Deficientes visuais nas organizações: a exclusão no processo de inclusão

O presente estudo objetivou identificar como ocorre o processo de inclusão e exclusão do deficiente visual nas organizações, considerando tal deficiência como a mais representativa das deficiências no país. Apesar desse dado, os profissionais cegos são os que possuem menor índice de contratação pelas empresas, que optam por pessoas que possuem as chamadas “deficiências leves” para compor seu quadro de funcionários. Os deficientes visuais sofrem pelo estereótipo de incapacidade que carregam ao longo da história, mesmo com a presença da Lei de Cotas. Para a construção do estudo foi realizada uma pesquisa de campo, que contou com entrevistas semiestruturadas e observação participante. A conclusão a que se chegou sobre o processo de inclusão do deficiente visual, é que este ocorre praticamente no discurso dos representantes de RH das empresas, sendo visível a preferência de contratação de pessoas com deficiências consideradas “leves”, apesar do número de profissionais cegos disponíveis. O estereótipo de incapacidade laborativa aparece ligado a esse processo de exclusão do cego, que demonstra ocorrer por desconhecimento acerca da deficiência visual. Novas construções foram encontradas, como o estereótipo oriundo do próprio cego e também do direcionamento que instituições importantes apresentam para o desenvolvimento de deficientes visuais, que podem afetar de forma significativa a forma como se relacionam com os videntes.

“Minha alma canta, vejo o Rio de Janeiro”: a zona sul carioca entre crônicas e canções

Esta tese aborda o processo de valorização da Zona Sul da cidade do Rio de Janeiro através de canções que enfocaram esse espaço e de crônicas, especialmente, publicadas no livro O Rio de Janeiro em prosa & verso, organizado por Manuel Bandeira e Carlos Drummond de Andrade. Para dar conta das complexas relações entre música e cidade, entre produção literária e cidade, este trabalho foi organizado em cinco capítulos. No primeiro capítulo, enfoquei as comemorações do IV Centenário da Cidade do Rio de Janeiro realizado em 1965, o carnaval desse ano dedicado à efeméride e algumas publicações motivadas pelo evento. No segundo, tratei da ocupação do espaço urbano carioca denominado Zona Sul, especialmente através das crônicas contidas no livro citado acima. O capítulo seguinte evidenciou a importância das boates, bares, cassinos e demais espaços de sociabilidade cultural na Zona Sul carioca, como lugares de formação e de vivência artística, onde eram tramadas importantes redes de solidariedade e filia. No quarto capítulo foram apresentadas algumas canções que priorizaram a cidade do Rio, as representações líteromusicais da Zona Sul, especialmente Copacabana como um dos bairros cariocas mais priorizados por esse acervo. Por fim, a Bossa Nova foi mostrada como momento indelével para o debate da identidade citadina carioca, sua projeção internacional e como o Rio foi apresentado pelas letras das canções.

Contribuições da inserção musical para a qualidade de vida no trabalho em ambiente laboral fabril

The present thesis aimed at understanding how the insertion of music in the work environment contributes to achieving Quality of Work Life. - QWL, under the perspective of biopsychosocial and organizational well-being. As to music insertion we considered the theoretical-empirical perception about how music is inserted at work and its functions on such place. The context where the study was taken was the manufacturing area of a major textile company, located in Natal, state of Rio Grande do Norte, Brazil, in which music is used during labor activities. The only study case was the research strategy adopted, with exploratory and descriptive purposes. The primary data were collected through the focus group technique, applied to the collaborator in the manufacturing sector. The semi-structured interview was done as a complementary tool, directed to the supervisor in that sector. Respecting the theoretical saturation criterion, we formed four focus groups, each one composed of eight members randomly selected, among the seventy-six collaborators in the sector. The data were analyzed qualitatively, through the content analysis technique, more specifically the category analysis. We identified twenty-eight QWL attributes. Six of them were found present in the four focus groups and in the interview. Among these ones, the attribute of Interpersonal Relationship at Work, contemplating the Psychological and Organizational dimensions, was the only one anticipated in four out of fifteen theoretical models here listed. The attribute Music at Work Environment could be inserted in the four QWL dimensions, highlighting the power and relevance of this attribute for the research participants. The way music has been inserted in the labor environment contributes to promoting well-being at work, which goes against theoretical conceptions, especially when it comes to musical genre. We identified nine functions of music at work, among which, Improving Work Conditions, Improving Interpersonal Relationship at Work and Favoring Motivation for Work had to be emphasized for being associated to three QWL attributes. In the total, we highlighted seven associations. The most affected QWL dimension through the insertion of music at work was the Psychological one, followed by the Organizational one. We conclude that music insertion provides biological, social and, above all, psychological and organizational well-being to the contributors, thus contributing to obtaining QWL at the labor environment researched. However, we should consider the context and proceed to periodical plans and adjustments in the way of music insertion so as to avoid health and well-being problems to those people at work

