Self-initiation expatriation: A focus on Italian and Portuguese students

The purpose of this work project is to analyze the phenomenon of self-initiated expatriation (SIE) through its link to the Protean Career and Career Capital theories, focusing in particular on Italian and Portuguese students attending a Master in the business area. The main research questions are to understand the reasons driving the intention to expatriate, after the conclusion of the academic path, using three main categories (Adventure Motivation, Work Characteristic Motivation and instrumental Motivation) and the intention to repatriate. A sample of Italian and Portuguese students was obtained. Italians show a higher intention to expatriate relative to Portuguese; nevertheless, no other significant differences were found among the two populations, because of the similar cultural background and economic situation. Additionally, several heterogeneities were observed considering other clusters defined by Gender, Teaching Language of the Master and Past International Experiences, across the two nationalities. Furthermore, possible future researches and practical implications were discussed.

Felmini, the success of a Portuguese footwear company in the Italian market

NSBE - UNL

The Portuguese contemporary art as an investment

In this paper we investigate what drives the prices of Portuguese contemporary art at auction and explore the potential of art as an asset. Based on a hedonic prices model we construct an Art Price Index as a proxy for the Portuguese contemporary art market over the period of 1994 to 2014. A performance analysis suggests that art underperforms the S&P500 but overperforms the Portuguese stock market and American Government bonds. However, It does it at the cost of higher risk. Results also show that art as low correlation with financial markets, evidencing some potential in risk mitigation when added to traditional equity portfolios.

Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums

Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums”, na Fundação Calouste Gulbenkian (Lisboa), 31 Outubro - 1 de Novembro de 2014) de: Helena Barranha e Susana S. Martins - Introduction: Art, Museums and Uncertainty (pp.1-12); Alexandra Bounia e Eleni Myrivili - Beyond the ‘Virtual’: Intangible Museographies and Collaborative Museum Experiences (pp.15-32); Annet Dekker - Curating in Progress. Moving Between Objects and Processes (pp.33-54); Giselle Beiguelman - Corrupted Memories. The aesthetics of Digital Ruins and the Museum of the Unfinished (pp.55-82); Andrew Vaas Brooks - The Planetary Datalinks (pp.85-110); Sören Meschede - Curators’ Network: Creating a Promotional Database for Contemporary Visual Arts (pp.11-130); Stefanie Kogler - Divergent Histories and Digital Archives of Latin American and Latino Art in the United States – Old Problems in New Digital Formats (pp.131-156); Luise Reitstätter e Florian Bettel - Right to the City! Right to the Museum!(pp.159-182); Roberto Terracciano - On Geo-poetic systems: virtual interventions inside and outside the museum space (pp.183-210); e, Catarina Carneiro de Sousa e Luís Eustáquio - Art Practice in Collaborative Virtual Environments (pp.211-240).

Global trends in modern and contemporary islamic art

Disponível para consulta índice e introdução.

Going Public: Conservation of Contemporary Artworks. Between Backstage and Frontstage in Contemporary Art Museums

In museum studies and history of art, what happens behind the scenes of museums stays relatively unseen and unspoken about. In the arts, generally speaking, what is dismissed as irrelevant (e.g. the realm of practices) is deliberately detached from what is thought to really matter; theory, discourse, content and meaning. Up till recently, backstage activities such as conservation practices are merely discussed among specialists and museum professionals. Only the outcomes of these discussions are sometimes – if at all – explicitly communicated to a larger public. Studies into the practices of contemporary art conservation however show that practices behind the scenes play an important role in the perpetuation of these artworks. What happens behind the scenes in terms of conservation has, in several ways, important effects on the ongoing life of these artworks in a museum context. Conservation practices, I argue, should therefore become a necessary part of museum studies and history of art. How can the working practices of conservators become more visible and transparent to a diversity of audiences, including researchers? And what does this mean in terms of research methodology?

Recensão: Claire Bishop, "Radical Museology: or What’s ‘Contemporary’ In Museums of Contemporary Art?"

