Educação intercultural

Dissertação de Mestrado, Observação e Análise da Relação Educativa, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2007

An address delivered before the South-Carolina institute, at its second annual fair

This document contains a correspondence of Joseph H. Lumpkin, which originated from a meeting of the board of directors of the South Carolina Institute, in connection with the Annual Fair, held on Tuesday evening, November 19, 1850. It included a request for a copy of the address for publication.

Second Annual Report of the Audubon Society of South Carolina

This document initially contains a directory of the society’s officers and directors. There is then a report of the society’s objects and present condition following the first annual report. They describe their legislature campaign as well as its shortfalls. The document describes the current hunting and resident licenses in the state. A description of the fish and game commissioner is included as well as a description as to why such a position needed to be created. This document includes a description of the Society’s work since the last meeting as well as the overall attitude of the society. There is a description of various different types of birds in order to have an official description to describe the bird that correlates to the laws protecting it. There is a description of the work of the wardens as well as a report and a list of wardens who have not given a report to the society. There is a list of each county and how many non-resident licenses each county has issued along with how much income those sales generated. There are then several bills proposed by the society followed by the secretary’s report. The document then includes the treasurer’s report and a list of members.

Avaliação da formação promovida pela ANQ em 2010 a avaliadores externos RVCC e coordenadores CNO : análise e problematização

Relatório de estágio de mestrado, Ciências da Educação (Avaliação em Educação), Universidade de Lisboa, Instituto de Educação, 2011

As lógicas de ação e o trabalho do diretor escolar : a construção de um agrupamento de escolas de sucesso

Trabalho de Projecto de mestrado, Ciências da Educação (Administração Educacional), Universidade de Lisboa, Instituto de Educação, 2012

Autonomia e contratualização num agrupamento de escolas TEIP : a visão de um diretor

Trabalho de projeto de mestrado, Ciências da Educação (Administração Educacional), Universidade de Lisboa, Instituto de Educação, 2013

Perceções da equipa de avaliação extrerna relativamente às suas práticas de avaliação

Relatório de estágio de mestrado, Ciências da Educação (Administração Educacional), Universidade de Lisboa, Instituto de Educação, 2013

A regulação da avaliação do desempenho do Diretor escolar : competências de gestão e liderança

Dissertação de mestrado, Educação (Administração Educacional), Universidade de Lisboa, Instituto de Educação, 2014

e-Literacy, schools and municipalities towards a common goal : e-citizenship

Tese de doutoramento, e-Planeamento, Universidade de Lisboa, Faculdade de Ciências, Universidade Nova de Lisboa, Universidade de Aveiro, 2015

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

Departmental Select Committees

The idea of departmental select committees in the House of Commons was floated as long ago as the Haldane Report in 1918 and periodically mooted by figures from both left and right as varied as Amery and Laski in the inter‐war years. It was raised again during the wartime investigations of the Machinery of Government committee, only to be shot down by the then Cabinet Secretary, Sir Edward Bridges, on the grounds that it would constrain the frankness with which the Civil Service could advise ministers. Departmental select committees were not to be introduced until 1979. Ten years ago the Institute of Contemporary British History organised a symposium to review their progress. On 31 January 1996 in committee room 10 at the House of Commons the ICBH, in conjunction with the Hansard Society, held another seminar to re‐examine the development of the departmental select committee system, its successes and failings. It was chaired by George Cunningham (Labour MP 1970–82, SDP MP 1982–83). The principal participants were Sir Peter Kemp (Deputy Secretary, Treasury 1983–88, Next Steps Project Manager, Cabinet Office, 1988–92), Douglas Millar (Clerk of Select Committees, House of Commons since 1994), Dr Ann Robinson (author of Parliament and Public Spending, head of the policy unit at the Institute of Directors [IOD], 1989–95 and Director‐General of the National Association of Pension Funds Ltd since 1995), Robert Sheldon (Labour MP since 1964, Financial Secretary to the Treasury 1974–75, member of the Public Accounts Committee [PAC] 1965–70 and 1975–79 and chairman since 1983, member, Public Expenditure Committee 1972–74, and member of the Treasury and Civil Service Committee [TCSC] 1979–81) and Sandy Walkington (head of corporate affairs at BT [British Telecom] plc), with further contributions from Peter Riddell (assistant editor: politics, The Times, since 1993), Chloe Miller, Sean McDougall, Tim King and Chris Stevens.

