Covariance for electromagnetic current for two bosons at higher order in the light front

We show that the electromagnetic current for a system composed by two charged bosons has a structure of many bodies even in the impulse approximation, when described in the time x +. In terms of the two body component for the bound state, the current contains two body operators. We discuss the process of pair creation by the photon and interpret it as a zero mode contribution to the current and its consequences for the components of currents in the light front. © 2010 American Institute of Physics.

Gestión del conocimiento en la educación ambiental : Estudio de casoen el programa de educación ambiental de la universidad de São Paulo Brasil

The objective of this study was to analyze and to describe the process of knowledge creation in an environmental education program. The research can be defined as a case study, because a thorough study of the characteristics of an environmental education program at a public university in Brazil was carried out. The study had a descriptive character; it observed, ordered and recorded data and behavior, explaining and interpreting facts without manipulating them, using a method of qualitative data collection, the interview. The method of data analysis used was content analysis. At the end good practices for environmental education programs are suggested.

Zero mode effect generalization for the electromagnetic current in the light front

We consider in this work the electromagnetic current for a system composed of two charged bosons and show that it has a structure of many bodies even in the impulse approximation, when described in the light-front time x+. In terms of the two-body component for the bound state, the current contains two-body operators. We consider the photon interacting with two bosons and the process of pair creation connected to this interaction, interpreting it as a zero mode contribution to the current and discuss the consequences of this pair creation to the components of currents in the light front. © 2013 American Physical Society.

Com engenho e arte: a construção da escrita significativa por crianças de 3ª e 4ª séries

Pós-graduação em Educação - IBRC

Um estudo funcional da perífrase conjuncional 'Desde que' sob a ótica da gramaticalização

Pós-graduação em Linguística e Língua Portuguesa - FCLAR

Aspectos da literatura de cordel em A Pedra do Reino, de Ariano Suassuna

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Literatura e história em Plata quemada, de Ricardo Piglia

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A gênese do arquivo fotográfico de Sebastião Leme: uma leitura da acumulação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Inclusão, exclusão e cidadania como desafio para a política em regiões de modernidade periférica

No Brasil pode-se observar que no discurso político a exclusão social ganha cada vez mais destaque. A atuação política nesse campo é altamente destinada à criação de legitimidade para o próprio sistema social. Dentro do processo da geração de legitimidade o sistema político requer cada vez mais responsabilidades para si, não obstante, sem poder lograr sua efetiva implementação. Pode-se ilustrar esse fato através do confronto entre ampliação semântica do conceito de cidadania e a realidade empírica das violações dos direitos humanos no Estado do Pará com enfoque nas ações direcionadas à cidadania e às pessoas com deficiência. Portanto, a intervenção do poder público não foi capaz de conter o processo de exclusão múltipla oriundo da atuação ´cega´ dos sistemas funcionais da sociedade moderna.

Gestão do conhecimento na educação ambiental: estudo de casos em programas de educação ambiental em universidades brasileiras

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

O Grupo Sobrevento de teatro de formas animadas

Since prehistoric man seeks to dominate play scenes and images of their daily lives, to understand them or dominate. In the theater, the man tried to represent hunting scenes and deities. Since the first creation material representative of the gods, these objects acquire magical powers. After a long time, came the Puppet Theater, which through the use of various materials, the man concocted dolls in his image and likeness, as well as representations of animals. Subsequently, the Theater of Animated FormsVisual involved various props, like the mask, the shadow and the object. Thus, these elements can appear all together or not in the same show and are, therefore, the Theater of Animated Forms. How important human need to understand the world and events around them, the arts were needed to explain the divine and unreachable. Clumping the four languages of art: music, plastic arts, dance and theater, the Theater of Animated Forms of so characteristic of the man in search of the divine and sublime sentiments or not. In Brazil, faced with a multitude of excellent groups Theater of Animated Forms, the Sobrevento Group stands to monitor on an extensive repertoire theoretical foundation for the themes of the pieces created, and the high level of aesthetic sensitivity and artistic creation through is the dummies used in your repertoire. The objective of this study is to describe and analyze the Sobrevento Group considering the process of artistic creation, which led to the understanding of what is Theater of Visual Theater. To this end, guided interpretive anthropological approach, we conducted an ethnograph with the group

The Atlantic and Everything After

As a reader, I am drawn to pieces that flirt with the boundaries between prose and poetry and I believe these preferences are evidenced in my own work, which not only encompasses creative nonfiction and poetry, but which also teases its way along the line separating the two. In The Atlantic and Everything After, I have worked with both prose poetry and the lyric essay, two styles that combine and highlight the different strengths of creative nonfiction and poetry.I created this work to explore the transformation I embarked upon when I first boarded that plane to Nova Scotia in August 2009. I created it to pay homage to the people and places that have moved or changed me. I created it to acknowledge the many similarities of travel and writing, both of which are often ugly, uncomfortable, a bit frightening, and terribly frustrating.In the process of its creation, I was forced to confront painful and delightful memories, to realize the significance of those memories within my own heart. I exercised the modes of poetry and nonfiction (and a few in between) in order to bring the many complicated aspects of travel together in a way that does its discomfort and enchantment equal justice. I have filled the pages of The Atlantic and Everything After with my poems and my prose, my own life-cherishing force. I am pleased to welcome you to it.