Recensão de: Claire Bishop, "Radical Museology: or What’s ‘Contemporary’ In Museums of Contemporary Art?", Londres: Koenig Books, 2013

Criminosos popularizados na narrativa de divulgação (De 1838 aos Alvores da República)

O presente estudo incide sobre obras impressas que tomaram como motivo central as «façanhas» de criminosos com referência histórica celebrizados em Portugal na segunda metade do século XIX e inícios de XX e mostra que, enquanto narrativas elaboradas para o grande público, os textos foram não só um reflexo da popularidade prévia dos famigerados transgressores, como também um fator incontornável da sua «lendarização» ao longo de décadas. São as seguintes as figuras dos infratores que protagonizaram as ficções em apreço: José Joaquim de Sousa Reis, ou «o Remexido» (1797-1838), Diogo Alves, ou «o Pancada» (1810-1841), Francisco de Matos Lobo (1814-1842), José Teixeira da Silva, ou «o José do Telhado» (1816-1875), João Victor da Silva Brandão, ou «o João Brandão de Midões» (1825-1880), e Vicente Urbino de Freitas (1859-1913). A tese agora apresentada aborda um corpus textual de características singulares, nunca antes coligido nem estudado. Comprova que os textos sobre as figuras criminosas tiveram uma função iminentemente noticiosa, pedagógico-edificante e política, apropriando-se de relatos orais, adotando procedimentos de atestação da veracidade (transcrição de documentos na primeira pessoa, referenciação cronológica, espacial, geográfica dos eventos, alusão às fontes) e incorporando diversas fontes do conhecimento dos crimes, quer de origem popular (geralmente designadas de «musa popular», «tradição»), quer de caráter erudito e teórico-científico («estudo», «estudo social»). Assim, foram analisadas as condições históricas excecionais nas quais as ficções emergiram: as características específicas do seu universo editorial, a apropriação a um público amplo (o formato de coleção, uso de sinopses e de outros elementos gráficos), as regularidades discursivas das obras (ocorrência de determinados dispositivos de organização textual), os procedimentos narrativos (recurso abundante a paratextos com intuito explicativo e aproximação a modalidades ficcionais conhecidas do público da época) e, ainda, as configurações imagéticas inspiradas nos discursos oficiais (influência de ciências e doutrinas epocais emergentes, como a criminologia, a antropologia criminal, a frenologia, a psiquiatria, a sociologia). Em suma, estas edições produzidas em diversos contextos e por um elenco autoral heterogéneo não só viveram da relação com as edições predecessoras, ao longo de gerações, como recriaram e ampliaram as «façanhas» dos transgressores em função de diversos propósitos e fontes: ampla divulgação dos casos criminais, condenação pública dos infratores, análise médico-científica dos sujeitos culpados, especulação política, pressão sobre o foro judiciário, edificação moral do público leitor. Trata-se, sem dúvida, de produções únicas, que erigiram a comemoração dos facínoras e sucessivamente reinscreveram as suas histórias reais na problemática do homem criminal e na consciência ética do seu tempo.

Da falsa integração do espectador na TV informativa

As actuais potencialidades tecnológicas abrem, perante o (tele)spectador, a promessa de um ilusório empowered user que se vai construindo alicerçado na narrativa mítica da omnipotência, tornada modo verbal e complemento directo da promessa moderna da omnividência. No entanto, os plateaux informativos da televisão portuguesa do século XXI ainda não vêem no telespectador um elemento estruturante do seu trabalho. São escassos os programas que abrem o alinhamento à participação do público e aqueles que o fazem atiram-no para margens que pouco ou nada interferem no desenvolvimento das emissões. Neste artigo, analisamos a integração dos telespectadores em 1673 emissões informativas, distribuídas por seis canais de televisão (RTP1, SIC, TVI, SICN, RTPN, TVI 24). Trata-se de uma investigação que desenvolvemos no âmbito do projecto “Jornalismo televisivo e cidadania”.

The greener grass: da autorrepresentação em Alanis Morissette

Tese de Doutoramento em Ciências da Literatura - Especialidade em Teoria da Literatura

Aspergilli and Penicillia related to the surface of ripening italian grana type cheese and its ripening environment

