Qualidade microbiológica de peixes e frutos do mar em Botucatu, SP

whole world. The world production of fish is around 100 million tons/year and 70% of them is destined exclusively to the human feeding. The fish and derived have a great importance in the human diet, contributing with ¼ of offer of protein of animal origin. Sseafood and fish are health, because they are rich in proteins, vitamins, micronutrients and insatured fats. However, one of the most important themes, in public health, refers to the safe food. Only in the USA, 76 million case of foodborne diseases occurs every year, with 325 thousand hospitalized and 5 thousand deaths. According to the microbiological parameters, the Brazilian Food Sanitation Standard (Decree No. 12, 2001) defined that fish, roes of fish, crustaceans and mollusks in natura cooled or frozen, no consumed raw should present up to 103 MPN of coagulase positive Staphylococcus in the absence of Salmonella in 25g. Based on this, this work verified the microbiological quality of fish and seafood retailed in supermarkets and fish store in Botucatu city. A hundred samples were analyzed, being 65 frozen (65%) and 35 cooled (35%). The samples included various kinds of fish and seafood. Among the frozen samples, 31 were fish and 34 seafood. About the cooled ones, 28 were fish and 7 seafood. The methods used for analysis are in agreement with APHA (2001). The samples were acquired in 4 establishments (3 supermarkets and a fish store). Ina total of 100 samples, all were negative to coagulase positive Staphylococcus and 2 were positive for Salmonella (2%). According to the results, we conclude that the presence of Salmonella is a risk factor for the consumers' health and these foods should not be consumed raw. In spite of the freezing to be a good conservation way, this process doesn't totally eliminate the pathogens of the food

Expressão, purificação e caracterização de proteínas dos fitovírus SBMV e RSPaV

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

Sistema nervoso central de Hypoptopomatinae e Neoplecostominae (Siluriformes: Loricariidae): implicações filogenéticas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A new armored catfish species of the genus Hypostomus Lacepede, 1803 (Siluriformes: Loricariidae) from the upper rio Xingu basin, Brazil

A new armored catfish species of the genus Hypostomus is described from the upper rio Xingu basin, Mato Grosso State, Brazil. The new species is diagnosed from congeners by having high number of teeth (58 to 101, mean 77 on premaxilla, and 58 to 105, mean 80 on dentary), dark spots over body and fins, and abdomen mostly naked. The new species is known from the rapids of the rio Culuene, where it is sympatric with Hypostomus faveolus.

A new armored catfish species of the genus Hypostomus Lacépède, 1803 (Siluriformes: Loricariidae) from the upper rio Xingu basin, Brazil

A new armored catfish species of the genus Hypostomus is described from the upper rio Xingu basin, Mato Grosso State, Brazil. The new species is diagnosed from congeners by having high number of teeth (58 to 101, mean 77 on premaxilla, and 58 to 105, mean 80 on dentary), dark spots over body and fins, and abdomen mostly naked. The new species is known from the rapids of the rio Culuene, where it is sympatric with Hypostomus faveolus.

Areia sob os pés da alma: uma leitura da vida e obra de Oswaldo Lamartine de Faria

This study followed the development of Oswaldo Lamartine de Faria as an intellectual, with the aim of establishing the emergence of that de Faria’s work under the umbrella of the sertão (hinterland) in Northeast Brazil. It accompanied the emergence of the researcher, his discovery of his mission to study the sertão in Seridó and the vital importance of his relationship with Luís da Câmara Cascudo, since despite being a natural born observer, Oswaldo Lamartine embarked on a career as a researcher after encouragement by Cascudo. The first chapter of this study, denominated The Gates of Time, portrays the country during the drought of 1919, the year Lamartine was born. It describes his childhood and first encounters with Câmara Cascudo; his urban exile in Rio de Janeiro; the books written by the young Oswaldo, those that came later, and his definitive return to the state of Rio Grande do Norte. The following two chapters, Sand beneath the Feet of the Soul and Images of a Nobleman from the Sertão, summarize Lamartine’s books and describe his entry into the canon of the state’s culture, with particular prominence given to his interview for the documentary “Oswaldo Lamartine: prince of the sertão”, highlighting his attempt (through his writing) to preserve his own existence. In the second section, Verses, Bold, Between the Lines features analyses of texts dedicated to Oswaldo Lamartine, such as those written by de Zila Mamede, Maria Lúcia Dal Farra and Paulo de Tarso Correia de Melo. The next chapter, entitled Warm and Vivid Ashes, highlights Lamartine’s correspondence with Luís da Câmara Cascudo and the incredible friendship between the two researchers. Cascudo’s letters are analyzed through the book De Cascudo para Oswaldo (From Cascudo to Oswaldo) and and are a powerful testimony of Oswaldo Lamartine’s permanent connection to Rio Grande do Norte. In conclusion, the final chapter entitled Combine, Tattoo, Imprint analyzes the writer’s five-book collection entitled Sertões do Seridó (Hinterlands of Seridó). In reading each of these, it becomes clear that observing reality was vital to the writer’s work. This is one of the first studies to be conducted about Oswaldo Lamartine at the Federal University of Rio Grande do Norte and its main theoretical references were the reflections of authors Jacques Le Goff (2003), Lejeune (1994; 2008), Maurice Blanchot (1987; 2005), Alfredo Bosi (1987) and Gaston Bachelard (n.d.).

