As insígnias dos clubes de futebol gerenciadas como marcas: um estudo sobre dois clubes paulistas

Soccer is a sport practiced in almost all the world. This allowed the characterization of this sport as a business area, which resulted in changes in the management of soccer clubs, which began to be managed using the concept of club-company. Considering this fact, a study was conducted to verify how the brazilian teams are developing their marketing actions, which allow treat their insignia as trademarks and obtain an additional revenue with these actions. Were selected as object of study two traditional clubs of São Paulo - the São Paulo Futebol Clube and the Sport Club Corinthians Paulista. Were collected primary data, but also, were used secondary data and documents, which were organized and analyzed through the concepts of brand, social and historical capital. This analysis identified that the two clubs taken as object of study carry out marketing actions, which were classified as related to the process of management of the insignia as a brand. Next, sought at the balance sheet of the clubs, evidences of the financial contribution of these actions to the revenues of the clubs. In this way, identified that the clubs researched have mobilized to professionally manage your brand, through targeted marketing actions to their fans, and the insignia of clubs are handled as brands, becoming one more source of revenue for the clubs

Memoria se deseja, o resto se ouça ou veja: considerações sobre um poema de Frederico Barbosa .(2010)

In Frederico Barbosa’s poem “Memoria se”, the memory experience is marked in the body, which means that the memory is not only recorded on the lyrical person unconsciousness, but it is also something that, as an insignia, presents itself and becomes dense as permanence in this lyrical person body. The poet is heir of what may be called “tradition of rigour,” consequently, a discussion of his poetics aspects must consider the inventiveness and the dialogue with other texts, not only those from the canon but also those from the popular repertory that Frederico Barbosa assimilates and recreates.