Information available on the mycoflora associated to ripening Italian “grana type” cheese is very poor. Recently, ochratoxin A (OTA) was detected in samples of packed grated cheese [1]; therefore, the need of information to perform a risk management was highlighted. Moreover, sterigmatocystin (STC) has been reported in cheese and it is considered an emerging problem. Despite the fact that both of them are mycotoxins included in group 2B by IARC [2,3], no European regulation exists. So, the main goal of this work is to give for the first time a general overview about Penicillia and Aspergilli growing on the surface of ripening “grana type” cheese, with particular attention on mycotoxigenic species. To perform this, in 2013 and 2014 crust samples were scratched from ripening grana cheese wheels and also Potato Dextrose Agar plates were exposed to monitor ripening house air. Then, 140 fungal isolates were randomly chosen, purified and monosporic colonies were obtained for their identification at specie level. A polyphasic approach is followed, based on morphological characterisation, toxic extrolites profiling and gene sequencing. The identification is still in progress, but the first results based on the morphological approach showed the presence of mycotoxigenic Aspergilli (Aspergillus flavus and A. versicolor) and various Penicillium species; among them Penicillium chrysogenum, P. implicatum and P. solitum were identified. Only P. chrysogenum was reported to produce the mycotoxins cyclopiazonic acid (CPA) and roquefortine-C (ROQ-C) [4]. These results will be presented and discussed. [1] A. Biancardi, R. Piro, G. Galaverna, C. Dall’Asta, "A simple and reliable liquid chromatography–tandem mass spectrometry method for determination of ochratoxin A in hard cheese" International Journal of Food Sciences and Nutrition 64 (5), 2013, 632 – 640. [2] International Agency for Research on Cancer (IARC) “IARC Monographs on the Evaluation of Carcinogenic Risks to Humans” 31, 1983, 191 – 199. [3] International Agency for Research on Cancer (IARC) “IARC Monographs on the Evaluation of carcinogenic Risks to Humans”, suppl. 7, 1987, 72. [4] J. I. Pitt, D. A. Hocking, “Fungi and Food Spoilage” 1997, 291.

Self-narrative reconstruction after dilemma-focused therapy for depression: a comparison of good and poor outcome cases

Objective: The aim of this study is to improve the understanding of self-changes after an intervention for depression focused on implicative dilemmas, a type of cognitive conflict related to identity. As recent research has highlighted the relevance of identity-related dilemmas in clients with depression, we sought to assess the way in which clients resolve such inner conflicts after a tailored dilemma-focused intervention and how this is reflected in the clients’ self-narratives. Method: We used three instruments to observe differences between good (n = 5) and poor (n = 5) outcome cases: (i) the Repertory Grid Technique to track the resolution of dilemmas, (ii) the Change Interview to compile clients’ accounts of changes at posttreatment, and (iii) the Innovative Moments Coding System to examine the emergence of clients’ novelties at the Change Interview. Results: Groups did not differ in terms of the number and relevance of client-identified significantly helpful events. However, between-group differences were found for the resolution of dilemmas and for the proportion of high-level innovative moment (IM) types. Furthermore, a greater self-narrative reconstruction was associated with higher levels of symptom improvement. Conclusions: Good outcome cases seem to be associated with the resolution of conflicts and high-level IMs.

Narrative innovations predict symptom improvement: Studying innovative moments in narrative therapy of depression

Objective:Innovative moments (IMs) are moments in the therapeutic dialog that constitute exceptions toward the client's problems. These narrative markers of meaning transformation are associated with change in different models of therapy and diverse diagnoses. Our goal is to test if IMs precede symptoms change, or, on the contrary, are a mere consequence of symptomatic 15 change. Method: For this purpose, IMs and symptomatology (Outcome Questionnaire-10.2) were assessed at every session in a sample of 10 cases of narrative therapy for depression. Hierarchical linear modeling was conducted to explore whether (i) IMs in a given session predict patients' symptoms in the following session and/or (ii) symptoms in a given session predict IMs in the next session. Results: Results suggested that IMs are better predictors of symptoms than the reverse. Conclusions: These results are discussed considering the contribution of meanings and narrative processes' changes to symptomatic improvement.

Narrative change in Gloria Films: Comparing various processes of therapeutic innovation

Aims: The present study focuses on the analysis of novelty emergence in classic Gloria Films with Rogers, Perls, and Ellis to understand how the same client formulated her own problem and if and how change occurred in those three sessions. Method: The Innovative Moments Coding System was applied to track innovative moments (IMs) and their themes. Results: The session with Rogers showed more diversity in disclosed problems and themes of IMs, as well as a higher proportion of reflection IMs. The session with Perls demonstrated a high proportion of protest IMs. The session with Ellis showed less innovation than other sessions. The changes found were based mostly on reflection and protest IMs in three sessions. Conclusion: Narrative innovations occurred in the three single sessions. The type of dominant innovation is consistent with the therapeutic model and the IMs model. The exploration of the IMs’ themes allowed a more precise identification of Gloria's new narrative positions and their development throughout those sessions.