Saúde entre o social, o científico e o jurídico: o abortamento de anencéfalos

Pós-graduação em Serviço Social - FCHS

Os salários dos professores brasileiros: implicações para o trabalho docente

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A valorização do profissional da educação e a carreira docente: a experiência do Governo de Frente Popular em Belém do Pará

O Estatuto do Magistério de Belém, que regulamenta a carreira e, portanto, a vida funcional dos profissionais da educação é o tema desta pesquisa, que tem como objetivo analisar as políticas implementadas para a carreira docente e suas implicações para o desenvolvimento do trabalho do docente, em Belém (estado do Pará), nos anos de 1997 a 2004. Esse período é considerado relevante, na pesquisa, porque a prefeitura de Belém esteve sob o comando de um governo que se autodenominou governo do povo, que, para as finalidades deste estudo, chamamos governo de frente popular. Este apresentou, entre outros, um programa que apontava para a valorização dos profissionais da educação, com ênfase nas garantias do Estatuto do Magistério, ao mesmo tempo em que sofreu pressões por parte desses profissionais pelo cumprimento de direitos contidos no referido Estatuto. Para analisar as políticas sobre a carreira docente emanadas desse tipo de governo, no período de referência, buscamos compreender, de um lado, o macro contexto de uma realidade de crise do sistema capitalista, a inserção do Brasil nessa realidade, e a realização de contra-reformas no Estado brasileiro orientadas para auxiliar na superação dessas crises. De outro, compreender a concepção e o papel de um governo de frente popular, as influências das citadas contra-reformas em suas políticas, a localização política e econômica de tal gestão, construindo, assim, o entendimento dos efeitos da dinâmica desses fatores sobre o trabalho docente, em Belém. Assim, os objetivos específicos que definimos para a investigação foram: 1) identificar as conseqüências da crise sistêmica do capital e do papel do Estado no processo de trabalho docente; 2) analisar as contra-reformas do Estado brasileiro, a partir de 1990, e os seus efeitos sobre o trabalho docente; 3) identificar algumas características do governo de Frente Popular, em Belém, e suas perspectivas programáticas para a valorização dos profissionais da educação; 4) avaliar as políticas emanadas por tal governo e os efeitos de sua implementação para a carreira docente, em Belém. Partimos da análise histórica do fenômeno estudado, fundamentando-nos nas elaborações de Antunes (1995; 1999; 2004), Brzezinski (2007), Chesnais (1996), Engels (1977),Enguita (1991), Lênin (1986; 1986a), Marx (1980), Maués (2003; 2005; 2006), Moreno (2003; 2003a), Oliveira (2003), entre outros. Valemo-nos, ainda, de documentos jurídicos e governamentais, bem como de publicações do movimento docente, como os da Confederação Nacional dos Trabalhadores da Educação (CNTE) e do Sindicato dos Trabalhadores em Educação Pública do Pará (SINTEPP), que nos permitiram compreender as categorias de análise carreira, remuneração, formação e condições físicas do trabalho no espaço educacional. Coletamos dados e informações documentais e empíricos, buscando algumas respostas que permitissem identificar, mesmo nas relações contraditórias apresentadas, as políticas que envolveram a carreira docente, o governo de frente popular e o movimento docente. Por isso, os sujeitos das entrevistas semiestruturadas foram selecionados em função de sua localização funcional e política. Funcional, no caso dos sete profissionais da educação e de um representante do governo que exercia função de coordenação, na Secretaria Municipal de Educação; e pela atuação política e sindical no movimento docente organizado no SINTEPP, em entrevista com dois de seus dirigentes. A partir do referencial bibliográfico e dos procedimentos metodológicos indicados, pudemos concluir que o cumprimento de direitos contidos no Estatuto do Magistério de Belém possibilitaria o desenvolvimento e a valorização da carreira docente, sobretudo quanto a salário e condições físicas de trabalho, ressaltando que o período analisado foi de efervescência sindical e política sobre as demandas dos profissionais da educação que buscaram assegurar seus direitos na realidade de um governo considerado progressista.

