Os lemas de Sperner no ensino médio e uma modesta introdução à topologia

Pós-graduação em Matemática em Rede Nacional - IBILCE

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.

A educação de adultos como socialização: Hannah Arendt versus Paulo Freire

This paper analyzes data under diametrically opposed theoretical frameworks. Encouraged by the sudden and recent popularity of Hannah Arendt, we decided to submit the data of a already presented dissertation to a “new” reference, extracted from Arendt’s famous text on the education crisis in the United States in the 1950. Data had been interpreted in the light of Paulo Freire’s epistemology. In further analyzes, from Arendt, our interpretations gained even more strength. However, in the final comparison between the two thinkers stand out irreconcilable differences: For Arendt, it is impossible to educate adults and the world of education should be detached from the world of politics, since the responsibility of the educator is based on tradition and authority while for Freire is indeed possible to educate adults and the responsibility of the educator – as in Sartre – leads to freedom. Our conclusion is to be possible the social education of adults if we educate ourselves with them in a dialogic relationship.

Paródia e ironia em moralités légendaires de jules laforgue

Jules Laforgue is a French Symbolist poet, he wrote poetry works such as Les complaintes, L’imitation de Notre-Dame, la lune, Le sanglot de la terre. In spite of mostly of symbolist poets write only poetry, he also dedicated himself to prose works such as Moralités Légendaires, a particular work in prose and extreme today as in the nineteenth century, he devoted himself to parody and irony. The novels that make up this book are the work of writing and tone of nuance. They refer to literary genres, without, however, respect their definitions. There are demarcation of famous texts, but that refer more to modes, themes, and aesthetic conventions. Here, the poet makes variations on familiar themes, and explore his Moralités arguments that belong to a cultural background: the myth of Hamlet, approached the novel here mentioned belong to a cultural heritage that an author set for posterity. In other novels, the author makes use of myths Greco-Latin and Judeo-Christian myths rewriting so parodic, ironic, looking for originality, doing the work of Symbolist and modern poet.

Max Weber diante do Socialismo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A metástase do bem: a odisséia pessoal de professoras resilientes e sua influência na comunidade escolar

Pós-graduação em Educação Escolar - FCLAR

Caldecott, Kipling, Rossetti: textos infantis vitorianos

Through brief comments on famous texts of Randolph Caldecott, Rudyard Kipling and Christina Rossetti, we intend to show to the reader aspects of children’s literature written in the reign of Queen Victoria (1837-1901), in which authors inherited the Romantic idea that child and childhood are pure, close to nature in a way that the adult man is not. Moralizing texts, they taught children how to be an adult.

A dialética da malandragem revisitada em O Xangô de Baker Street

Using the concept of influence, well explored by Sandra Nitrini (2000), the purpose of this study is to verify the characterization of the main characters of O Xangô de Baker Street (1995) and Macunaíma, o herói sem nenhum caráter (1928) – Sherlock Holmes and Macunaíma – as rogues in their novels, heirs to the Spanish picaresque, a genre that has taken on new meaning in Brazilian literature, as pointed out since the 1960s by Antonio Candido in his famous essay “Dialética da malandragem” (2010). With these theories, we analyze the composition of the tricksters, whose starting point is the question facing the country, the Brazilian. Although the distances in time and style of separating the protagonists created by Jô Soares and Mário de Andrade, we have noticed the interesting procedure of re-creation of the renowned English detective created by Arthur Conan Doyle and the reinterpretation of aspects of Brazilian folklore a convergence of interests with regard to representation of the national character.

Uma abordagem de isometria em sala de aula

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Searching for capture and escape trajectories around Jupiter using its Galilean satellites

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Origami: o uso como instrumento alternativo no ensino da geometria

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Mona Lisa: sentidos múltiplos de um sorriso enigmático

This article reviews the history of the famous painting by Leonardo da Vinci, the Mona Lisa or Gioconda, sixteenth century, aiming to discuss about some of the multiple senses (or discourses) around its meaning, with the support of the French branch of the Discourse Analysis, especially based on concepts developed by D. Maingueneau. As it is characteristic of the work of art, the senses are open, which does not exclude the possibility of detachment, among which we accentuated the "Mona Lisa smile" as one of the main traits of the authorship by Leonardo Da Vinci and, simultaneously, a trait propitious to aphorisation. Thus, the work of art is releasing of the exclusive authorship of Da Vinci and it suscitates several rereadings, which help composing a discursive ethos around this consecrated painting and, at the same time, which make circulating distinct stereotypes.

Glauber Rocha e a crítica de cinema no Diário de Notícias: periferia e resistência

In the early 1960s, after his experience as a film critic in the Jornal da Bahia, the young Glauber Rocha began his collaboration in the Suplemento Artes e Letras of Diário de Notícias in Salvador. Inserting itself the symbolic disputes in defense of a film art of authentic Brazilian nuance, the activity of the critic Glauber Rocha represents a voice that demarcates the internal tensions of the field of cinema in Bahia and outlines, in the form of genesis, his most famous manifesto, “An esthetic of hunger” (1965). For this analysis were focused mainly two critics: “Experiência ‘Barravento’: confissão sem moldura”, published December 25-26, 1960, and “Luz Atlântica, 1962”, published in December 31, 1961.

Braquistócrona

Pós-graduação em Matemática em Rede Nacional - IBILCE

Teorema de Pitágoras: aplicações em objetos de aprendizagem

Pós-graduação em Matemática em Rede Nacional - IBILCE