Os programas de incentivo à cultura e o processo de fomento às organizações culturais no Rio Grande do Norte: o caso da Casa da Ribeira em Natal

Since the emergence of the first demands for actions that were intended to give greater attention to culture in Brazil, came the first discussions which concerned the way the Brazilian government could have a positive influence in encouraging the culture, as is its interaction with the actors interested and involved with the cause. During the military dictatorship, there were programs which relied on the direct participation of the State to ensure that right, from the viewpoint of its support and implementation of public resources in developing the "cultural product" to be brought to society in its various forms of expression - all this, funded by the government. It is an example of "EMBRAFILMES" and "Projeto Seis e Meia", continued until the present day in some regions of the country, though maintained by entities not directly connected with the administration or the government. However, it was from the period of democratization and the end of the dictatorship that the Brazilian government began to look at the different culture, under its guarantee to the society. Came the first incentive laws, led by "Lei Sarney" Nº 7.505/86, which was culture as a segment which could receive foreign assistance in order to assist the government in fulfilling its public duty. After Collor era and the end of the embargo through the encouragement of culture incentive laws, consolidated the incentive model proposed in advance of Culture "Lei Sarney" and the federal laws, state and local regimentares as close to this action. This applies to the Rouanet Law (Lei Rouanet), Câmara Cascudo Law (Lei Câmara Cascudo) and Djalma Maranhão Cultural Incentive Law (Lei de Incentivo à Cultura Djalma Maranhão), existing in Natal and Rio Grande do Norte. Since then, business entities could help groups and cultural organizations to keep their work from the political sponsorship under control and regiment through the Brazilian state in the form of their Cultural Incentive Law. This framework has contributed to the strengthening of NGOs and with the consolidation of these institutions as the linchpin of Republican guaranteeing the right to access to culture, but corporate social responsibility was the one who took off in the segment treated here, through the actions of Responsibility Cultural enterprises arising from the Cultural Organizations. Therefore, in the face of this discourse, this study ascertains the process of encouraging the Culture in Rio Grande do Norte from the Deviant Case Analysis at the Casa da Ribeira, the main Cultural Organization that operates, focused action in Natal in order to assess the relationships established between the same entity and the institutions which are entitled to maintain the process of encouraging treated in this study - Enterprise, from the viewpoint of corporate sponsorship and Cultural Responsibility and State in the form of the Laws Incentive Funds and Public Culture Incentive

Os programas de incentivo à cultura e o processo de fomento às organizações culturais no Rio Grande do Norte: o caso da Casa da Ribeira em Natal

Since the emergence of the first demands for actions that were intended to give greater attention to culture in Brazil, came the first discussions which concerned the way the Brazilian government could have a positive influence in encouraging the culture, as is its interaction with the actors interested and involved with the cause. During the military dictatorship, there were programs which relied on the direct participation of the State to ensure that right, from the viewpoint of its support and implementation of public resources in developing the "cultural product" to be brought to society in its various forms of expression - all this, funded by the government. It is an example of "EMBRAFILMES" and "Projeto Seis e Meia", continued until the present day in some regions of the country, though maintained by entities not directly connected with the administration or the government. However, it was from the period of democratization and the end of the dictatorship that the Brazilian government began to look at the different culture, under its guarantee to the society. Came the first incentive laws, led by "Lei Sarney" Nº 7.505/86, which was culture as a segment which could receive foreign assistance in order to assist the government in fulfilling its public duty. After Collor era and the end of the embargo through the encouragement of culture incentive laws, consolidated the incentive model proposed in advance of Culture "Lei Sarney" and the federal laws, state and local regimentares as close to this action. This applies to the Rouanet Law (Lei Rouanet), Câmara Cascudo Law (Lei Câmara Cascudo) and Djalma Maranhão Cultural Incentive Law (Lei de Incentivo à Cultura Djalma Maranhão), existing in Natal and Rio Grande do Norte. Since then, business entities could help groups and cultural organizations to keep their work from the political sponsorship under control and regiment through the Brazilian state in the form of their Cultural Incentive Law. This framework has contributed to the strengthening of NGOs and with the consolidation of these institutions as the linchpin of Republican guaranteeing the right to access to culture, but corporate social responsibility was the one who took off in the segment treated here, through the actions of Responsibility Cultural enterprises arising from the Cultural Organizations. Therefore, in the face of this discourse, this study ascertains the process of encouraging the Culture in Rio Grande do Norte from the Deviant Case Analysis at the Casa da Ribeira, the main Cultural Organization that operates, focused action in Natal in order to assess the relationships established between the same entity and the institutions which are entitled to maintain the process of encouraging treated in this study - Enterprise, from the viewpoint of corporate sponsorship and Cultural Responsibility and State in the form of the Laws Incentive Funds and Public Culture Incentive

Plantas forrageiras das caatingas: usos e potencialidades.