A representação política dos movimentos urbanos no conselho das cidades do Pará

Este trabalho aborda a representação política exercida pela sociedade civil no conselho de políticas públicas, visto que nesses espaços ocorre a participação através da representação política de organizações da sociedade civil. Nesse sentido este trabalho realiza um estudo acerca do exercício da representação política dos quatro movimentos urbanos de expressão nacional: Confederação Nacional de Associações de Moradores - CONAM; Central de Movimentos Populares - CMP, Movimento Nacional de Luta por Moradia - MNLM e União Nacional por Moradia Popular - UNMP no Conselho das Cidades do Pará na gestão de 2008 – 2010. Tendo como objetivo refletir como ocorre o processo de representação destes movimentos, o processo de autorização, os vínculos com a base dos seus movimentos no processo de consulta e prestação das ações políticas no Conselho, como ocorre a formulação das propostas políticas e o a compreensão dos representantes acerca do papel dos conselheiros. Foi realizada pesquisa de campo utilizando como instrumental a técnica da entrevista, sendo entrevistados nove conselheiros dos quatro movimentos. A pesquisa constatou que o processo de autorização destes movimentos deriva da legitimidade da história de luta na defesa da bandeira da reforma urbana e que a escolha dos representantes ocorre internamente através da indicação; há um esforço em manter um vínculo com a base do movimento, no entanto, as relações de consulta e prestação de contas ocorrem entre os coordenadores estaduais destes movimentos, demonstrando quão frágeis ainda são esses vínculos. Percebemos que há uma articulação entre estes quatro movimentos na formulação de propostas e na defesa das mesmas, mas que também há uma disputa entre eles por mais entidades filiadas.

Os sentidos da ciência no cenário industrial: a inovação tecnológica e suas implicações na política de educação superior

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Futebol brasileiro: uma análise comparativa das fórmulas de disputa do campeonato brasileiro da série A nos últimos 15 anos (1995-2010)

In Brazil, the football is more than just a sport, it's a passion and part of country's DNA almost a century ago. By this prerogative the club national championship, nowadays known as Brazilian Championship and organized by Brazilian Football Confederation, it is a mark in this modality. During the soccer history, were made several changes of nomenclature, rules and dispute mode, that generated many controversies, contributing for discussing about credibility of the championship. There were many changes about dispute mode, alternating the mixed mode (eliminatory + classificatory and vice versa) and a dispute mode based on classification. This research aimed to described and to analyzed the changes that have occurred in dispute types of the Brazilian Championship, series A, in the last 15 years (1995 to 2010). It was analyzed each edition, with data like average of public, matches and participants number, period that the championship was conducted, beyond the dispute mode. In the last 15 years, have been used five different types and it was observed that the current mode to consecutive points is the most appropriate, because this mode showed the best public average, greater coherence to elect the competition champion and this mode also encouraged the clubs about planning, organization and professional management. This issues contributed to a significant improvement in quality of Championship

Proposta de adequação à construção sustentável: tecnologias e alternativas para instituições de ensino

Due to the huge impact negative on the environmental caused by the civil construction, the university plays a majorital role in the proposal of studies and projects that aim the sustainable building. Nowadays, it has been noted the great demand for projects which contain a systemic focus in the tripod of the sustainable development, that is to say, more and more the consumers are demanding that the final result of a project contemplate the social, economic and environmental areas. According to the National Industry Confederation (CNI) and the Brazilian Chamber of the Industry and the Construction (CBIS), the goal for 2020 is that the constructions have an environmental performance 20% higher in comparison to the actual one, starting with an index defined by many indicators, such as: water consumption, energy, residues generation and social-environmental performance of the bought products. In this case, the theme of the project comes around the adequation of scholar institutions to the sustainable construction through simple changes of tecnologies and habits aiming the growth of the environmental eficiency of the enterprise and, consequently, the improve of sustainable practices inside the institution. Once the change is proposed, it will be furnished datas liable of reproduction for the adequation of others scholar institutions, according to it's necessity or interest. After the realization of the studies, it was possible to notice that the environmental performance of a scholar institution can be improved through the implantation of tecnologies of fast return in the investment, such as: flow reducers, rain water reuse system, green roof, retrofit of lamps and execution of a photovoltaic system. Besides the fast return of investment, the monthly economy of the applied tecnologies combined can reach 75% when compared to the actual spending with water and electric energy

Persuasão ou performance: as estratégias comunicacionais para transformar o rúgbi em paixão nacional

This paper analyzes the communication strategy of the Brazilian Rugby Confederation in the promotion of sport in the country, with three television campaigns developed since 2010 together with manufacturer Topper. One of the goals of the organization is to make the sport better known among the Brazilian public, with a view to inclusion of rugby in the Olympics in Rio de Janeiro in 2016. Very popular in countries colonized by Britain, the sport still has little visibility in the national sports scene, something to be transformed in organizational communication and advertising.

