Age and growth of Nassarius reticulatus in the Ria de Aveiro, north-west Portugal

Shell growth of the whelk Nassarius (¼Hinia) reticulatus was studied in the Ria de Aveiro (north-west Portugal) between 1995 and 1998. Temporal analysis of shell height frequency distributions demonstrated that growth occurs during the ¢rst ¢ve years of life, whelks attaining a size of 6.7^7.8 mm in the 1st year, 12.1^14.5 mm in the 2nd year, 18^19.5 mm in the 3rd year, 22.7^23.6 mm in the 4th year and by the 5th year males have achieved an average size of 25 mm whilst females have reached 27 mm. Age estimates from internal microscopic annual growth lines present in the shell lip suggest that large whelks may achieve a longevity of at least 11 years. External annual rings become less discernible as the whelks increase in size and estimates of their age based solely on ring counts can underestimate their age. In males sexual maturation is reached between the 3rd and 4th years whilst in females it is attained between the 4th and 5th years. Imposex was visible in 2 year old females and attained maximum development by the 5th year.

Percepção Ambiental em Museus Paisagens de Arte Contemporânea: a legibilidade dos museus Inhotim/Brasil e em Serralves/Portugal avaliada pelo público/visitante

This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment

Percepção Ambiental em Museus Paisagens de Arte Contemporânea: a legibilidade dos museus Inhotim/Brasil e em Serralves/Portugal avaliada pelo público/visitante

This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment

Ciência e cultura, coleções e museus: olhares sobre um «Portugal e a cultura europeia», no século XX…”,

Sob o signo de «Portugal e a cultura europeia», no século XX, faz-se uma incursão pela história da cultura científica que agrega Congressos científicos, Museus de História Natural e Coleções como cultura material. Artur Ricardo Jorge (1886-1972), naturalista e diretor do Museu Bocage em Lisboa, assume neste estudo o papel de protagonista para seguir o debate sobre o papel dos Museus de História Natural na política científica, na investigação e na educação científica. Um estudo de caso que permite confirmar uma agenda de história das práticas científicas e culturais sobre a participação de Portugal nas redes internacionais de troca de conhecimentos e de circulação científica, neste caso de Naturalistas/ Zoologia, no período do Estado Novo.

Folk culture and political power: practices and representations of moliceiro culture in Portugal, cultural sociology

This article analyses the painted panels of the moliceiro boat, a traditional working boat of the Ria de Aveiro region of Portugal. The article examines how the painted panels have been invented and reinvented over time. The boat and its panels are contextualized both within the changing socio-economic conditions of the Ria de Aveiro region, and the changing socio-political conditions of Portugal throughout the 20th century and until the present day. The article historically analyses the social significance of ‘moliceiro culture’, examining in particular the power relations it expresses and its ambiguous past and present relationships with the political and the economic powers of the Portuguese state. The article unpacks some of the complexity of the relations that have pertained between public and private, local and national, folk culture and ‘art’, and popular and institutional in the Ria de Aveiro region in particular, and Portugal more generally.

Fatores determinantes do (in)sucesso de clínicas/gabinetes particulares com a valência de terapia da fala nos distritos de Porto e Aveiro

A presente dissertação apresenta o resultado de uma pesquisa realizada, através da recolha de dados, nos distritos do Porto e Aveiro, onde foram analisados os fatores determinantes do (in)sucesso estratégico de clínicas/gabinetes (CG) particulares com a valência de terapia da fala (TF). Inicia com a apresentação de algumas considerações conceptuais relativas à empresa, organização e inovação. De seguida, são descritos os principais passos a dar em Portugal para a constituição de uma empresa e é feita uma abordagem aos temas da viabilidade estratégica de um projeto e do conceito de plano de negócios. A parte teórica do presente projeto de investigação encerra com os fatores de sucesso e insucesso empresarial descritos na literatura. Neste trabalho, procura-se analisar as principais determinantes de sobrevivência das novas empresas ligadas à área da TF. Para tal, procedeu-se à recolha de dados junto de proprietários e/ou gestores de CG particulares com TF, nos distritos de Porto e Aveiro, selecionados a partir da base de dados da Entidade Reguladora da Saúde (ERS), das Páginas Amarelas Online e da Internet com as palavraschave: “clínicas, gabinetes, terapia da fala”. Os resultados estatisticamente tratados e analisados evidenciam a importância dos seguintes fatores como estatisticamente significativos para o sucesso de uma CG privada com TF nos distritos de Porto e Aveiro: maior antiguidade da CG, maior número de utentes, de concorrentes e de TF a trabalhar, assim como a realização de rastreios na área da TF. Fatores como: proprietário com formação na área da gestão, maior número de valências, publicidade e acessibilidades na CG, parecem contribuir para o aumento das hipóteses de sobrevivência de CG particulares com TF nos distritos de Porto e Aveiro, ainda que não sejam estatisticamente significativos. Em contrapartida, a falta de um plano de negócios parece ser um fator que influencia o insucesso destas CG.

