851 resultados para critics
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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The web has emerged as an important media. For the first time, people are highly connected, and users start to have lots of possibilities for expression and collaboration. Internet users contribute more and more to influence the preferences of your contact network. Organizations are beginning to discover that the power of influence networks is becoming more efficient than traditional marketing: people believe in what other people say, peers believe in peers. There is a new actor who builds preferences, who is constantly active in communication: the customer who narrates, on social networks, his experiences with a product, and makes his contacts become loyal customers or the most ardent critics of an organization. Transforming followers into disseminators is one of the biggest challenges of organizations in social media. Because of this, more and more companies have to plan communication strategies based in what customers think, desire, understand and discuss in these new places
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The literary criticism was developed in Brazil in the period that comprehends the end of the 19th century and the beginning of the 20th century. During that time, the mean of dissemination of the criticism were the footnotes of the newspapers, places in which literature was discussed and the critics expressed their personal impressions about literary works with the objective of orientating the good taste of the readers. With the progressive evolution of journalism and of the newspaper's audience, the criticism columns became incompatible with the informative part of the periodicals, being transferred to the literary supplements, during a transition phase, until it was concentrated in the universitary field. This change in the paradigms of the production of criticism also caused a change in the profile of the literary critics and in the criteria to do the criticism. Before, if the critics were professionals that only needed to have enough erudition to judge the literary works, they turn into literature experts and need to use scientific methodologies in the literary analysis, while the cultural journalist begins to look at the events and literary works as products which belong to a market that needs to be reported. This research proposes studying and comparing the critics published in the column Prosa de Sábado, of the literary supplement Sabático, produced by Silviano Santiago, critic of an academic origin, and Sérgio Augusto, journalist critic, with the objective of identifying similarities and contrasts between them, and analyse the relation of this critics with their distinct fields of literary legitimation, as well as reflecting about the presence of the literary criticism and of the critics in the current press
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This work has as its aims to offer a general view on the teaching of logics in the basic education by means of different materials on the theme. There are highlighted considerations on academic works in the area of math education that claims the teaching of logics on basic education as a means of developing the reason and promote the learning. It is done a bibliographic review on works that approach the theory of formal logics that presents different ways of working the teaching of logics. The curricular proposition of São Paulo State for the Math area is analyzed and its characteristics are discussed. The learning evaluation in a large federal scale for the teaching of middle and basic education are detailed in its matrix of references and content approached in its editions searching the evidences of a logical reasoning worth. A portal M3 Multimedia math is presented in activities in video format for the teaching of logics. After an analyze of the references where the focus was related to the learning of Math by means of an approaching where logics acts as a tool. It is possible to consider that there is a relevant number of researches and publishing in the area of Math education that approaches the concepts of formal logics. There is also evidences of a changing in National and State orientations for a basic education that reflects in its didactics resources and evaluations in a large scale. Even though, we can face difficulties on implementation of these proposes that is pointed out by constant critics by teachers concerning the changes in the resources and cited evaluations by the resistance of a considerable percentage of teachers to adopt the didactics materials distributed by the State and by the low performance of students in Public Schools in tests of learning
Os rumos do desenvolvimento nos anos 50: as visões da Cepal e de Roberto Campos Araraquara – SP 2012