Board attributes that increase firm risk - evidence from the UK

Purpose – The aim of the paper is to identify the board attributes that significantly increase firm risk. The study aims to find if board size, percentage of non-executive directors, women on the board, a powerful CEO, equity ownership amongst executive board directors and institutional investor ownership, are associated with firm risk. This is the first study that examines which board attributes increase firm risk using a UK based sample. Design/methodology/approach – This empirical study collected secondary data from Bloomberg and Morningstar databases. The data sample is an unbalanced panel of 260 companies’ secondary data on FTSE 350 index in the UK, from 2005 to 2010. The data was statistically analysed using STATA. Findings – The study establishes the board attributes that were significantly related to firm risk. The results show that a board which can increase firm risk is one that is small in size,has high equity ownership amongst executive board directors and has high institutional investor ownership. Research limitations/implications – The governance culture and regulatory system in the UK is different from other countries. Since the data is a UK based sample, the results can lack generalisability. Practical implications – The results are useful for investors who invest in large firms, to have the knowledge about the board attributes that can increase firm risk. Regulators can also use the results to strengthen regulatory guidelines. Originality/value – This study fills the gap in knowledge in UK governance literature on the board attributes that can increase firm risk.

The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.

Abordagem da segurança, higiene e saúde na organização e gestão escolar

A escola é o centro de convergência que justifica e fundamenta os recursos alocados ao sistema educativo. Durante o normal funcionamento das escolas, as condições de segurança, salubridade dos edifícios e equipamentos devem ser previstas e mantidas para garantir a salvaguarda da saúde e bem-estar dos seus ocupantes. A responsabilidade sobre estas questões encontra-se transferida para os Órgãos de Gestão dos estabelecimentos educativos. Neste âmbito efectuou-se um estudo que objectivou caracterizar a organização e a gestão escolar, no contexto da segurança, higiene e saúde; conhecer a forma da organização e da gestão da emergência nos estabelecimentos de ensino e o grau de satisfação dos gestores escolares relativamente aspectos relacionados com a Segurança, Higiene e Saúde. Neste sentido, foi aplicado um inquérito por questionário on-line, dirigido aos directores dos agrupamentos de escolas e escolas únicas da Região Norte de Portugal. Na generalidade os resultados obtidos demonstraram que ao nível da organização e gestão da emergência é evidenciada alguma preocupação, constatando-se no entanto, que nem todas as escolas possuam delegado de segurança, algumas não possuem plano de segurança, apenas metade evidenciou a existência de projectos educativos em áreas relacionadas com a temática e não existe ainda uma participação efectiva no seio escolar por parte da comunidade. Os gestores escolares, relativamente ao grau de satisfação, referiram as condições das infra-estruturas e estado de conservação dos estabelecimentos escolares, como factores de maior descontentamento. Percepcionou-se que a gestão escolar é centrada nos problemas do quotidiano, não existindo uma planificação ou um programa legitimado de segurança, higiene e saúde a longo prazo. A análise à actuação do gestor escolar face à segurança e higiene, não pode efectuar-se alheia e separadamente do actual regime de autonomia, administração e gestão dos estabelecimentos públicos da educação pré-escolar e dos ensinos básico e secundário, porque o desempenho dos diferentes actores no processo educativo é por si condicionada. Cabe ao gestor escolar, na figura do Director(a) consagrar a segurança, higiene e saúde integradas na dinâmica escolar, promovendo um ambiente escolar mais saudável e seguro.

O Planeamento estratégico nos hospitais portugueses num contexto de austeridade: o caso particular dos Hospitais E.P.E.

Dissertação apresentada para obtenção do grau de Mestre em Contabilidade e Finanças Orientador: Professor Doutor José Freitas Santos