Relatório de estágio: uma experiência de gestão do desporto na Associação de Basquetebol da Madeira

Estamos perante um mundo laboral em constante mutação, mais exigente e selecionador e a realidade desportiva não é exceção. Neste contexto, é indispensável ao profissional de desporto a obtenção de conhecimentos multidisciplinares e de relacionamento interpessoal, imperativos ao nível do desenvolvimento sustentável e continuado das organizações desportivas. Assim, para intervir no mundo do desporto, é necessário deter conhecimentos e competências específicas, que permitam, uma adequada intervenção nas mais diversas situações. Desta forma, surgiu a necessidade e motivação para a realização de um Estágio. Este foi efetivado na Associação de Basquetebol da Madeira, doravante designada (ABM), com a duração de 420 horas que decorreu no período de 1 de novembro de 2013 a 4 de julho 2014. A principal área de intervenção foi o planeamento e organização de eventos desportivos, sob a égide da associação. Tivemos igualmente oportunidade de intervir nas áreas do marketing, da pedagogia e da gestão de recursos. O estágio proporcionou-nos ainda a realização de um estudo, com o desígnio de identificar as possíveis causas e fatores do decréscimo do número de praticantes da modalidade, verificado nas últimas épocas desportivas, recorrendo a uma metodologia de análise qualitativa. Esta consistiu em entrevistar quinze dirigentes com responsabilidades técnicas e diretivas no basquetebol da Madeira e na Federação Portuguesa de Basquetebol. As principais conclusões deste estudo apontou para: (i) a redução sistemática dos apoios públicos, que dificultou e muito o normal funcionamento, quer dos clubes, como das Associações, (ii) uma atitude passiva dos clubes no sentido de adotarem estratégias tendencialmente autossustentáveis. As medidas mais referidas para melhorar a modalidade, visam uma melhor e mais exigente formação de técnicos e dirigentes. Relativamente às perspetivas futuras sobre a modalidade a médio prazo, os resultados são díspares: (i) indicam o risco da falta de clubes suficientes para haver competição, (ii) outros perspetivam que será uma modalidade com um crescimento sustentado.

Fenômeno vivido por familiares de pacientes internados em unidade de terapia intensiva

COMASSETTO, Isabel, ENDERS, Bertha Cruz. Fenômeno vivido por familiares de pacientes internados em Unidade de Terapia Intensiva. Revista Gaúcha de Enfermagem., Porto Alegre(RS), v.30,n., p.46-53. Mar. 2009. Disponivel em: < http://www.seer.ufrgs.br/index.php/RevistaGauchadeEnfermagem/search/results>.

Da atividade dialógica: aspectos lógicos

CRUZ, Ângela M. P.; Lycurgo, Tassos. Da atividade dialógica: aspectos lógicos. Revista Vivência, Natal, v. 26, p. 51-58, 2004.

Precificação de energia eólica offshore no Brasil

Offshore wind power emits low amounts of gases, is renewable and has better performance than onshore due to its greater stability and higher wind power density, less visual and noise impact, among others. Brazil has a high capacity of generation, but has not yet developed any offshore projects. High costs are a strong impediment. This study is an effort towards pricing offshore resources through Livelized Cost of Energy - LCOE, which represents the minimum return to cover the costs of development, production and maintenance of a wind project. Initially LCOE was calculated for all Brazilian onshore wind farms listed at Bloomberg New Energy Finance R○, accounting for 71 farms. Then hypothetical offshore wind farms were created from the onshore farms, tripling the cost of generation, which is consistent with the literature, and estimating the offshore energy for two locations off the Brazilian coast using satellite data extracted from National Oceanic and Atmospheric Administration. The results demonstrate that offshore resources have the potential to significantly reduce the energy price due to the better performance of the wind at sea

Gestão democrática nas escolas: a atuação dos diretores escolares e os desafios para sua consolidação na rede municipal de Natal/RN

The democratic management is a challenge for education, on the one hand for its actualization needs a link between the government and the educational institution. From that, research aims to understand the main challenges faced by the school administration to consolidate the management of public schools in Natal/RN. Against this context the methodology used was multiple cases, qualitative approach in which respondent were manager (director, deputy director and coordinator) of the four municipal schools and two representatives of the Democratic Management Commission of a Government departament of Education, Natal/RN. The analysis was made by peers, between schools that had grade superior IDEB that average stipulated by the federal government and two that had grade lower and between managers and representatives of the Secretary. Were used techniques of categorization and content analysis of the speeches of respondents. Was note that managers understand the importance of the participation about whole community in the democratic management, however only one school highlighted means of attracting the parents against to the difficulty of representing these. The lack of knowledge about the democratic management is evident mainly in the pair of schools with lower IDEB. That schools with a lower IDEB adhere to this management as a way to meet rules. So unanimous, the broad role of director hampers knowledge about the legislation. About relationship of the Government department with managers, there are some contradictions between the understanding of the role of the coordinator by managers and representatives of the Government department. It was perceptible the no uniformity about a good relationship between managers and Government department. It was notable features of democratic management in all school units, well as the efforts of the Government department in this scope. However there are also undemocratic features that deserve further study

