Para transvalorar a dança contemporânea: potências de dança no (do) corpo-artista

Tanto no contexto acadêmico quanto no artístico e mercadológico, é crescente a discussão sobre o espaço de conceituação da dança contemporânea e suas fissuras, que deixam de abarcar esta ou aquela manifestação artística ou mesmo acaba por abarcar aquelas manifestações que não se encaixam em outros espaços de conceituação. No presente trabalho objetivamos a investigar, a Dança na Contemporaneidade, para além do que se entende por dança contemporânea, em sua capacidade de atravessar os espaços de conceituação já estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos também pensar a potência que a Dança imprime no corpo do artista criador, pensando também como este se comporta no espaço de entre linguagens . A dissertação que aqui se apresenta encontrou enquanto estratégia metodológica o recurso da metáfora, partindo das ideias de travessia, cartografia e cidades invisíveis para a construção do pensamento sobre o corpo do artista e suas relações com as diferentes linguagens artísticas, tomando por base uma retomada das experiências estéticas e artísticas de sua proponente. Dialogando experiências práticas e referenciais teóricos, inicialmente tratamos da dança contemporânea em seus problemas de classificação que apontam para a necessidade de um pensamento contemporâneo em dança, que pense as manifestações artísticas em seus pontos convergentes, e não nos divergentes que as situam sob diversas nomenclaturas. No capítulo seguinte discutimos a possibilidade de contaminação entre as linguagens artísticas a partir do próprio corpo-artista. Discorremos também sobre a dança enquanto agenciamento e resposta aos impulsos resultantes da relação com o espaço e outros corpos, pensando como o corpo do vivente se organiza nesta relação de compartilhamento de experiências. Mostrando uma potência do corpo artista criador que se dedica à transvaloração das fronteiras entre as linguagens para a organização do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de criação que variam de acordo com as possibilidades técnicas e necessidades estéticas de cada artista criador

Escola e gênero : representações de gênero na escola

The study Escola e Gênero: representações de gênero na escola show us the social man made, starting of an analysis in the having fun time in the children´s life and how it´s an important aspect of the building childish universe simbolic. My analysis started in a children´s daily at school and how they noticed the play value od dominant society. Our propouse is think about the linking between ideology, representations and gender like the children´s knowledge in the school activities. The toy, an instrument which is noticed and exist in the funny activities, is full of cultural concepts of male and female parts. Your color, lines, functions and the way you manipulate is driven of gender cathegories. In the scool, the ideological concepts have it´s important way which is to domesticate the feelings, the desires; categorize and normalize them without be known by the educational employers. In the children´s education, the funny time is noticed by others ways and turned as important as others subjects. By the way it´s not noticed by the school, like another thing which isn´t a funny moment. And it´s exactly here in the school funny time, the school did your cultural power of separete the gender and your extencions, feed by the society, generaly, in favor of the man whose woman is your subordinate. This ways of analysis help the society and the school universe about the funny time e how they are important in the Man made life. And how the toys bring the concepts and addicted thinking, ideological which put the power in the stages, without equal, addicted feelings around the gender concepts. I read and used the theories of Kishimoto, Berger & luckmann, Brougère, Sousa Filho, Bourdieu, Badinter, Geertz, Grossi, Louro, Foucault, among others

CORPOREIDADE E A MELODIA DA EXPERIÊNCIA ESTÉTICA NA FORMAÇÃO HUMANESCENTE DE CANTORES-EDUCADORES

In order for this study to be developed, the central goal on our investigation was defined as analyzing and interpreting the aesthetical experiences meanings lived by singers-educators in the human formation. The interest for the aesthetical experience theme was built from my own experience for the last twelve years as a member of the School of Music Madrigal, the oldest group in the State Federal University, created for research and cultural extension with structural perspective which brings closer teachers, students and the outer community that comes from different social realities to face the challenge of combining the ability of singing, the corporeity involvement and the aesthetical experiences meanings. This paper points out the understanding of art as perceptive expression of human emotions, such as the creation of existential demand, the restructuring of oneself and the constructions which shape beauty. We seek a dense contribution of new challenges to the peculiar demand of human potential in terms of sensibility repertoire, of involvement, of expectation in magnifying the possibilities and the human and social competences. In the formation human process, we find a living field blooming with natural artistical possibilities, experimenting emotions and feelings shared in collective life, and bringing out impulses to unexpected ludic creation, establishing a powerful aesthetical ambience which highlights the symbolic and imaginary with the deepening of rich ludopoiese properties in several meanings. From the guiding principles of etnophenomenology we find structural and indispensable perspectives which contemplate values, desires, archtype images and ideas that impress originality and fertility to the study. On this path we understand the abundance of living moments of intense commitment, acquaintance, challenges, reunions and connections that stand out from fundamental aspects to freedom, autonomy, creativity and new discontinuities. This acknowledgement brings us closer to the enlighted fullness which makes us humans

O retrato de Eros em Florbela Espanca: um estudo sobre a escrita erótica em Charneca em Flor

Portuguese Poet Florbela Espanca (1984 1930) lived and produced her literary work during a period in which, on the one hand, the ideals of an innovative and irreverent movement were being fomented led by Fernando Pessoa, Almada Negreiros and Mário de Sá-Carneiro , on the other hand, Portugal was still dominated by a conservative and authoritarian thought, anchored in a bourgeois-christian ideology. Inserted in an unfavorable social context to the expression of the female sexual impulse, poet Florbela then appears with an innovative speech as threatening the sexual organization of the Portuguese society. This way, considering the relations between the poetic text and the historical-social context, the aim of this work is to present a reading upon the Eroticism in The Flowering Heath (2005) as a way to contravene the borders given to the sexual phenomenon. For this reason, we will mainly resort to the concepts developed on the approach of Georges Bataille The Eroticism (2004) and also by Octavio Paz The Double Flame: Love and Eroticism (2001)

