think on the Physical Education, area wich, traditionally, was tied to the execution of disciplinary tasks of the body, disregarding the sensibility of his pedagogic practice. In this scenery, there is an ideal of body that attacks us daily, intensified by this area, which turns in the ethical problem of the body. From then, we launch our questions: From Michel Onfray philosophy, how the body shapes between the asceticism and the hedonismo?, What are the possible implications for the Physical Education? Ruled in the method of the Hedonistic Materialism, proposed by Michel Onfray, we think about this inquiry on two central points that contemplate our categories of study to be known: Glorious body and Loose living Body. We resort to Michel Onfray´s books, as well as, interviews given by the author in magazines / newspapers to help in our inquiry intentions. For the approach ethics / esthetics in the Physical Education, we use the texts of Silvino Santin and Hugo Lovisolo. Besides, we brought the cinema dialog. We classify this inquiry as a true Odyssey that transported us to unknown places and as a return to other already visited. This travel provided teachings that will help our wisdom on how survive the life, alerting us for the worship to the body like the cultivation of ourselves, and not as search of reaching physical standards stipulated by the society in force.

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.