Mulheres fazem isso? Análise das estratégias de gestão do rúgbi feminino no Brasil

This paper presents the integrated sports marketing to female rugby management in Brazil and analyzes the strategies used to popularize this sport. The Brazilian Confederation of Rugby in 2011 developed a strategic planning with the objective of restructuring mode and has been using sports marketing concepts to promote rugby, aiming its growth, both in numbers of practitioners, as supporters and fans. To perform the proposed objective was conducted a survey exploratory on the rugby modality that will be present at the Olympic Games in 2016. We analyze also the history of women's Rugby Team and the tools of marketing and sportive management used by the Confederation. At the end is a study of the strategies of sports management female rugby in Brazil, taking into consideration also the gender issue, especially the obstacles women face athletes in a sport that is blended with the virility and strength male.

Centre of excellence for women artistic gymnastics: The Brazilian coaches' perspective

During the period of 2001 and 2008, the Brazilian Gymnastics Confederation implemented the gymnasts training boarding center system at the Curitiba Training Center (TC). Using the former Soviet Union model of sports boarding schools, the Brazilian gymnasts started to train together under the supervision of a technical team led by a renowned foreign coach. This article aims to discuss the context of the TC and the system of centralized preparation of the Brazilian women artistic gymnastics (WAG) showing the point of view of the coaches. We conducted a field survey and we interviewed 34 coaches of 29 sport institutions. Among the positive aspects, the coaches reported about the better infrastructure available to the gymnasts. The negative aspects refer to the problems regarding rigorous training, the polarization and the consequent monopolization of athletes showing lack of adaptation of the Soviet model to the WAG characteristics developed in Brazil.

University of São Paulo, Brazil: open access movement

USP scientific production. USP journals. USP Open Access Movement.

BDPI Digital Library of USP in intellectual production

USP INFORMATION MANDATE – Resolution 6444 – Oct. 22th, 2012 Make public and accessible the knowledge generated by research developed at USP, encouraging the sharing, the use and generation of new content; •Preserve institutional memory by storing the full text of Intellectual Production (scientific, academic, artistic and technical); •Increase the impact of the knowledge generated in the university within the scientific community and the general public; •It is suggested to all members of the USP community to publish the results of their research, preferably, in open-access publication outlets and/or repositories and to include the permission to deposit their production in the BDPI system in their publication agreements. •Institutional Repository for Intellectual Production; •Official Source USP Statistical Yearbook.

Una gran herencia de Joaquín costa: la Confederación Hidrográfica del Ebro

[ES] En este artículo se analiza la constitución y evolución de la Confederación Hidrográfica del Ebro. Este hecho se enmarca en el contexto de la política hidráulica de oferta, predominante en la España de la Restauración y años posteriores. En efecto, la política de construcción de grandes presas tiene su raíz en las políticas reformistas impulsadas por los gobiernos de las Restauración desde principios del siglo XX; asimismo, la gestión supuso la creación de instituciones responsables, proceso que en el caso de la cuenca Ebro se concretó en la Confederación, entidad de índole corporativa que integraba a los usuarios del agua de este río. [EN] In this article is analysed the constitution and evolution of the Hydrographic Confederation of The River Ebro. This fact is in the line with a hydraulic policy of offer that was predominant in Spain within the Restoration and in the subsequent years. In this way, the construction of big reservoirs policy has its root on reformists politics boosted by the Restoration governments since the beginnings of 20th century; likewise, the management involved the creation of responsible institutions, and this was a process that in the case of the River Ebro basin meant the Confederation, an entity of corporate nature which drew together the water users of this river.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Nursing the fatherland? Hohenzollern statebuilding and the hidden transcript of political resistance in Hanoverian female charity during the Second German Empire

In summer 1866 the Austro-Prussian struggle for supremacy in Germany erupted into open conflict. King Georg V of Hanover sided with other governments loyal to the German Confederation against Prussia, but after initially defeating Prussian forces at Langensalza, he was forced to capitulate. Two days after the battle, on June 29, 1866, the widow of the Hanoverian general Sir Georg Julius von Hartmann told her daughter in no uncertain terms how she felt about the Prussian government and its allies. In her opinion they were nothing more than “robber states” that cloaked their disregard for the Ten Commandments in sanctimonious public displays of piety. “These Protestant Jesuits,” she continued, “offend me more than the Catholic ones. You know that I am German with all my heart and love my Germany, but I cannot consider them genuine Germans anymore because they only want to make Germany Prussian.”