Efeitos da eletroestimulação percutânea na incontinência urinária e qualidade de vida pós-prostatectomia: registro de seis casos

Introduction: Radical prostatectomy surgery is the best treatment currently adopted by detecting prostate cancer. The urinary incontinence is one more common and difficult to treat postoperative complications, which causes a negative impact on quality of life of the individual prostatectomy . The surface electrical nerve stimulation involves the transmission of electrical impulses from an external stimulator for peripheral nerve through surface electrodes attached to skin. It is an easy and efficient technique, widely used for pain relief, rehabilitation and muscle strengthening. Objective: To analyze the effect of T10-L2 percutaneous electrical stimulation, in individuals with urinary incontinence who underwent radical prostatectomy by the laparoscopic technique. Methods: Six patients had previously undergone radical prostatectomy were submitted to 20 sections of surface electrical stimulation with frequency of 4 Hz, pulse width of 1ms during 20 minutes. All subjects fillid a quality of life - International Consultation on Incontinence Questionnaire- Short FormI - ICIQ-SF questionnaire evaluating. Results: Results showed reduction in the use of the number of pads, number of leaks before and after treatment, and reduced voiding frequency and consequent improvement in quality of life. No side effects were reported. Conclusion: Percutanous electrical stimulation in T10-L2 may be an effective technique to treat urinary incontinence (UI) after radical prostatectomy video laparoscopy

Tradução e adaptação da escala de dependência de substâncias do Millon Clinical Multiaxial III para o Brasil

Millon describes the normal personality by means of adaptation styles that are effective in normal environments and personality disorders such as unadapted operating styles. To operacionalize his theoretical model, Millon has built several instruments, including the Millon Clinical Multiaxial Inventory III (MCMI-III), wich consists of a self report inventory composed by 175 true or false response items, containing four verification scales, and others scales wich evaluates 14 personality patterns and 10 clinical syndromes. The Substance Dependence scale (T) is placed along with Clinical Syndromes scales. This research is justified by the lack of a Brazilian instrument to assess personality psychopathological aspects, and aims to translate and semantically adapt the MCMI-III to the Brazilian context, checking validity elements of the Substance Dependence scale, and developing a computer application for assisting the evaluation of assessment results. To this intent, 2.588 individuals data was collected, male and female, aged between 18 and 85 years, characterized as belonging to a clinical or non-clinical group, who took part in the survey via the internet or in person. Respondents completed the MCMI-III, a socio-demographic questionnaire and a subgroup also answered to the Goldberg General Health Questionnaire (GHQ). Besides descriptive statistics, we performed the analysis using the Student t test, principal components analysis and internal consistency. Despite difficulties related to translating very specific English terms, the assessment by judges, experts on Millon´s theory, and the back translation, attested the adequacy of the Brazilian version. Factorial analysis indicated the grouping of translated T scale items into three factors (social activities prejudice, lack of impulse control, and oppositional behavior), by presenting a single item on a fourth factor (apparently related to seeking pleasurable stimuli). The Cronbach alpha for this set of items was 0,82, indicating an acceptable scale reliability. The data analysis resulted in distinction of scores between clinical and non-clinical groups and between men and women; the relationship between high scores on the scale T and the other scales; scores of drug users according to the declared used substance; and the relationship between high scores on T and the verification of disorder or risk on GHQ mental health factor, indicating the instrument´s adequate sensistivity in identifying psychopathologies and the relationship between the different disorders or psychopathological personality patterns. Although further studies are necessary to develop the scores transformation factors, the computerized correction tool was adequate.

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

Para transvalorar a dança contemporânea: potências de dança no (do) corpo-artista

Tanto no contexto acadêmico quanto no artístico e mercadológico, é crescente a discussão sobre o espaço de conceituação da dança contemporânea e suas fissuras, que deixam de abarcar esta ou aquela manifestação artística ou mesmo acaba por abarcar aquelas manifestações que não se encaixam em outros espaços de conceituação. No presente trabalho objetivamos a investigar, a Dança na Contemporaneidade, para além do que se entende por dança contemporânea, em sua capacidade de atravessar os espaços de conceituação já estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos também pensar a potência que a Dança imprime no corpo do artista criador, pensando também como este se comporta no espaço de entre linguagens . A dissertação que aqui se apresenta encontrou enquanto estratégia metodológica o recurso da metáfora, partindo das ideias de travessia, cartografia e cidades invisíveis para a construção do pensamento sobre o corpo do artista e suas relações com as diferentes linguagens artísticas, tomando por base uma retomada das experiências estéticas e artísticas de sua proponente. Dialogando experiências práticas e referenciais teóricos, inicialmente tratamos da dança contemporânea em seus problemas de classificação que apontam para a necessidade de um pensamento contemporâneo em dança, que pense as manifestações artísticas em seus pontos convergentes, e não nos divergentes que as situam sob diversas nomenclaturas. No capítulo seguinte discutimos a possibilidade de contaminação entre as linguagens artísticas a partir do próprio corpo-artista. Discorremos também sobre a dança enquanto agenciamento e resposta aos impulsos resultantes da relação com o espaço e outros corpos, pensando como o corpo do vivente se organiza nesta relação de compartilhamento de experiências. Mostrando uma potência do corpo artista criador que se dedica à transvaloração das fronteiras entre as linguagens para a organização do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de criação que variam de acordo com as possibilidades técnicas e necessidades estéticas de cada artista criador