A condição humana na roda viva do tempo: reflexões psicanalíticas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Arquivos escolares, memória e cultura

O presente texto busca evidenciar a riqueza dos arquivos escolares para a história da educação e da cultura. Assim, enfatiza a relevância de estudos realizados na França a partir destas fontes, apresenta um breve histórico das mais antigas escolas públicas da cidade de Assis e destaca discrepâncias nos índices de aprovação das várias instituições escolares da cidade a partir de informações obtidas nas atas dos exames finais dos anos de 1958 e 1959, consultadas na Diretoria de Ensino de Assis. Com base nestes dados, talvez se possa pensar que a imagem do “passado de ouro” da escola pública sustenta-se mediante o enaltecimento de algumas escolas e o esquecimento de outras contemporâneas.

Imagens em diálogo: cultura visual no Brasil e México em perspectiva comparada

O objetivo deste artigo é averiguar a circulação de imagens e o surgimento de uma cultura visual política entre o México e o Brasil entre as décadas de 1920 e 1930. Busco examinar em especial como se constituíram repertórios visuais comuns entre os dois países, tanto na produção de imagens carregadas com uma retórica do engajamento político como de algumas imagens que num primeiro olhar poderiam passar por descompromissadas, mas que contribuíram para a construção do imaginário político. Embora minha intenção não seja de uma análise exaustiva, procuraremos averiguar diferentes suportes imagéticos, como as fotografias estampadas na imprensa diária assim como nas revistas ilustradas, cartazes, gravuras e demais expressões artísticas que subsidiem essa circulação de idéias estéticas e políticas entre os dois países. Parto da hipótese de que, apesar das dificuldades de intercâmbios existentes entre os dois países (língua, distância e falta de um contato maior entre seus artistas e intelectuais), ocorreu um intercâmbio de propostas políticas e culturais, principalmente entre redes de sociabilidade de artistas marcadamente no âmbito da esquerda política.

Luzes e sombras: Paulo Emilio Salles Gomes e a cultura cinematográfica (1954-59)

Pós-graduação em História - FCLAS

A cultura corporal na mídia: possibilidades pedagógicas para a educação física escolar

The Physical education has as objective the students integration in the body movement culture, forming citizens to reframe different cultural aspects of the physical activity, enabling a more critical look. Currently selecting how the body movement culture has been widely approached by Mass Media it is detected a new pedagogical possibility. The several media equipment massively bomb (images, sounds and information) interfering on how the students interpret the reality, since they are exposed to these multiple information and at the same time are absent of a more critical look about what they receive. In this way, the objective of this work was to perform a research in the news/articles from the Jornal A Folha de São Paulo, that allows the development of classes based on the elements of body movement culture and apply them in a public school from Rio Claro-SP city, to detect possibilities and difficulties in the work with the media in the school environment. It employed a qualitative research. The data obtained in this study indicate that the media shows up as a good teaching tool for teaching physical education classes, since students found the classes to enriching the learning process, highlighting topics such as innovation and the closeness they had with the worked information. However, it is necessary to develop further studies to raise other possibilities as well as alternatives to deal with this new reality of the school context

Caracterização e mapeamento da cultura da cana-de-açúcar no município de Rio Claro (SP) por meio de técnicas de sensoriamento remoto e sistemas de informações geográficas

This paper discusses about the use of remote sensing image and processing digital images tools for mapping and assessing the effect on the biomass of the culture of sugar cane in the city of Rio Claro. We used satellite images from CBERS in the passages of 19/04/2009 and 23/09/08, which correspond respectively to the stages where the sugar cane appeared in growing and adult pre-harvest stage. In these images, we applied procedures of digital processing, as the application of the procedures for extending linear contrast, radiometric normalization, Normalized Vegetation Index (NDVI) and pixel by pixel classification by ISOSEG through of the software SPRING. As a result we obtained mapping of the distribution and development stages of the culture of sugar cane in the city of Rio Claro and the mapping of the existing biomass of this culture, showing that the method used to assess the relative effect on biomass in culture of sugar cane was efficient, and that images of low-medium resolution are not the most suitable for the mapping of this culture

