Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

Prevalência de oclusopatias e caracteríticas cefalométricas e dentais de escolares cearense da cidade de Fortaleza

The people of Ceará state are descended from miscegenation between the Portuguese colonizers and the native population, resulting in a different facial pattern from other populations. It is important that this pattern be thoroughly understood, along with its minimum and maximum values so that they can be assessed and respected, allowing professionals who deal with the craniofacial complex to work more efficiently and scientifically. Aim: To characterize the morphological pattern of individuals from Ceará state, whose father and grandfather are also native from Ceará, in the 10-12 year age group, not submitted to previous orthodontic treatment, in order to determine: 1) the prevalence of occlusal pattern; 2) the prevalence of dental anomalies (DA) and, 3) the skeletal and dental cephalometric characteristics of individuals that present with normal occlusion and harmonious facial pattern. Methodology: A list of 10-12 year-olds was obtained from 515 schools containing 162,713 students (Education Secretariat of Ceará State), from which 234 individuals were examined (107 boys and 157 girls). The assessment criteria adopted were: 1) Angle s Classification System to determine occlusal pattern. The occlusal characteristics were measured through overbite, overjet, crowding and interincisal diastema. 2) DA are anomalies of number, shape, size, eruption and structure and, 3) in the group that presented with normal occlusion, we used cephalometric analysis measures proposed by Downs, Steiner, Tweed, Holdaway, Jacobson and McNamara. Results: 1) 25.8% of the schoolchildren had normal occlusion, 47.5% class I malocclusion, 22.3% class II malocclusion and 4.2% class III malocclusion. No statistically significant difference was found between the age group studied and sex. Thirty percent of the individuals had normal overbite, while 36.7% and 19.7% had increased and reduced overbite, respectively. Normal overjet was found in 33.7% of the individuals, increased overjet in 50% and reduced in 16.3%. Dental crowding was observed in 62.5% of the individuals and the presence of interincisal diastema in 14.8%. 2) The prevalence of DA was 56.1%, 6.8% in the number, 10.8% in shape, 4.1% in size, 34.5% in eruption, 26.4% in structure and 17.4% had more than one DA. No association was found between DA and sex, but DA was significantly associated to malocclusion (p<0.05); 3) there was no association between sex or facial type between the measures of nasal-labial angle, position and effective maxillary length, effective mandibular length and the sagittal relationship between the molars, overjet and overbite, position of upper incisors, lower incisors and between the incisors themselves. There was a difference between sex, on the VERT index and in lower anterior facial height, upper incisor inclination and line-H, between facial types for the occlusal plane angles, mandibular plane, facial axis, lower incisor inclination, mandibular position, upper incisor position, lower anterior facial height, ANB and line-H. It was concluded that: 1) the most prevalent occlusal type was class I malocclusion, with no distinction for sex or age group, and the assessment of occlusal characteristics showed that excessive overbite and overjet were the most predominant findings, along with a high occurrence of tooth crowding; 2) a high prevalence of DA was found, particularly eruption anomalies, not influenced by sex but significantly associated to malocclusion and 3) individuals from Ceará are predominantly brachyfacial, exhibiting a number of similarities inherent to their facial pattern, such as a convex profile, retracted jaw, reduced lower third and protruded lower incisors. This study was multidisciplinary, involving researchers from the areas of epidemiology, radiology and dentistry, thereby meeting the multidisciplinarity requirements of the Postgraduate Program in Health Sciences

Arche Tupi : uma leitura arquetípica da mulher índia em Casa-Grande & Senzala

This dissertation is a proposal for dialogue between Brazilian Social Thought, History of Portuguese America and the Analytical Psychology of C.G. Jung, highlighting the following archetypes: Anima, Animus, Shadow and Persona. Directing the study to the image of Indian women in this Brazilian interpretation of Casa-Grande & senzala by Gilberto Freyre, have largely centered on denial of the feminine image as a creative and positive in the minds of Brazilian culture, where a more specific analysis. We assume that your work has inspired several bridges over imaginary things in Brazil, including aspects relating to miscegenation, the study of foreign travelers, Jesuits and settlers / invaders of the sixteenth and seventeenth centuries the Portuguese disembarked in America and in this sense, the influence of his work as wasteful image through time and space of the Portuguese slave order. Above all, we intend to do a reading of Native women thought in his book

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas