Setor terciário e informalidade: algumas especificidades da (re)produção do espaço urbano de Bayeux-PB

This work has as study object the tertiary sector and (the re)production of the urban space of Bayeux-PB. For in such a way, one became necessary to the construction of a theoretical boarding that context the national reality, to be able itself to understand the reality local. This way to construct allowed an opening of the field of vision how much to the relevance of if ahead studying the tertiary sector and its weight of the current configuration of the society in a country as Brazil, e especially in a city of a State northeastern, as it is the case of Bayeux. The theoretical boarding had as base the two circuits of the urban economy, the productive reorganization and the transformations in the world of the work, as well as, the space organization and the distinction between the economic and social space of the tertiary activities, from the logic of functioning of the establishments: the regulation. Besides working with referring official data to the tertiary sector, the empirical study it had as reference one hundred and sixty and establishments tertiary, located in four axles of circulation of the city of Bayeux - PB, which are: Av. Liberdade, Av. Engenheiro de Carvalho, Av. Francisco Marques da Fonseca and Av. Marechal Rondon, that they had appeared in such a way stimulated for the processes of urbanization and industrialization lived deeply from years 70 in the "Great João Pessoa" how much, in the countries of the underdeveloped capitalist world, as Brazil. Being thus, the objective of the work was to study the tertiary sector and its relation with (the re)production of the urban space, standing out the functioning logic

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...

Apontamentos sobre Educação Integral, Programa Mais Educação, Programa Segundo Tempo e Educação Física Escolar

In today's educational context of Brazil the theme of integral education has deserved having to induce policy, nowadays, the More Education Program. In this sense, this thesis focuses on the aspects of integral education that emerged in the country's history to reach the More Education Program (MEP) and offers some thoughts on how physical education is presented within the institutionalization of intent of Integral Education in Brazil. Thus we have as main objective to discuss the pedagogical setting of Second Half Program (PST) in the MEP, and to identify possibilities to integrate their actions with the School Physical Education. In the case study methodology was adopted, with the appropriate schools accompanied by Team Collaborator 3 of the Ministry of Sport, using as a source of evidence the first assessment protocol carried out by the Cooperating Teams of Educational Monitoring and Administration of the Second Time in Brazil specifically evaluations carried out by Team Collaborator 3 (EC3), under the Department of Physical Education, Federal University of Rio Grande do Norte, which followed the covenants of the More xi Education Program in the municipalities of Bayeux / PB, Araruna / PB, Natal / RN and Parnamirim / RN, in the year 2012. in our case it is noticed that the activities developed by PST, accompanied in schools, have an organization and pedagogical practices that converge with each other, but are configured with disjointed practices of Education classes physical, aspect that differs in what would be thinking pedagogical actions to comprehensive education schools.

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...