Embolada e outras coisas do folclore tulusano . a experiência da associação escambiar em Toulouse - França

Since the middle 80 s from the 20th century, some musical genres associated to the Brazilian Northeastern region notably the forró, coco de embolada and repente de viola have been gradually incorporated to the musical production of south France linked to the occitanista trend, currently linking many musicians and groups from those regions in both countries. This paper is engaged in reflecting on the particular experience of the groups formed by the Escambiar Association, located on the city of Toulouse, and specially the duet Fabulous Trobadors, whose compositions are mostly made in the coco de embolada form. Watching the motivations and the processes that led to the creation of the groups from this association and it s current operation, this study investigates the transcultural phenomenon, that allow to cross two symbolic universes through rationalizing speeches about music, considering the locality s production in the midst of a political debate that involve questions about cultural identity and tradition

O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano

This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions

Batidas intensas : corpo e sociabilidade nas festas de música eletrônica em Natal

The significance of the body in electronic music parties as a sign for communicating and socializing among participants is the focus of this work. Qualitative research undertaken in this study seeks to investigate how sociability happens at raves and nightclubs in Natal/RN. Sociability is understood here as a play expression involving the dimensions of music, dance and party; the body, seen from a transdisciplinary approach, is understood as a symbolic instance, with its own meanings, as a result and a producer of social and as a cross between the cultural and the biological. The body has a communicative potential, is primary media. An intersection point between nature and culture, it serves as the seat of emotions and sociability, since it is through it that social relations are made. In electronic music parties, the body is interpreted based on its communication signs: clothing, accessories, body movements, tactile contact, body language, interactions between the public and dj, the dj and the public, gestures, expressive speech of emotions. Through such signs, body communication and a sense of community among participants develop sociability in the festive place and change the mood of the dancers. The Natal s electronic music parties young goer interacts on parties, adopts cheerful and receptive positions towards the other, maintains physical contact, values dance as a form of communication and lists happiness as the main feeling aroused in electronic music festivals. To achieve this result, a plurimetodological approach was used, which consisted of various methodological devices and various techniques of investigation: ethnographic observation, individual and informal interview techniques, photographic record of the scene, in-depth interview and application thirty questionnaires to patrons of electronic music parties

Lévi-Strauss Mitológicas: Mito e música entre o largo e o prestíssimo

This study was elaborated based on our research of the work Mithologiques by the anthropologist Claude Lévi-Strauss (1908-2009), which affirms that languages, indigenous myths and music are related. He proposes that the understanding of myths occurs in a similar manner as with an orchestral score. In the course of his tetralogy we investigated the musical terms used in the analysis and in the division of the chapters, especially in the first volume of his work. Several compositional procedures and forms are named. Composers in pairs are categorized: Sebastian Bach for the code, Ludwig van Beethoven for the message, and Richard Wagner for the myths. In this deduction, we structured in parts: theme and variations, sonata and fugue with the aforementioned composers. Within the greatness of anthropological study, from among over 800 myths, we selected the first five of the indigenous tribe Bororo to discuss within the Theme and Variation segment. In the Sonata part there are two myths with the same theme: The wife of the jaguar which relates to the compositional structure, and four myths about The origin of women. Finally, in the segment related to the Fugue, we collected four myths that address The shortness of life. Honoring the many terms expressed in opposition, contrast, or symmetry under consideration in Levi-Strauss work, we entitled this thesis emphasizing the migration between the tempos Largo and Prestíssimo as these are oppositional presentations in music. Fifteen musical myths accompany the work supported by selected narratives. In light of this we questioned, we questioned: how are incest, murder and other events part of a society that elevates nature as an extension of life itself? And how did Lévi-Strauss think that anthropology harmonized with music? In the preparation of this study, philosophers like Peter Sloterdijk discuss the circular territory of Mythology

