Características econômicas do valor de uso e de não uso de parques sobre dunas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Acesso à justiça enquanto direito fundamental: efetivação pela defensoria pública

The Federal Constitution of 1988 is recognized for its enlargement in the face of large amount of provisions that make it up, among which many are fundamental rights. The fundamental rules set up the foundation of a democratic state, however, are the necessary legal mechanisms to be effective, its exercise is not enough merely to state them, but to offer ways for them to stop being just written standard on paper, and come to be viewed and exercised day-to-day. In this sense, access to justice presents itself in our times, as a cornerstone for a just society dictates. In this light, access to justice can be seen as the most fundamental of rights, which translates as instruments able to safeguard the fundamental rights not only against the action/omission violating the state but also the very particular. Furthermore, access to justice within the legal country, is not right for everyone, despite the willingness of the Citizen Charter in its article 5, paragraph LXXIV, ensuring that the State shall provide full and free legal assistance to those in need. More than half of the population lives in poverty and can´t afford to pay legal fees or court costs as well as a bump in their own ignorance of their rights. The judiciary, in their primary function, is in charge of trying to correct the violation of the rights, intending to effect a true distributive justice, serving as a paradigm for the promotion of substantive equality of human beings, however, is difficult and tortuous access Justice for those without financial resources. In this vein, we present the Public Defender, as keeper of the masses in its institutional role, defending a disadvantage, in the words, as a mechanism for effective access to justice, ensuring therefore fundamental rights. Public Defenders arise at the time or much discussion highlights the priority of actual access to justice, custody, therefore, intimate bond with the pursuit of fundamental rights, in which, that advance the broad range of rights, without whom could defend them or guardianship them

Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

This thesis presented is to research the actor's work in the construction of physical actions, according to the methodology developed by Constantin Stanislavski in his analysis of dramatic action, called "method of physical action", applied to questions of scenic representation of the Brazilian marginal, according to the look "cruel" and realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by Pliniano universe, the intention is to contribute to the reflection on the actor's work on the scene with the marginal characters in "Razor in the Flesh", highlighting some important aspects, to assist in the construction of this fictional world. You want to create conditions for the formation of an actor that leverages the scene the contradictions and conflicts of this work. The research aims from the theoretical and practical study as a methodological hypothesis, producing critical reflection from the creative process of the agent with the realization of a scenic experiment focused on psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at the method of physical actions focusing on his last great contribution to the work, especially the procedure of active analysis by doing a reading from "Razor in the Flesh" through this creative scenic exercise, extending the studies concerning the actor's art. This research is a general explanation about the trajectory of Stanislavski to his encounter with the physical action, while, highlights the inconsistencies of understanding of his work around the world. Stanislavski initially developed the "method" having as a backdrop, the realist aesthetic - a dialogue relationship between reality and the scene - through a style which creates a theatrical reality, and consequently, artistic, not literally naturalistic way through an integral mimicry. That is, the representation of work in realistic theater aesthetics should be developed in order to create a theatrical reality. Stanislavski believes that theater is convention, since the actor's work on himself should encourage this second nature, scenic.