Em cantos de reis: a tradição discursiva em Autos de Natal

This study incorporates many areas of knowledge to the Linguistics field, as it centers the social historicity of Brazilian and autos potiguares on two analytical proposes: the presence of linguistic formulas - in its macrostructure - into the paradigm of discursive traditions, following Kabatek (2006), Koch and Oesterreicher (2007), besides the theory of Speech Acts, in its microstructure, proposed by Austin (1990) and Searle (1995). Under Zumthor (1993; 1997; 2000; 2005; 2010), the idea of textual variability (mouvance) was alluded, highlighting that the text is always modifying, according to the performance and reception of the language uses. Considering this theoretical framework, we focus on the trinomial linguistic formulas, orality and performance, in order to describe the dynamics of stability, variation and change, emphasizing yet how extra-linguistic social-historic cultural relations influence its composition. Such discuss is inherent more precisely to Textual Analysis in enhancing the orality tradition as a linguistic support. The text, in its turn, becomes effective as an evocation, motivated by the transmission, reception and variability from its conservation and reiteration. Naturally, a methodological support based on quali-quantitative research was chosen, based on Flick (2009), who justifies the corpus composed by Brazilian Folias de Reis chants and Bois de Reis potiguares . Thereby Language dynamics, subjacent to tradition which takes effect by the use of a common social memory, are observed from two dimensions: on the first, it evocates the sacralization (religious) in which they stand their devotion to biblical History; secondly, a dissacralization with identified and ideological values, inherent to a people culture. The chant shows, in this ludic impulse, a contextualized activity which results in the following conclusion: the changing and stability processes in textual macro and microstructures occur, at the same time, by the adjustment to the use of the text accomplishing a social-political function and an ethical-pedagogic one; supposedly, social relationships arise the tradition and it, on its turn, evocates the variability and the nomadism in the text

Cantos de bar: sociabilidades e boemia na cidade de Natal

The academic work Bar Corners: sociability and bohemia in the Natal City (1946-1960) has as objective the study of a representation of the literary bohemia in Natal in the second half of the 1940 s and 50 s, by means of analyses of the memory books and the chronicles of the newspapers A Ordem and A República. In order to have a better understanding concerning the subject, in the first chapter we try to show the transformations which have occurred in Natal and, consequently, within Natal sociability during the first half of the twentieth century. The bohemia, demonstrated in this dissertation as a way of sociability, expressed itself through the meetings in bars and the serenades. In the second chapter, the study conducted a mapping of the bohemian spaces (cafes, candy stores, bars and prostituition houses) and established the differences between these spaces. We ideated the spaces as the stage of interpersonal relations, as people went to these places in the attempt to participate of the conversation groups that were found there, choosing them according to their affinity and personal interests. The last chapter has the purpose of investigating the bohemia in Natal through the experience of the chronicler Newton Navarro, who used to roam the dark streets of Ribeira in search for open bars, extending bohemia until dawn. The intellectual activity was associated with his bohemian practices. As he frequented the marginal areas in Natal, Navarro wrote about them in the major newspapers of the city

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

A festa do bom Jesus dos navegantes em propriá-se: história de fé, espaço das relações sociais e laços culturais

The study is a survey conducted for the Master of Social Sciences carried out in partnership between the Universidade Tiradentes-UNIT/SE and the Universidade Federal do Rio Grande do Norte (UFRN). Being a religious event, we seek to show that the religious parties generally have particular meanings for each nation or region. Amaral (1998) informs that the Brazilian parties regardless of where they occur are popular demonstrations that, as the context in which they present themselves, can dilute to crystallize, to celebrate, to ritualize or sacralize the particular social experience of the groups that do. They happen as a way to thank victories or important religious passages as Christmas, the June saints celebration, patron saints and patron saints considered. Thus, The Bom Jesus dos Navegantes party in Propriá-SE: story of faith, a space of social relations and cultural ties, is presented as our field of study because it is one of those celebrations that while celebrated in Sergipe, always on Sundays in January, by some municipalities situated along the river San Francisco, has the characteristic of overlap any others placed in town, including the one of the city's patron saint, Saint Anthony, held on June 13. Concerning the materials and methods, we opted for qualitative research and participant direct observation, using the techniques of personal notes, interviews, newspapers, websites, photos, videos and testimonials from participants and organizers, as well as references offered by experts of the area. With this research answers were sought to questions about what could keep alive the celebration of Bom Jesus dos Navegantes each year in order that this is a patron saint, not saint; the way as the investment of local government with more resources in this period, during the organization of arts festivals, has created a thread of tension with the Catholic Church promoting the religious rituals was reviewed. It was also analyzed how the sacred and profane spaces present themselves inseparable from the celebration and, finally, it was revealed that the party retains its value by preserving its tradition and making room for modernity, not weakening but suffering metamorphoses of time and space and can be seen in the social and cultural bonds wrapped by the time of religious faith

Educação - Corporeidade - Lazer: saber da experiência cultural em prelúdio

In the passage of life, the labyrinth of songs and corners are propitious ways for a better comprehension, perception and incorporation of learnings that emerge from our subjectiveness in a magic caught by senses. Eyesight, taste, hearing, touch and smell in communication with the world, put us in front of cultural diversities. The ludicity accumulated by experiences promote the flow of hilarious and concrete discoveries that express themselves in work and leisure demonstrations. Such reflections emerge indicators to the problematic construction centralized in the incorporation of cultural experience knowledge to the formation process and professional interventions in this rule and area. From this significant problematic, aiming to deepen studies, we favored leisure as field of investigative production in full expansion. This, for sure, was an exercise of qualification that guided us through meander of education and made us dip into studies about the corporeity. A research in which the scenery was painted and constructed with the complicity of the culture lived with shine, colors, rhythm and drummings of one of the most present cultural cycles: carnival. Recognized as a stimulant for beauty, participation, socialization, and helped us to enter in the essence of gestures and expressions of corporeity, to think, elaborate and socialize a critic-scientific knowledge which, appropriating from the rhythm of colors, of sounds, of tonalities, of senses and of meanings impregnated in the web of life. All these things seduced the researcher, making imagination flow amid ludic-creative dialogues with the imaginary of researchers creation and production in the rule and area of leisure, education and corporeity. Option that made us outline as objective to investigate and interpret how leisure teachers-researchers, from their studies, researches and interventions, locate and incorporate the knowledge from cultural experience to the formation process and intervention of professionals in this rule and in this area, emphasizing the contributions from this knowledge to fence and qualify this praxis. So, as living each cultural scenery, each epistemological contribution was feeding the production with images of the different versions of the Brazilian breedings, creating and raising expectations and new discoveries and newcomers. With the seriousness of a scientific study, we lived an xxiii academic experience with complex intensity, rigor and coherence, eliminating, step by step, the risks and limitations always present in a work of this magnitude. However, we weren t, even for one moment, alone. Our epistemic regard always maintained mediated by the principles of a methodological approach - the Etnomethodology, that while central guide provided us clues to unveil the lived world by our people-playful , in a universe of 15 members, that allowed themselves to comprehend, comment, analyze. This way, grasping the object in interactions arised and provoked by narrative interview, it was systematically dialected by (re) interpretation of images and formulations of people-playful, enriched by their beliefs, myths, conceptions and rituals inherent to knowledge from cultural experience, which each one attuned with Brazilian and international history, in a mixture of senses echoed from songs and tales. Inspired in drummings and percussions, clothing and choreographies of gestures and expressions, in mixtures produced in unit interactions in the multiplicity shown as necessary requests to the totality of life, with ludicity the rescue of the past, the conquest of present and the construction of future was the axle guide. This rich process of scientific creation made us realize that is possible qualify and empower the praxis in the rule and area of leisure incorporating the knowledge from cultural experience. What also becomes possible is the recuperation of objective revolutionaries and changing conditions of praxis itself with the view of strengthening and triggerment of vital elements in the rule and area of leisure. We also reaffirm that from this praxis emerge elements necessary to human formation in plenitude, by the appropriation of knowledge that guide the facing of challenges of a complex and plural world that valorize education, corporeity and leisure

Terra Natal, de Ferreira Itajubá, e a permanência do romantismo

In this dissertation we argue that the work Terra Natal, by the poet Ferreira Itajubá, presents, predominantly, themes and forms typical of the Romantic period, although it came out in 1914, when the romantic aesthetic was no longer popular in Brazilian Literature. Firstly, we discuss about Ferreira Itajubá s biography, his bibliographic production as well as the critical fortune of his works. Secondly, we outline the course of the Romantic Movement from its emergence in Europe to its arrival in Brazil as well as its impact in the state of Rio Grande do Norte. Finally, we analyze of Terra Natal, taking into account other aspects such as context and structure through the analysis of the poems VII, IX, XVIII, XXI and also of the song Viola , inserted in the poem VIII. We highlight the following romantic themes during the analysis: exile, nostalgia for the past, cult of native land, the romantic view of woman, projection of soul s state on nature, and religiosity. We will try to create dialogues between Terra Natal and works of popular Romantic Brazilian writers, such as Gonçalves Dias, Casimiro de Abreu, José de Alencar,Visconde de Taunay and Castro Alves, in order to show the affiliation of the above-referenced work and the Romantic ideals