Itinerário educacional de uma aluna cega e a busca pela imagem adaptada

The scope of this study directs an investigation in search of how the blind person learns knowledge at school mediated by the image in context of an inclusive education and how it can be (or is) triggered by the adaptation of images to the tactile seizure of the blind person and his correlative process of reading. To achieve this intent we choose a qualitative approach of research and opted for the modality of case study, based on the empirical field of a public school in the city of Cruzeta, RN and as a the main subject a congenitally blind female student enrolled in high school there, focusing, often, on the discipline of geography in its words mapping. Our procedures for construction of data are directly involved to the documentary analysis of open reflective interview and observation. The base guiding theory of our assessments is located in the current understanding about the human psychological development of its educational process inside an inclusive perspective, of contemporary conceptions about the visual disability as well of image as a cultural product. Accordingly, the human person is a concrete subject, whose development is deeply marked by the culture, historically built by human society. This subject regardless of his specific features, grasping the world in an interactive and immediate way, internalising and producing culture. In this thinking, we believe that the blind person perceives in multiple senses the stimuli of his environment and acts in the world toward his integration into the social environment. The image as a product of culture, historically and socially determined, appears as a sign conventionally used as an icon that in itself concentrates knowledge of which the student who does not realize visually himself and his surroundings cannot be excluded. In this direction, the inclusive educational process must build conditions of access to knowledge for all students without distinction, including access to the interpretation of the images originally intended for the seizure strictly visual to other perceptive models. Based in this theory and adopting principles of content analysis, we circulated inside the interpretation of the data constructed from the analysis of documents, from the subject speeches, from records of the observation made in the classroom and other notes of the field daily. In the search for pictures on the school contents, adapted to the tactile seizure of blind student, was seen little and not systematic in practice and teaching at the school. It showed us the itinerary of the student life marked by a succession of supports, most of the time inappropriate and pioneers in cooling the construction of her autonomy. It also showed us the tensions and contradictions of a school environment, supposedly inclusive, that stumbles in search of its intent, in the attitudinal and cumulative barriers brought, because of its aggravating maintenance. These findings arose of crossing data around of a categorization that gives importance to 1) Concepts regarding the school inclusion, 2) Elements of the school organization, educational proposal and teaching practice, 3) Meaning of the visual image as the object of knowledge, 4) Perception in multiple senses and 5) Development and learning of the blind person before impositions of the social environment. In light of these findings we infer that it must be guaranteed to the disabled person removal of the attitudinal barriers that are against his full development and the construction of his autonomy. In that sense, should be given opportunity to the student with visual disability, similarly to all students, not only access to school, but also the dynamics of a school life efficient, that means the seizure of knowledge in all its modalities, including the imagery. To that end, there is a need of the continued training of teachers, construction of a support network in response to all needs of students, and the opportunity to development of reading skills beyond a perspective eminently focused in the sight

Eram realmente pitagórico(a)s os homens e mulheres catalogado(a)s por Jâmblico em sua obra Vida de Pitágoras?

