La contra revolucion imaginaria: novela y film en Mexico (1910-1965)

COSTA, S. G. A. La contra Revolucion imaginaria: novela y film en Mexico (1910-1965). Revista Mediterranea de Comunicacion, n. 1, p.71-97, 2010. Disponivel em:. Acesso em: 04 nov. 2010.

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Micarande: festa do povo?

Contemporary politics have assumed new configurations both in the way they are carried out and in the content publicized. Nevertheless, some practices are unchanged since antiquity. But the advent of the media and its circumstantial molding of current society have forced politics to make some changes to adapt both to mass media and to the new social practices in liberal democracy. Given that fact, this study tried to demonstrate how power has become personalized in Campina Grande, Paraíba, Brazil, by a politician named Cássio Cunha Lima. Through the communications media and popular manifestations, he has been trying to create a symbiosis between Micarande a Carnival party (not held in the traditional Mardi Gras week) and his own public image, elaborating a process that identifies him with that event. In that way, he hopes to appropriate the festival and project his political image by using the party as na electoral currency in his publicity campaigns

A magia do cinema na praça:apropriação do espaço e sociabilidade em Salvador-BA

It s in the city spaces, molded from the uses and daily appropriations, that life is woven, as a product of the social relationships from the accumulation of history along with the present day fabric. Within this relationship, the old and the new are elements which make up this tapestry, as a result of the contribution of successive generations. The public square is seen as an example of this relationship, since it consists of a fertile space for opportunities of urban life coexistence. It is within the trace of these considerations that the present study emerges regarding the appropriation and sociability of the Tomé de Sousa Square, located in the city of Salvador, BA, having as its main focus the special relation between the cinema and the public square, as it relates to the space of the exhibition of cinematographic art. The showing of films in public squares makes possible a distinctive means of appropriation which has occurred ever since the beginning of the cinema. Today in Brazil, projects of this nature abound, which aim at presenting the seventh art to a great portion of the population which doesn t have access to conventional movie theater projection rooms. This particular Projeto Cinema na Praça Cinema in the Square Project carried out in Salvador, has become the empirical reference point for such work. This journey reveals the fascination that this great art has woven through time, attracting and charming multitudes. The cinema touches people in a special way, stirring up affectionate feelings, which are reflected in multiple social practices. Regarding this work, what stands out above all are the projections in the squares, initiatives which make it possible for the films to be watched collectively. What was taken into account in order to carry out this work were the reports of those who came regularly to watch the cinema in the Square sessions, those involved with the cinema projects team, and the film makers. To do the work, besides a bibliographical revision, observations were made of participants in the Tomé de Sousa Square, taken from semi-structured interviews with people involved with the film projection projects and those who came regularly to the cinema in the Square sessions. Also investigations were made in newspapers, printed magazines and the internet, from document and iconographic sources. The photographic documentation proved to be an important contribution to the field work. The research therefore develops from the understanding that the social practices are what make possible the uses of and the appropriation of the spaces. Within this perspective the public square emerges as a privileged locus where possibilities flourish for multiple manifestations that social practices can generate

O jeito nordestino de ser globalizado

This work discusses the impacts of the globalization in the Brazilian northeast culture, specifically in the popular field. The background of theses reflections is the carnival festivities in Recife-PE. In this context, attempts to changes as well as resistance to them maintaining the cultural values and the popular manifestations take a new dimension, presenting different ways of being nordestino. The option for the context of the carnival festivities is due to its significance to the people of this place, particularly as it is a space in which people represent themselves. The work presents a version of the history of carnival in Recife, identifies some manifestations that comprise it, analyzes its changes and shows the process of valuing the local culture in the latest years of the 20th century. The research also reveals how the popular culture assumes a functional and dynamic character where the themes of the popular traditions are being reworked. This process allows not only the survival of the local culture, but also the resistance against the capitalist project to construct a global culture and its uniform character. Even though the carnival festivity has become a mega show, composing a market design, it is still a space to construct differences and see the other. Lastly, for the people of that region, it is a space of fighting for a place in the international panorama

O Jeito nordestino de ser globalizado

This work discusses the impacts of the globalization in the Brazilian northeast culture, specifically in the popular field. The background of theses reflections is the carnival festivities in Recife-PE. In this context, attempts to changes as well as resistance to them maintaining the cultural values and the popular manifestations take a new dimension, presenting different ways of being nordestino. The option for the context of the carnival festivities is due to its significance to the people of this place, particularly as it is a space in which people represent themselves. The work presents a version of the history of carnival in Recife, identifies some manifestations that comprise it, analyzes its changes and shows the process of valuing the local culture in the latest years of the 20th century. The research also reveals how the popular culture assumes a functional and dynamic character where the themes of the popular traditions are being reworked. This process allows not only the survival of the local culture, but also the resistance against the capitalist project to construct a global culture and its uniform character. Even though the carnival festivity has become a mega show, composing a market design, it is still a space to construct differences and see the other. Lastly, for the people of that region, it is a space of fighting for a place in the international panorama

Mediação como instrumento de desjudicialização das questões familiares: constitucionalização do Direito de Família