Comportamento e ecologia acústica da baleia jubarte (Megaptera novaeangliae) na região Nordeste do Brasil

The acoustic ecology concept involve the relation between the live organisms and their sound environment and is applied in the present work to study the context in which the humpback whale (Megaptera novaeangliae) singing behavior, known as the most complex display in the nature, occurred in the northeastern Brazilian coast, outside the core area of Abrolhos Bank, between 2005 and 2010.I analyze the singer male occurrence , their spatial distribution and probable relations with oceanographic features, such as depth, tide regimen and moon phases. I also describe the acoustic structure and temporal variation of the singing behavior, based on song frequency and time measurements outside the Abrolhos Bank, and further compare the song complexity, registered in the same period, between Abrolhos Bank (16°- 19° S, 37°- 39° W) and the adjacent North Coast, herein considered from Itacaré (14° S, 38° W) to Aracaju (11° S, 37° W). Additionally, I look for describe and analyze anthropogenic noise sources in the marine environment of the study area, produced by the oil industry as well as by the whale watching operation, relating their frequencies to the acoustic niche utilized by the humpbacks. The results indicated a great plasticity in the singing behavior, evidenced by the occurrence of singer males in diverse social structures, from solitary individuals to other groups, even containing females and calves, as well as by the diversity which compound the song, when compared between two regions inside the same breeding area, which present distinct oceanographic characteristics. The singer male distribution may be related with the continental shelf extent along the study area. The anthropogenic noise presented frequency range, amplitude and sound intensity in potential to interfere acoustically in the singing behavior of the species, may resulting in disturbance during the breeding season in the Brazilian coast. Implications about the obtained results in the humpback whale mating system are discussed. In this way, I pretend to contribute with the acoustic ecology subject and provide information to subsidize humpback whale conservation

Caracterização morfológica e sedimentar do talude continental (foz do Amazonas)

Created on 3 december 1997, the REMPLAC (Program for Assessment of Mineral Potencial of the Continental Shelf), this porgram aimed to make the basic survey, systematic geological and geophysical continental shelf, detail, at an appropriate scale, sites geo-economic, and perform the analysis and evaluation of mineral deposits. The REMPLAC should continue the efforts of Global Recognition Program of the Brazilian Continental Margin REMAC closed in 1978, the operations Geophysical Sea (GEOMAR) developed by the Directorate of Hydrography and Navigation and the various initiatives of the Program of Marine Geology and Geophysics (PGGM). Despite the high interest on the Amazon platform, there is little information o their morphology and sediment characterization, and in order to fill this gap, the present work samples sedimentological point followed by seismic acquisition. And the studies were to characterize the possible area of interest as being directly influence by tides, which sediments are reworked throughout the platform featuring grain angle with sharp corners, and the carbonate content increases as it approaches the breakdown the platform, and the bodies found outside the foraminifera and mollusks. However, diverging with organic matter that reduces its concentration as it moves away from the coast. The seismic profiles do not get satisfactory results because of low visibility, however, to correlate with the spot samples, of sediment were possible morphological characterization of the area.

Sonho e cura: o culto de Asclépio em Epidauro entre os séculos IV e II a. C.

Profound changes have marked Greek society from the fourth century B.C.. Conquests, wars and epidemics altered drastically the Greek’s posture regarding his public life, his conception of gods and hence the construction of their spaces, whether sacred or profane. Through the fonts, we perceived that the cult of god Asklepeios turned very popular, in this context, for the peculiar way that the god relates to his devotees, through the dreams. We know that the dream was held, for the Greeks, as a space of real existence, it was sacred, and could be accessed in the healing rituals of Asklepios. Our work intends, thereby, to understand the curious and peculiar oniric space, mainly through the inscriptions, architectural structures of the sanctuary and the ancient texts that refer to the context of the period, because we understand that this space was the essential condition for the popularization of the cult, it placed the individual in direct contact with the divinity, a rare closeness between men and gods accepted by the greek imagery until then.

Variabilidade acústica e respostas evolutivas a diferentes pressões seletivas no canto de anúncio de anfíbios

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

The song of humpback whale and the potential effects of whale-watching in the abrolhos bank, BA, Brazil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

The song of humpback whale and the potential effects of whale-watching in the abrolhos bank, BA, Brazil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...