Pythagoras was one of the most important pre-Socratic thinkers, and the movement he founded, Pythagoreanism, influenced a whole thought later in religion and science. Iamblichus, an important Neoplatonic and Neopythagorean philosopher of the third century AD, produced one of the most important biographies of Pythagoras in his work Life of Pythagoras. In it he portrays the life of Pythagoras and provides information on Pythagoreanism, such as the Pythagorean religious community which resembled the cult of mysteries; the Pythagorean involvement in political affairs and in the government in southern Italy, the use of music by the Pythagoreans (means of purification of healing, use of theoretical study), the Pythagorean ethic (Pythagorean friendship and loyalty, temperance, self-control, inner balance); justice; and the attack on the Pythagoreans. Also in this biography, Iamblichus, almost seven hundred years after the termination of the Pythagorean School, established a catalog list with the names of two hundred and eighteen men and sixteen women, supposedly Pythagoreans of different nationalities. Based on this biography, a question was raised: to what extent and in what ways, can the Pythagoreans quoted by Iamblichus really be classified as Pythagoreans? We will take as guiding elements to search for answers to our central problem the following general objectives: to identify, whenever possible, which of the men and women listed in the Iamblichus catalog may be deemed Pythagorean and specific; (a) to describe the mystery religions; (b) to reflect on the similarities between the cult of mysteries and the Pythagorean School; (c) to develop criteria to define what is being a Pythagorean; (d) to define a Pythagorean; (e) to identify, if possible, through names, places of birth, life, thoughts, work, lifestyle, generation, etc.., each of the men and women listed by Iamblichus; (f) to highlight who, in the catalog, could really be considered Pythagorean, or adjusting to one or more criteria established in c, or also to the provisions of item d. To realize these goals, we conducted a literature review based on ancient sources that discuss the Pythagoreanism, especially Iamblichus (1986), Plato (2000), Aristotle (2009), as well as modern scholars of the Pythagorean movement, Cameron (1938), Burnet (1955), Burkert (1972), Barnes (1997), Gorman (n.d.), Guthrie (1988), Khan (1999), Mattéi (2000), Kirk, Raven and Shofield (2005), Fossa and Gorman (n.d.) (2010). The results of our survey show that, despite little or no availability of information on the names of alleged Pythagoreans listed by Iamblichus, if we apply the criteria and the definition set by us of what comes to be a Pythagorean to some names for which we have evidence, it is possible to assume that Iamblichus produced a list which included some Pythagoreans

CORPOREIDADE E A MELODIA DA EXPERIÊNCIA ESTÉTICA NA FORMAÇÃO HUMANESCENTE DE CANTORES-EDUCADORES

In order for this study to be developed, the central goal on our investigation was defined as analyzing and interpreting the aesthetical experiences meanings lived by singers-educators in the human formation. The interest for the aesthetical experience theme was built from my own experience for the last twelve years as a member of the School of Music Madrigal, the oldest group in the State Federal University, created for research and cultural extension with structural perspective which brings closer teachers, students and the outer community that comes from different social realities to face the challenge of combining the ability of singing, the corporeity involvement and the aesthetical experiences meanings. This paper points out the understanding of art as perceptive expression of human emotions, such as the creation of existential demand, the restructuring of oneself and the constructions which shape beauty. We seek a dense contribution of new challenges to the peculiar demand of human potential in terms of sensibility repertoire, of involvement, of expectation in magnifying the possibilities and the human and social competences. In the formation human process, we find a living field blooming with natural artistical possibilities, experimenting emotions and feelings shared in collective life, and bringing out impulses to unexpected ludic creation, establishing a powerful aesthetical ambience which highlights the symbolic and imaginary with the deepening of rich ludopoiese properties in several meanings. From the guiding principles of etnophenomenology we find structural and indispensable perspectives which contemplate values, desires, archtype images and ideas that impress originality and fertility to the study. On this path we understand the abundance of living moments of intense commitment, acquaintance, challenges, reunions and connections that stand out from fundamental aspects to freedom, autonomy, creativity and new discontinuities. This acknowledgement brings us closer to the enlighted fullness which makes us humans

A palavra cantada nos espaços intersubjetivos de um centro de atenção psisossocial do município do Natal/RN