The Liberal Constitutionalism emerged from the late eighteenth century, a period of major revolutions (French and American), fruit of the struggle for libertarian rights. Although the time of the first written constitutions, these were linked to mere political letters, did not provide for fundamental human rights, as it is, so only on the state organization, structure of powers, division of powers of the state and some relations between state and individuals. There was a clear division between the civil codes and constitutions, those governing private relations and acted as barriers to non-state intervention. After the Second World War, the constitutions are no longer Letters political order to establish how the human person, in order to enshrine the fundamental rights, the primacy of constitutional principles and take their normative function against ordinary legislator. Constitutional evolution gave the name of contemporary constitutionalism, based on repersonalization or despatrimonialização of Private Law, ceasing the separation of legislative civil codes and constitutions, in favor of the protection of fundamental rights of the human person. And this tendency to the Brazilian Federal Constitution of 1988 brought higher ground the dignity of the human person, the epicenter axiological legal to govern private relations, including family law. The constitutionalization of family law motivates the adoption of desjudicialização family issues, so as to respect the direio intimacy, privacy, private autonomy and access to justice. Conflictual family relationships require special treatment, given the diversity and dynamism of their new compositions. The break in the family relationship is guided in varied feelings among its members in order to hinder an end harmonic. Thus, the judiciary, through performances impositive, not to honor the power of decision of the parties, as also on the structural problems faced to operate on these cases, the environment is not the most appropriate to offer answers to the end of family quarrels. Situation that causes future demands on the dissatisfaction of the parties with the result. Before the development of the Family Law comes the need to adopt legal institutions, which monitor the socio-cultural, and that promote an effective assistance to people involved in this kind of conflict. In obedience to the private autonomy, before manifestations of volunteers involved in family mediation, among autocompositivos instruments of conflict resolution, is indicated as the most shaped the treatment of family quarrels. Remaining, then the state a minimal intervention to prevent excessive intrusion into private life and personal privacy

Desenvolvimento de nanocompósito (hidroxiapatita/ poliuretano) pela gelação (gelling) de poli ( álcool vinílico) (PVA) para remoção de metais pesados

Removing microcontaminants from effluents is a challenge today, because of its high cost and low efficiency, especially in the treatment of effluents containing heavy metals. An alternative that has emerged is the use of biodegradable nanocomposites, which exhibit good removal and recovery performances, in addition to its low cost. With this in mind, the present study aimed to develop and characterize a nanocomposite based on hydroxyapatite (HAP), polyurethane (PU) and polyvinyl alcohol (PVA) for removing heavy metals. Thus, the research was conducted in several steps: i)- Physico-chemical and microbiological hospital effluent characterization; ii)- Production of hydroxyapatite by aqueous precipitation technique, and their characterization; iii)- Production of the nanocomposite in which the hydroxyapatite was added to the polyurethane prepolymers and then the polyvinyl alcohol/hydroxyapatite film was produced; iv)- Polyvinyl composite without film PU/HAp was also produced in the proportions of 20 and 40% HAp; v)- The composites was characterized by the techniques of XRD, FTIR, SEM / EDS, BET, Zeta Potential and TGA; vi)- The sisal and coconut fibres were washed and dried for comparative tests of adsorption; vii)- Adsorption tests for evaluating the removal of heavy metals (nickel and cadmium). Initial screening adsorption capacity (HAp; PU/HAp - 20 and 40%; PU / HAp / PVA), kinetic studies of adsorption of Cd (II) by HAp; multifactorial design analysis (factorial design) for identifying the most important variables in the adsorption of Cd (II) by composite PU/HAp. Also comparative analysis of adsorption of Cd and Ni by composite PU/HAp were conducted, as well as comparative tests of adsorption of Cd (coconut fibre) and Ni (sisal fibre). It was possible to verify that the composite PU/HAp 40% showed better effectiveness for the removal of Cd (II) and Ni (II), above 80%, equivalent to the lignocellulosic fibre used and HAp produced. As main conclusion, it can be referred that the composite PU/HAp 40% is an effective adsorvent to wastewater treatment for heavy metal removal, with low cost and high efficiency

Performances da escrita

Este artigo aponta as características de uma escrita performática a partir do cruzamento entre o discurso ficcional, o discurso filosófico e o discurso crítico como formas equivalentes de experiência. Busca-se compreender os diferentes contextos em que a performance, como campo de experimentação, invade a área dos estudos literários, produzindo efeitos de deslocamento do cânone e seus modos de legitimidade, bem como visa a problematizar os lugares determinados do emissor e do receptor do texto; do artista, do filósofo e do crítico

Apropriações, conflitos e negociações de gênero, classe e sorologia: etnografando situações e performances no mundo social do HIV/AIDS (Rio de Janeiro)

Considerando o caráter multifacetado e socialmente heterogêneo da epidemia do HIV/AIDS, gostaria de refletir sobre as formas pragmáticas de apropriação, negociação e conflito de gênero em termos das disposições possíveis de masculinidade e feminilidade ou, ainda, suas amplas combinações entre homens e mulheres de diferentes identidades sexuais e diversos status sorológicos. Os contextos a serem explorados e descritos são aqueles particulares ao mundo social da AIDS, incluindo tanto o cotidiano de uma ONG AIDS específica, bem como os que se apresentam em situações tanto públicas como privadas na cidade do Rio de Janeiro. Pretendo discutir como novas subjetividades podem se constituir a partir dos usos de categorias sexuais e sorológicas, valores morais e de expressões performativas de gênero.