Domitila Carvalho : a primeira mulher licenciada em Portugal

Domitila Hormizinda Miranda de Carvalho nasceu em Travanca da Feira (Aveiro) a 10 de abril de 1871. Ao completar o ensino secundário com excelentes notas. Requereu o seu ingresso na Universidade de Coimbra ao Magnífico Reitor e tornou-se a primeira mulher, depois da reforma universitária de 1772, a ser admitida no ensino superior, onde se matriculou em outubro de 1891. Domitila frequentou os cursos de Matemática e Filosofia, que concluiu com distinção em 1894 e 1895, respetivamente. De seguida, ingressou em Medicina e até 1896 foi a única aluna da Universidade. Em 1904 doutorou-se em Medicina com 16 valores, tendo sido apadrinhada pela rainha D. Amélia de Orleães.

Le Crétacé terminal de Beira Litoral, Portugal: remarques stratigraphiques et écologiques,étude complémentaire de Rosasia soutoi (Chelonii, Bothremydidae)

The synthetic study of the uppermost Cretaceous of the Beira Litoral (fauna, flora) confirms its upper Campanian-Maastrichtian age. It shows the presence of a tropical to subtropical climate in an area constituted by a low coastal plain only occasionally linked to the sea, saturated with fresh water and possessing accordingly, a predominantely freshwater fauna (Viso, Aveiro); this plain changed towards the interior into a drier more forested zone with a more abundant terrestrial fauna which includes mammals (Taveiro). A thorough study of the chelonian Rosasia, abundant on the coastal plain, was made possible thanks to the discovery of a skull: it demonstrates that the genus belongs to the family Bothremydidae, revalided here. The composition of this family is presented, its phylogenetic and paleobiogeographic relation with the other pleurodires are analyzed, and its diagnosis established. The family is constituted of three groups; Rosasia belongs to one of these, the Bothremys group.

Le Crétacé terminal de Beira Litoral, Portugal: remarques stratigraphiques et écologiques, étude complémentaire de Rosasia soutoi (Cbelonii, Bothremydidae)

The synthetic study of the uppermost Cretaceous of the Beira Litoral (fauna, floral confirms its upper Campanian-Maastrichtian age. It shows the presence of a tropical to subtropical climate in an area constituted by a low coastal plain only occasionally linked to the sea, saturared with fresh water and possessing accordingly, a predominantely freshwater fauna (Viso, Aveiro); this plain changed towards the interior into a drier more forested zone with a more abundant terrestrial fauna which includes mammals (Taveiro). A thorough study of the chelonian Rosasia, abundant on the coastal plain, was made possible thanks to the discovery of a skull: it demonstrates that the genus belongs to the family Bothremydidae, revalided here. The composition of this family is presented, its phylogenetic and paleobiogeographic relation with the other pleurodires are analyzed, and its diagnosis established. The family is constituted of three groups; Rosasia belongs to one of rhese, the Bothremys group.