Coleta de analises; descricao e usos das especies: camaratuba, carqueija, catingueira-verdadeira, espinheiro/jacurutu/jiquiri, facheiro, favela/faveleira, feijao-brabo, imbuzeiro/umbuzeiro, juazeiro, jurema-preta, jurema-vermelha, macambira, mandacaru/mandacaru-de-boi, manicoba, marmeleiro/marmeleiro-preto, moleque-duro, mororo/unha-de-vaca, quebra-faca, sabia, sete-cascas/cascudo/pau-de-casca. Comentarios gerais e recomendacoes.

Isolation and characterization of Flavobacterium columnare (Bernardet et al. 2002) from four tropical fish species in Brazil

Flavobacterium columnare é o agente etiológico da columnariose em peixes de água doce, ocasionando enfermidade na pele e nas brânquias, provocando freqüentemente um grande número de mortalidade. O objetivo deste estudo foi o isolamento e a caracterização de Flavobacterium columnare em peixes tropicais no Brasil. Piracanjuba (Brycon orbignyanus), pacu (Piaractus mesopotamicus), tambaqui (Colossoma macropomum) e cascudo (Hypostomus plecostomus) foram examinados externamente com relação a sinais característicos de columnariose, como manchas acinzentadas na cabeça, região dorsal e pedúnculo caudal dos peixes. A amostragem compreendeu a coleta de 50 exemplares de peixes, representando as quatro diferentes espécies escolhidas para este estudo. Amostras para o isolamento foram obtidas através de raspado com swab estéril das lesões e do rim dos peixes clinicamente diagnosticados como acometidos por columnarios e imediatamente semeados em meios de culturas artificiais (líquido e sólido) próprios para o estudo de Flavobacterium segundo Carlson e Pacha (1968). No meio líquido, houve o desenvolvimento de microrganismos que observados em gota pendente apresentaram a forma de bacilos finos, longos, móveis por deslizamento. Através da coloração de Gram, apresentaram morfologia de bacilos finos, Gram negativos, agrupados em colunas. em meio sólido, as colônias eram pequenas, cinza-amareladas, com borda em forma de raiz. No total, foram obtidos quatro isolamentos: 01 cepa de Brycon orbignyanus; 01 cepa de Piaractus mesopotamicus; 01 cepa de Colossoma macropomum; e 01 cepa de Hypostomus plecostomus. A caracterização bioquímica das amostras, como absorção do vermelho Congo, produção de flexirrubina, produção de H2S e redução do nitrato, sugere que os isolamentos poderiam ser classificados como Flavobacterium columnare.

Histórias de Gatos Livres na Literatura Infantil de Sylvia Orthof

Sylvia Orthof (1932-1997) consagrou-se como uma das mais importantes escritoras da literatura infantil brasileira. Entre suas temáticas recorrentes, os animais não humanos figuram em profusão, assim sendo, este estudo objetiva verificar a destacada presença dos gatos na obra da autora arrolada, e mais especificamente os bichanos não domésticos vivenciando momentos de especial cumplicidade com outros seres não humanos. Para tanto, realiza a análise dos seguintes textos zooliterários - o conto de animais História engatada e da fábula poética Gato pra cá, rato pra lá. As formulações críticas e teóricas, nomeadamente, de Jacques Derrida (2011) e (2003), Nelly Novaes Coelho (1991) e Fanny Abramovich (1999) fundamentam a leitura.

A Memória Coletiva Como Espaço da Literatura Infantojuvenil: O Diabo, Um Personagem Literário Popular nos Contos Infantis

A partir do século XVII, inúmeros autores, como os irmãos Grimm e Hans Christian Andersen, pesquisaram e, posteriormente, publicaram histórias baseadas no folclore popular europeu. Como o período em que tais fenômenos ocorreram converge com o nascimento da família burguesa, que redirecionou a visão acerca da criança, as histórias produzidas por esses autores acabaram por ser adaptadas ao universo infantil. A figura do diabo fazia parte da memória coletiva europeia, sua presença é notadamente perceptível no ideário da Idade Média, logo, a inserção desse personagem em obras fictícias para crianças tornou-se comum nos enredos infantis da época. O artigo analisará, em alguns contos produzidos entre os séculos XVIII e XIX, as similitudes perceptíveis na criação do personagem, e comprovará seu caráter folclórico, bem como sua construção literária a partir de um denominador coletivo comum: a memória popular, que inspirou as primeiras histórias infantis, uma vez que o gênero antes de ocupar o espaço da escrita, esteve presente na memória dos povos e foi levada de geração a geração por meio da oralidade.