The psychiatric care and mental health are undergoing constant change over the History. The Brazilian Psychiatric Reform, which brings up the deinstitutionalization as a structuring in the restorative care process. The Reform has as one of the mainly substitutive services the Centers for Psychosocial Care (CAPS), which work from the Singular Therapeutic Project (PTS) in order to restore the autonomy and restore the dignity of users. The therapeutic workshop is some of the resources used and work several kinds of activities as: writing, handcraft, music, poetry, and so forth. This study set up to apprehend the social representations of helping of the music workshop carried out in the CAPS II east of Natal/RN, from the reports given by the participants of the workshop, using the focal group as technique. This is a descriptive exploratory study with a qualitative approach. A total of 16 users participated in four musical therapeutic workshops from April to May 2010. The study was approved by the Ethics and Research Committee of UFRN. The discursive material from the workshop was submitted to the informational resource of Analyse Lexicale par Contexte d um Ensemble de Segments de Texte, ALCESTE, and analyzed based on the Theory of Representations and the Central Core Theory. The majority of subjects were men (62.5%), single (62.5%), aged 40-49 years (37.6%) and elementary school level (56.2 %). The reports were transcribed and submitted to the classification system of ALCESTE, which elected the following categories: Category 1 - Experience in the Word Family Sung, Category 2 - Musical Experiences and Approaches, and Category 3 - Feelings and emotions evoked by music. The representation of these individuals is anchored in the experience they have with the CAPS, lived and socialized by common sense, through this particular social group workshop objectified in music therapy as a therapeutic modality enjoyable. The central core revealed the intrinsic relationship between users and the music, establishing a relationship of openness to use the same while its therapeutic use in workshops of substitute services for mental health. Peripherals elements issues are related to listen, share and experience music in the family. Intermediary Elements relate to the feelings and emotions evoked by music, given her close relationship with it. It was found in the study that music can be construed as an artifact of good therapeutic responsiveness to users, configuring it as an invigorating and enjoyable therapy, confirming the need for continuity of this activity, as well as its expansion into the service

A tabela periódica: um recurso para a inclusão de alunos deficientes visuais nas aulas de química

Nowadays there are many reasons that aim to include people with special necessities, like those with visual deficiency, in the world of work, education, and in the society as a whole. However it is observed that when we talk about schooling inclusion, especially in High School, there is a huge gap between the theory and the practice. The lack of didactic resources, the inadequate installations, unprepared teachers, the families´ lack of information, are some of the factors that hinder the process of inclusion. Furthermore, the educators also have to deal with the roughness of the disciplinary contents and, refering to the study of Chemistry, with the use of signals related to this subject´s language. So, the objective of our research is to reflect about the apprehension of this language by the visually handicapped people, and try to contribute with their process of inclusion in the school life. On this perspective we work with the Periodic Table, which constitutes one of the indispensable tools necessary to the Chemistry learning. In order to acomplish it, the way followed by us happened in three passages. Initially, by means of a semistructured interview, we tried to get acquainted with the blind students opinion, who were participating in the research about the Periodic Table used by them throughout High School, as well as the dificulties felt when using it. After getting the answers, the Table was reelaborated to fill those students´necessities. Here, two new Tables were designed, one in Braille which shape is more compacted, and another made with high printed dots, built with sand and glue. On the third moment, the new designed Tables were tested by the students and, by means of a semi-structured interview, we tried to identify if this new resource would solve the problems concerned to the old Table. The students showed that the compacted Tables would facilitate the touch reading of the chemical elements simbols, making it clear and fast. We hope that, with the elaboration of this learning tools we can contribute with one of the elements to favor the effective participation of blind students in Chemistry classes, when studying the Periodic Table

