Cenografia teatral: uma análise dos aspectos cênicos da peça Bê-a-Bá Brasil - memória, sonho e fantasia

The main objective of this project step is the evolution of scenery matter on the occidental theater media, related to space and technical possibilities of the theatrical building and space on history of contemporary arts. The main point is that scenery must communicate with a specific matter. Something in touch with the plot speeches. Something that makes all the plot elements to communicate. Acting has an specific message to deliver, and that message is what really matter to the viewer of the show. “It’s never late to state that scenery is not a decoration, or just an interior composition. Scenery is not a painting or a sculpture: it’s an integrated art form. It’s never too repetitive to say that scenery is a result from the composition with lights, shadows, shapes, lines and volumes, in balance and on harmony as a whole, that create movement and contrast” (Dias, 2001) On the second step of the project, the objective is to analyze the building process and the scenery aspects of the “Be-a-bá Brasil” show, using illustrations, pictures and analysis data of the context the show was inserted on

Estudo contrastivo das emoções em expressões idiomáticas corporais do italiano e do português brasileiro: uma vertente cognitivista

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Canto em marcha: música folk e direitos civis nos Estados Unidos (1945-1960)

Pós-graduação em História - FCHS

A subjetividade do novo agente produtivo-consumidor na produção orgânica: algumas experiências brasileiras e espanholas

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Eça de Queirós na Gazeta de Notícias (Rio de Janeiro): a função social do jornal

There will be a review on the collaboration of Eça de Queirós in Gazeta de Notícias (Rio de Janeiro-1880-1897), written directly to the Brazilian public. In some of these texts Eça makes reflections on the mediation that the newspaper plays in society, particularly in southern Europe. We believe that in these texts there are manifestations and traits of doctrinal-programmatic nature, metalitterary aspects and also a kind of history of occidental press. These press texts are now gathered in Textos de Imprensa IV – da Gazeta de Notícias, which includes the volume critical edition of the works of Eça de Queirós, coordinated by Carlos Reis. The study of these texts will contribute to the analysis and interpretation of his fiction and journalistic works.

Compartimentação e evolução geomorfolófica da borda ocidental da Serra da Canastra - MG

Pós-graduação em Geociências e Meio Ambiente - IGCE

Karyotype of the invasive species Pterois volitans (Scorpaeniformes: Scorpaenidae) from Margarita Island, Venezuela

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

O Brasil entre a história narrativa e a história analítica (1840-1870): civilização, progresso e desenvolvimento

Pós-graduação em História - FCHS

Diagnóstico dos agentes e processos atuantes na fragmentação da paisagem na bacia hidrográfica do rio Pericumã, ambiente de Amazônia Maranhense

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

O reflexo do espelho não mostra a subalternidade: Drácula sob uma perspectiva pós-colonial

This paper aims to make a Postcolonial Reading of the Gothic novel Dracula, written by Bram Stoker. Most importantly, it is considered how the subaltern is silenced, and that how this silence reflects the characters responsible for the discourse construction in the book. For this purpose, the theories of three important writers of the Post-Colonialism, Edward Said, Homi Bhabha and Gayatri Chakravorty Spivak, were studied, as well as the enlightening ideas of Stephen Arata in The Occidental Tourist: Dracula and the Anxiety of Reverse Colonization. It also verified the construction of Orientalism in Stoker's work, and its constitutively hybrid and transparent characters due the speech manipulation with the ideological filter of the hegemonic power. This manipulation also characterizes the fragmentation in the work, which is an indication, among others, of modernity in Stoker's novel