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In the decade of 1950, the economic policies almost in their entirety, are aimed at promoting domestic industry, culminating finally in the most consistent action planned in favor of industrialization in the economic history of Brazil: the Plano de Metas (Goal’s Plan). This study aims to analyze the Brazilian planning at this moment studying the proposals in the economic thought of the Economic Commission for Latin America and the Caribbean (ECLAC) and Roberto de Oliveira Campos, divergent, but both connected to important reports of the Brazilian economy developed in the period, which served as the basis for policies at the period and even Goal’s Plan, and with enormous influence on the decisions of the 50s. The first one was the most important school of thought in the Third World. Campos was one of the most important thinkers of the economy in the period, one of the most consistent critics of ECLAC, and their proposals were very close to what was actually executed. The paper concludes that, despite the importance of ECLAC thought, this encountered difficulties applying workable solutions to economic growth. The eclectic tone of Roberto Campos brought clarity to his proposals, and these, when applied, have led to growth
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This paper proposes a comparative analysis of cultural critical, articles and reports related to the 28th International Biennial of Art of São Paulo published in the newspapers O Estado de S. Paulo and Jornal Semanal da 28ª Bienal de São Paulo, from October to December 2008. Specific aims of analysis are how an institution devoted, like Biennial, creates mechanisms to defend their choices and hegemonic position within the arts field and also to examine how this dedication can be demystified by critics from diffusion field not linked to the institution. For the study will be used the concepts of field, hierarchy of legitimacy and position of an agent developed by Pierre Bourdieu, as well as historical notions of Cultural Journalism and journalistic criticism
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Pós-graduação em Letras - FCLAS
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Pós-graduação em Letras - FCLAS
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Pós-graduação em Letras - FCLAS
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Pós-graduação em Direito - FCHS
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Pós-graduação em Letras - FCLAS
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This paper presents the trajectory traced by the Literary Criticism on the poetry of Alfonsina Storni, an Argentine writer of the early twentieth century. The first literary production of Alfonsina Storni, called modernist or tardorromántica (SARLO, 1988), is produced in the period 1916-1925; from Ocre (1926), she marks a break, confirmed in their last two books of poetry, Mundo de siete Pozos (1935) and Mascarilla y Trébol (1938), with the label of vanguardism and new aesthetic experiences such as antisoneto. Regarding the Criticism built over the poetic work of Alfonsina Storni by his contemporaries, we have three positions of reading: approaches biographical criticism and proposals for readings of critics and poets linked to Vanguard Argentina and made some critical texts by women from the middle academic. According to Salomone (2006), the criticism made by third trend marks another landmark of the constitutive deed of Alfonsina Storni, show tensions and positions that differ from the hegemonic critical. Subsequently, there is setting up a Women's Literature, along with a normative critique, which will consider the production book produced by women as produced by a subject biological woman, and that represents certain textuality with naturalized features peculiar to women. Today, in light of the Critical Feminist and contributions of Discourse Analysis, especially on the concepts and the connections between language and power, a critical reading of the production female, consists of texts of women writers since the mid-nineteenth century, is focused as a result of an ideological perspective and typically androcentric patriarchal, for example, on poems by Alfonsina Storni. According to Alice Salomone (2006), from the 80s of last century, the look on the production literary Latin American writers has another approach, which she calls "critical current: feminist criticism and modernity cultural".
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Joaquim Manuel de Macedo was a highly acclaimed writer among nineteenth - century readers, although posterity treated his work with many reservations. Despite the severity of his critics, Macedo’s contribution undeniably cannot be limited to his books, but extends to the very concept of the novel as a genre during Brazilian Romanticism. This novelistic concept is fueled by the observation of everyday life as well as by aesthetic ideas brought to light by European Romanticism. Differently, however, in A luneta mágica [The Magic Looking Glass] Macedo employed aspects of the fantastic to produce a daringly critical and creative novel that contrasts vividly with other Romantic works in Brazil
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Considered by critics to be the highest point in T. S. Eliot’s poetic production, the Four Quartets carry out a poetical reflection on time under the direct influence of Henri Bergson’s philosophy. What we would like to show in this article is how Eliot’s poetical use of Bergson’s concept of durée makes it possible for the poet to articulate poetry and thought in a unique combination which is peculiar to Eliot’s poetry. The peculiarity of such combination poetry-thought in the Four Quartets, this is the second point we would like to show, fundamentally involves a religious-poetical-philosophical syncretism that can be seen already in Eliot’s first poems, but which gets full expression in the Four Quartets.