Russian Opera as Cultural Text (The Golden Cockerel by N.A. Rimsky-Korsakov)

This project entailed a detailed study and analysis of the literary and musical text of Rimsky-Korsakov's opera The Golden Cockerel, involving source study, philological and musical-historical analysis, etc. Goryachikh studied the process of the creation of the opera, paying particular attention to its genre, that of a character fable, which was innovative for its time. He considered both the opera's folklore sources and the influences of the 'conditional theatre' aesthetics of the early 20th century. This culture-based approach made it possible to trace the numerous sources of the plot and its literary and musical text back to professional and folk cultures of Russia and other countries. A comparative study of the vocabulary, style and poetics of the libretto and the poetic system of Pushkin's Tale of the Golden Cockerel revealed much in common between the two. Goryachikh concluded that The Golden Cockerel was intended to be a specific form of 'dialogue' between the author, the preceding cultural tradition, and that of the time when the opera was written. He proposed a new definition of The Golden Cockerel as an 'inversed opera' and studied its structure and essence, its beginnings in the 'laughing culture' and the deflection of its forms and composition in a cultural language. He identified the constructive technique of Rimsky-Korsakov's writing at each level of musical unity and noted its influence on Stravinsky and Prokoviev, also finding anticipations of musical phenomena of the 20th century. He concluded by formulating a research model of Russian classical opera as cultural text and suggested further uses for it in musicology.

BREAKING CODES: MAKING THEORIES ON MENSTRUATION ACCESSIBLE THROUGH THIRD-WAVE FEMINISM

Men and women respond to situations according to their community’s social codes. With menstruation, people adhere to “menstrual codes”. Within academic communities, people adhere to “academic codes”. This report paper investigates performances of academic codes and menstrual codes. Implications of gender identity and race are missing and/or minimal in past feminist work regarding menstruation. This paper includes considerations for gender identity and race. Within the examination of academic codes, this paper discusses the inhibitive process of idea creation within the academic sphere, and the limitations to the predominant ways of knowledge sharing within, and outside of, the academic community. The digital project (www.hu.mtu.edu/~creynolds) is one example of how academic and menstrual codes can be broken. The report and project provide a broadly accessible deconstruction of menstrual advertising and academic theories while fostering conversations on menstruation through the sharing of knowledge with others, regardless of gender, race, or academic standing.

Recuerdos, espejos y lugares en el teatro comunitario argentino contemporáneo : Memoria colectiva, identidades y espacios público en las prácticas del Grupo de Teatro Popular de Sansinea [2010-2012]

La tesis de maestría 'Recuerdos, espejos y lugares en el teatro comunitario argentino contemporáneo. Memoria colectiva, identidades, y espacio público en las prácticas del Grupo de Teatro Popular de Sansinena [2010-2012]', indaga en las operaciones de memoria, la constitución de identidades y los procesos construcción/ reapropiación del espacio público, que tienen lugar en las prácticas de este grupo de teatro. Dentro del proceso de creación colectiva de la obra, se reconstruyen interpretaciones del pasado compartido, tensiones que dan cuenta de las lógicas que estructuran la selección de los hechos a contar, valores y representaciones que visibilizan un modo de percibir/ construir las identidades. El Grupo de Teatro Popular de Sansinena, la primera organización social que existe en el pueblo, configura un experiencia colectiva novedosa, que instaura nuevas lógicas de sociabilidad, genera vínculos con el 'afuera' y reivindica la bandera de resistencia y el reclamo de visibilización a través de la práctica cultural. Dentro de las dinámicas relacionales que atraviesan el grupo, observamos ciertas tendencias jerárquicas en los vínculos entre la directora y los vecinos que conforman el grupo 'lo que se percibe como una dificultad a superar- estructuradas en el fuerte liderazgo construido por la directora. Una Legitimidad configurada sobre los saberes reconocidos, virtudes heredadas y capacidades comprobadas en la práctica, que se perciben en los testimonios de los vecinos-actores. La conformación del Grupo de Teatro Comunitario de Rivadavia -compuesto por doscientos vecinos de seis pueblos del Partido de Rivadavia (incluido Sansinena)-, da cuenta de los alcances de este fenómeno, que deberá seguir estudiándose desde diversas perspectivas, a fin de visibilizar la relevancia que esta práctica cultural adquiere, tanto a nivel local como nacional