Influence of visual information on optimal obstacle crossing

Human motion seems to be guided by some optimal principles. In general, it is assumed that human walking is generated with minimal energy consumption. However, in the presence of disturbances during gait, there is a trade-off between stability (avoiding a fall) and energy-consumption. This work analyses the obstacle-crossing with the leading foot. It was hypothesized that energy-saving mechanisms during obstacle-crossing are modulated by the requirement to avoid a fall using the available sensory information, particularly, by vision. A total of fourteen subjects, seven with no visual impairment and seven blind, walked along a 5 meter flat pathway with an obstacle of 0.26 m height located at 3 m from the starting point. The seven subjects with normal vision crossed the obstacle successfully 30 times in two conditions: blindfolded and with normal vision. The seven blind subjects did the same 30 times. The motion of the leading limb was recorded by video at 60 Hz. There were markers placed on the subject's hip, knee, ankle, rear foot, and forefoot. The motion data were filtered with a fourth order Butterworth filter with a cut-off frequency of 4 Hz. The following variables were calculated: horizontal distance between the leading foot and the obstacle at toe-off prior to (DHPO) and after (DHOP) crossing, minimal vertical height from the foot to the obstacle (DVPO), average step velocity (VELOm). The segmental energies were also calculated and the work consumed by the leading limb during the crossing obstacle was computed for each trial. A statistical analysis repeated-measures ANOVA was conducted on these dependent variables revealing significant differences between the vision and non-vision conditions in healthy subjects. In addition, there were no significant differences between the blind and people with vision blindfolded. These results indicate that vision is crucial to determine the optimal trade-off between energy consumption and avoiding a trip during obstacle crossing.

Música dos espaços: paisagem sonora do Nordeste no movimento armorial

This work exams the presence of music in the imaginary constitution of spaces, taking as study s object part of the musical production of the Armorial Movement, officially casted in 1970 in the city of Recife, Pernambuco. From that so called, by the Armorial s discourse, the essence of the brazilian northeastern popular art , the armorialists has intended to make an art that express an idea of northeasternity and brazility . Tries to demonstrate how the music has exerted a basic function of condensation and spreading of the armorial aesthetics, auditorily delimiting the territory of Brazilian Northeastern and, at the same time, trying to impose a sonority to it. This work still analyses the elaboration of what would be a proper soundscape of the Northeastern and how this elaboration passes trough the desire of crystallization of an idealized space, perpetual, escape line of the characteristic modernizing and postmodernizing experience of the twentieth century, product, in turn, of the anxiety of conservation of the Northeastern as a shelter to the traditions that has been evidenced by the construction of an visibility and, also, an audibility to the so called northeastern universe. It analyses, too, the way as works the confrontation between the idea of a so called northeastern soundscape - sonorous events set taken as typical from the rural space - and a sonorous archives series produced since 1920 with the regionalist discourse, showing how was elaborated an armorial music that has intended to represent the brazilian Northeastern. It evidences how, to the elaboration of armorial music, it was managed elements from the European musical culture so called scholar. It argues that the utilization of, to the manufacture of the armorial thinking and aesthetics, of a European mimical capital, so called that way by Stephen Greenblat, was consequence of the intellectual leadership of the Movement, centered in the writer Ariano Suassuna. It argues that Suassuna, followed by the musicians and the artists of the Movement, has searched to evidence a genetic linking between what he has considered the Brazilian true popular art and the medieval Iberian culture. For in such a way, the music was taken as a formation element of the social imaginary and directed to verify a relationship between the Northeastern idealized by the Armorial and the music produced by the Movement. This work has searched, therefore, through the analysis of the armorial music, to study the possible confluences between music and the space that has produced it to, by this analysis, to think the complicity between music and history

Canción popular, nacionalismo, consumo y política en Chile entre los años 40 y 60

Popular urban music is a typically modern cultural event. Its production, distribution and consumption occurred during the process of urbanization of Chile and in a period of growing availability of technological resources. The broadcasting by the mass media allowed popular urban music to reach a larger audience than the local public. Therefore it did not take long time for popular urban music to become a means of cultural homogenization within the parameters of the market system of production and distribution of music, in Chile. This article aims to map the connections between folk music and popular music, with the formation and consolidation of a consumer market for music in Chile. Besides it considers the use of popular music in the forfties and the sixties as a political tool by different groups of the Chilean society, during a time when arts were considered within the controversies about the national identity that arose in different Latin American countries.