Dinossauros e Portugal: dois casos menos conhecidos

After some remarks on the protection of sites recognized as most interesting, two less known items about dinosaurs and Portugal are dealt with. The first of theme concerns the first published account on dinosaur tracks. Jacinto Pedro Gomes, then (1884) preparing a report on the Cabo Mondego coal mines, was told of the occurrence of large footprint casts that subsequently were sent to the Museum of the Escola Politécnica in Lisbon. Gomes has shown drawings of them to B. Geinitz (Dresden), who ascribed the casts to dinosaurs. Karl Zittel (München), corroborated this viewpoint, and Louis Dollo (Brussels) reported them to Ornithopods. A posthumous note by GOMES (1915-1916) is the first scientific paper on dinosaur tracks in Portugal. However, it is not the first published report. João Bonança, a reporter, presented in his large book "HISTORIA / DA / LUZITANIA E DA IBERIA ..." (1891), a new (both irrealistic and useless) stratigraphic classification. He also replaced Zoological and Botanic Nomenclature by another one devised by him. Having seen the footprint casts at the Museum of the Escola Politécnica, he referred bird or dinosaur footprints in Cabo Mondego's Upper Jurassic, this being the first published report on such fossils as far as Portugal is concerned. The second theme is about Late Cretaceous dinosaurs from Viso, Aveiro and Taveiro. Faunas are marked by generalized nannism, and seem impoverished by previous extinctions of larger forms; their probable insular character has been acknowledged. Extinctions may well be explained by non-catastrophic causes. The general fall of temperatures may have been far more important.

Governança das Pescas em Portugal Continental e a Interacção entre os Grupos de Intervenientes: O Caso de Estudo da Pesca Artesanal na Murtosa

Trabalho de Projecto de Mestrado em Sociologia – Território Cidade e Ambiente

Preservar o futuro: a salvaguarda e o restauro de arquivos sonoros em França e em Portugal. Três intervenções de restauro

Trabalho de Projeto apresentado para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Artes Musicais

Da coleção ao museu: o colecionismo privado de arte moderna e contemporânea em Portugal

Neste artigo, estuda-se a formação de quatro coleções de arte moderna e contemporânea de proveniência particular – José-Augusto França, Manuel de Brito, José Berardo e António Cachola – que originaram um núcleo, um centro de arte e dois museus, em espaços públicos adaptados à sua nova função. Essa musealização é, contudo, problematizada porque as coleções poderão retornar ao espaço privado da sua propriedade, após o período de duração dos respetivos protocolos

Corrupção Política em Portugal : O Jornalismo Judiciário como «Denunciante»

A relação entre a Justiça e os media gerou, desde sempre, um debate controverso nas sociedades. Há opiniões que advogam um afastamento total entre as duas áreas, em nome da imparcialidade e do rigor; outras vozes defendem a possibilidade de construção de pontes que favoreçam o dever de informar enquanto bem público, essencial à concretização de uma verdadeira democracia. A presente dissertação pretende averiguar o papel do jornalismo judiciário na «denúncia» de casos de corrupção política em Portugal. Pode o jornalismo assumir uma função de «denunciante»? Estarão os jornalistas preparados para essa tarefa? É necessária uma maior aposta ao nível da formação de jornalistas? A todas estas questões procurámos dar resposta nas páginas que se seguem. A contextualização histórica e a referência a alguns dos casos de corrupção mais mediáticos da última década em Portugal ocupam a primeira parte da dissertação; pareceu-nos relevante revisitar alguns processos conhecidos do grande público para melhor enquadrar a problemática abordada, uma vez que os temas da justiça marcaram presença na imprensa, desde sempre. O relato que a comunicação social faz sobre os casos de corrupção política é objeto de reflexão na segunda parte da tese, tendo em conta os valores-notícia. Selecionámos a cobertura mediática do processo Face Oculta pelo jornal Público e pelo Correio da Manhã como caso de estudo e direcionámos a nossa análise em três fases distintas: divulgação pública da investigação da Polícia Judiciária (outubro de 2009), início do julgamento no Tribunal de Aveiro (novembro de 2011) e leitura do acórdão (setembro de 2014). Para melhor nos documentarmos sobre o processo, entrevistámos agentes da Justiça e dos media, que nos apresentaram a sua perspetiva sobre questões como o segredo de justiça ou a possível criação de gabinetes de imprensa nos tribunais. Na terceira e última parte da dissertação, procurámos enquadrar um conjunto de recomendações quer ao campo da justiça, quer ao campo mediático, com vista a uma relação profícua entre ambos e à concretização de um trabalho pedagógico no combate e na prevenção da corrupção política. Ao longo desta investigação, verifica-se que houve já alguns avanços na comunicação da justiça, mas conclui-se também que há ainda muito caminho a percorrer.

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.