IIRSA: outro passo na pilhagem, exploração e (des) integração dos povos e territórios sul-americanos

La llamada Iniciativa para la Integración de Infraestructura Regional Suramericana (IIRSA) es un acuerdo multinacional celebrado entre los 12 países de América del Sur desde el año 2000, materializado a través de 10 ejes de comercialización orientados a la construcción de varios proyectos de infraestructura, que incluye la construcción de una enorme red de energía, de comunicación y transporte. Estos proyectos han sido financiados principalmente por los organismos multilaterales (BID, CAF, FONPLATA) profundizando la dependencia económica y política de los países involucrados, en especial mediante el aumento de la deuda externa, las empresas transnacionales garantizarán la infraestructura necesaria para la explotación más acentuada de nuestros recursos naturales y de la mano de obra barata, asegurando el abastecimiento de sus mercados. En este sentido, el discurso de crecimiento económico regional creará los mecanismos necesarios para la reproducción ampliada del sistema capitalista, mediante la promoción de la liberalización de los mercados internacionales, tales como intenta los Estados Unidos a través del Área de Libre Comercio de las Américas. En realidad, es un Desarrollo Regional de los países del Norte, un plan estratégico de ordenamiento territorial construido por transnacionales y dictado por el imperialismo de Norteamérica. Bajo la dirección del gobierno de Brasil ha sido implementado sigilosamente, para que los jefes de Estado, sin nombrarlo, ejecuten sus planes de desarrollo como parte de esta tan evidente estrategia de saqueo, entusiasmados y convencidos de que serán generosamente recompensados. Proclaman e inauguran proyectos de infraestructura que las empresas multinacionales y transnacionales consideran indispensables para el saqueo de los recursos naturales que aún quedan, después de cinco siglos de explotación continua de América Latina. En este sentido, nuestra investigación se volvió hacia el análisis de lo sector energético de lo Eje Perú-Brasil-Bolivia, por considerarlo de suma importancia para el mantenimiento de la explotación y consolidación hegemónica de las corporaciones multinacionales en América Latina

A estética da Commedia dell Arte: contribuições para o ensino das Artes Cênicas

Theatrical phenomenon borned in the Italy the Comedy dell Art concerned to it climax in the XVI century and spreading itself by the word than can be sight like the theatre base modern. Lasting parallel the conventional theatre since the three hundred years, this gender influenced significativly the making theatrical in the Europe graces the popular character of its simulation turned for the improvise. In spite of treat a theatric manifestation no more existing in the present time, we understand that the Comedy dell Art was constituted in one artistic language whose esthetics centralized in the popular fanciful and in the improvise permitted a rich possibility of verbal and not-verbal communication that today can to be taken again in contemporary productions theatricals. Departing of an approach of esthetics, this work has with purpose concentrate the references esthetics that configure that one artistic manifestation such that one references can contribute for the Arts teaches in the present times. We appeal the text and image of Comedy dell Art, such this historical reference that in context, with fountain investigated that mean and if complementary in one esthetic reflection for the creation of meaning diverse and news interpretations for the purpose investigated if having with base some analysis categories such as: the actor s body, the actuations spaces and the esthetics categories such the ugly, the comic and the absurd. To investigate the Comedy dell Art esthetic in the ambit of the teach of Arts Scenics is a manner of be understand the artistic universe of three century behind that can be meant, revived, in the marking possibilities of an art teach able to incentive the critical, the appreciation, the discussion and the transgression of instituted true. Having investigated the exhibition Comedy dell Art esthetic we rebound four stich that we judge significative for we think the Arts Scenics teach, they are: the articulation between actor s body, the text and the space actuation in the play; statement what it is given between actor s body and the on-looker and the every gesture that did share of scene in a popular scenic space; a conception actor s body that transgress with the true duty socially that is capable the to admit its dimension Dionysian, creative and ambiguous in the to do theatrical; the text conception that get beyond the ambit the word writing by the dramatist and talked by actors, if spreading the other elements significance in the scene like gesture, the parody, the recent news, the gags and the word used in the day-to-day; the scenic space like a statement symbolic between actors and on-looker that make a quality of amusement pact supported by the scenic true of artist that actuate in not usual spaces bid at an auctioning degrees of participation in the building the scenic phenomenon; and the importance of esthetics categories such as the ugly, the comic and the absurd, those categories that foundation like a do scenic transgressor make a possible exchange mutual between actor and appreciator. The statement of esthetics categories in joint continuous between the body, the text and the scenic space evident themselves in doing theatrical and in the its appreciation. We believe that the reflection esthetic about the Comedy dell Art in the arts class, consider the stich detached, can favor possibilities of to share discovery, ideas, feelings and attitudes, and can permit the observation of different stich of view, establishing the statement of individual with the group in a participative and democratic form

O impacto dos custos não-gerenciáveis na determinação das tarifas de energia elétrica: um estudo nas companhias distribuidoras do nordeste que tiveram revisão tarifária nos exercícios de 2003 e 2004

This work presents results derived from a study related to impact on non-controllable costs in the determination of energy taxes. This is done analyzing tax review practiced by concessionaries responsible for the distribution of electrical energy located in the Northeastern Region of Brazil, between 2003 and 2004. This Region was chosen as a study area due to the researcher s expectation in congregating companies that deliver services to markets that have similar social-economical profiles. A brief explanation related to the restructuring of the electrical sector in Brazil is presented, pointing out that there was privatization of the great majority of these companies. The study also points out the definition of regulating rules in service delivery process. The components of taxes that are practiced by these companies aimed at final consumers, as well as the market as a whole and the revision process that is executed by Agência Nacional de Energia Elétrica ANEEL for the definition of these taxes are demonstrated in the research. A brief historical of the concessionaires that were focus of the research is presented, totaling five companies. Some data used by ANEEL in the tax review process was analyzed as well as data on components of approved taxes. It is concluded that as a media 47, 49% of the components of taxes in the researched companies correspond to the non-controllable costs. These is done considering previous classification by ANEEL in the tax review process. Although, if it is considered that these companies since 2006, by the means of participation in energy auctions are able to negotiate energy prices for their own needs, it is concluded that these concession contracts guarantee the delivery of the service to the costumer in the total tribute. The percentage of non-controllable costs is 16, 27% average of the tax. This means, amongst other information, that the government has a great deal of responsibility in the formation of price practiced by these companies and its target markets