Práticas de letramento digital de professores em formação: demandas, saberes e impactos

Over the last decades, the digital inclusion public policies have significantly invested in the purchase of hardwares and softwares in order to offer technology to the Brazilian public teaching institutions, specifically computers and broadband Internet. However, the teachers education to handle these artefacts is put away, even though there is some demand from the information society. With that, this dissertation chooses as an object of study the digital literacy practices performed by 38 (thirty-eight) teachers in initial and continuous education by means of the extension course Literacies and technologies: portuguese language teaching and cyberculture demands. In this direction, we aim at investigating the digital literacy practices of developing teachers in three specific moments: before, while and after this extension action with the intent to (i) delineate the digital literacy practices performed by the collaborators before the formative action; (ii) to narrate the literacy events made possible by the extension course; (iii) to investigate the contributions of the education course to the collaborators teaching practice. We sought theoretical contributions in the literacy studies (BAYNHAM, 1995; KLEIMAN, 1995; HAMILTON; BARTON; IVANIC, 2000), specifically when it comes to digital literacy (COPE, KALANTZIS, 2000; BUZATO, 2001, 2007, 2009; SNYDER, 2002, 2008; LANKSHEAR & KNOBEL, 2002, 2008) and teacher education (PERRENOUD, 2000; SILVA, 2001). Methodologically, this virtual ethnography study (KOZINETS, 1997; HINE, 2000) is inserted into the field of Applied Linguistics and adopts a quali-quantitative research approach (NUNAN, 1992; DÖRNYEI, 2006). The data analysis permitted to evidentiate that (i) before the course, the digital literacy practices focused on the personal and academic dimensions of their realities at the expense of the professional dimension; (ii) during the extension action, the teachers collaboratively took part in the hybrid study sessions, which had a pedagogical focus on the use of ICTs, accomplishing the use of digital literacy practices - unknown before that; (iii) after the course, the attitude of the collaborator teachers concerning the use of ICTs on their regular professional basis had changed, once those teachers started to effectively make use of them, promoting social visibility to what was produced in the school. We also observed that teachers in initial education acted as more experienced peers in collaborative learning process, offering support scaffolding (VYGOTSKY, 1978; BRUNER, 1985) to teachers in continuous education. This occurred because of the undergraduates actualize digital literacy practices were more sophisticated, besides the fact being integrate generation Y (PRENSKY, 2001)

Gerald Thomas e a (des)encenação do mundo : as paisagens visuais como grafia de intertextualidades, citações e hipertextos

This work is the result of a personal uneasy about the form and development taken by contemporaneous theater concerning its relationship with other media to create new hybrid organisms and organizing itself through new possibilities, connections, as well as with different levels of arrangements in the construction of the scene. The purpose of this research is to study the connections between the scene and the media within the context of the formation of hybrid organism wich is the key element. That stands for an aesthetic characteristic of the post-dramatic condition of contemporary theatre in Brazil. Thus, this work will investigate the concept of visual landscapes within the context of Gerald Thomas Sievers work in Brazil in the period of the first decade of twenty-first century having the play Rainha Mentira (2007) (Queen Liar, 2007) as the main empirical object of analysis, discussion and application of the framework developed in the text

O tema no processo criativo da asmarias companhia de teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.

Ampliação de movimentos na dança circular com pessoas com deficiência visual

This paper aims at studying how circular dance can afford to sight-disabled peoples movement and how they can learn to cope with the deep movement of relation, consciousness, appropriation and communion with the world. Inside circular dance, a cosmic metaphor, is inscribed the movement of the world, which tells and changes amorously the human history. In the works of Paulo Freire and Maurice Merleau-Ponty one can find the necessary support to discuss, as long as possible, movement and existence. Research-action is used as a methodological approach whose empirical center is placed on the Institute of Education and Rehabilitation of Blind, in Natal, which shelters eight sightdisabled adults. The research s data reveal that the practice of circular dance concurs to enlarge the movement of the research s subjects, to develop a more accurate perception of their selves and of their own capacities, as well as improve the relations Me/Others, Me/World, which require a context of differences. The study has revealed that the practice of dance develops a better perception of the limits and surpasses as a human condition and, in consequence, the discovery of one s own body and the other s body as a resource of lessons and representations of the self and of the world. It lets out the development of a new way of thinking and coping with discrimination surrounding the disabled persons. In movement, in circular dance, the barrier between sight disablement and vision loses force.

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process