Rio 2016: viva a paixão de ser atleta

Nesta pesquisa estudaremos o esporte com o foco sobre todo o processo de preparação das Olimpíadas Rio 2016. Analisaremos a mobilização popular e os aspectos que envolvem a adesão em um movimento que envolve todo o país, de modo geral, e a preparação da cidade sede, de modo específico, com as transformações realizadas tanto no âmbito social quanto estrutural. Cartografaremos as marcas do empenho do governo para investir na transformação dos valores sociais durante as Olimpíadas, bem como a apropriação do esporte com o objetivo de fabricar um legado. Identificaremos como as marcas da integração entre os povos e do sentimento de pertença dos cidadãos cooperam para os processos de subjetivação na sociedade contemporânea. Observaremos os efeitos de sentido ocorridos na divulgação do slogan Olímpico como uma forma de compreender o significado dessa Olimpíada em suas relações com a cultura. Partimos da hipótese de que a produção da “paixão de ser atleta” tem seu sentido ampliado para a sugestão massiva de estilos de vida. Assim, estabelecemos uma fronteira entre os “efeitos de sentidos” e os “efeitos de imagens” nos múltiplos usos do slogan olímpico. Na constituição do corpus de nossa pesquisa contemplaremos possíveis relações entre a preparação da Copa do Mundo e a preparação dos Jogos Olímpicos Rio 2016. Nosso estudo se situa no campo dos estudos sobre as relações entre o esporte e os processos de subjetivação na sociedade atual.

Vasculhando baús de memórias do nazismo por imagens: olhares e possibilidades diversos

Pós-graduação em Educação - IBRC

O estilo de João Ubaldo Ribeiro em Viva o Povo Brasileiros e An Invincible Memory

This paper aims at observing a particular case of an author’s and self-translator’s style in the pair of works Viva o Povo Brasileiro and An Invincible Memory. Our investigation has its theoretical starting point based on Corpus-Based Translation Studies (Baker, 1993, 1995, 1996, 2000; Camargo, 2005, 2007), and works on cultural domains (Nida, 1945; Aubert, 1981, 2006). The results showed that great part of cultural marks may be classified as the material, social, and ideological cultural domains, which reflects the context of the source text. It was also possible to observe that normalization features tends to reveal conscious or unconscious use of fluency strategies by the self-translator, making the translated text easier to read.

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

Entre o Pavilhão Mexicano e o Cine Azteca: cultura visual e formação de identidade no Brasil e México na primeira metade do século XX

The article seeks to reflect from a visual history of the elaboratión imaginary political and national identities and transnational comparative perspective between Brazil and Mexico in the first half of the twentieth century. The main focus is Mexican participation in the exhibition commemorating the centennial of Brazilian independence in 1922 and the dialogues in the film industry of both countries in the second half of the 1940s and beginning of 1950s.

Imagens, sensações e afetos: as personagens gays nos curtas-metragens brasileiros exibidos no Festival Mix Brasil de Cultura da Diversidade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Identificação de bandas espectrais para detecção de cultura de cana-de-açúcar sadia e doente utilizando câmara hiperespectral embarcada em VANT

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A cultura de paz no contexto das Relações Públicas Comunitárias e responsabilidade social

In this article we want to approach issues from social responsability and Community Public Relations trough the concept of "Peace Culture", that is still underexplored in this scope. The proposal is to clarify some important aspects of the concept and list them to the nowadays scenary of the organizations that cares about their reputation and image questioning the excellence in social responsability actions linked to a construction of an actually solidary practice in the community.

Modelo de processo de interação do telespectador em programas da TV Cultura

From a conceptual and contextual review of the phenomenon of convergence between TV and internet, demonstrated by the increasing use of so-called social media as tools for audience participation in television programs, the article examines the incorporation of information from social media programs in TV Cultura, a public television station in the state of São Paulo in Brazil. The work tries to characterize a model of the interaction process, in order to describe how is the audience participation in three selected programs: Green Card, JC Debate and Roda Viva.