Análisis financiero de la Unión de Cooperativas de Cafes Especiales Cordillera Isabelia R.L. (UCCEI-RL), Matagalpa, 2010-2013

El Análisis Financiero se utiliza para diagnosticar la situación y perspectiva interna, sin embargo, evaluar la capacidad de una cooperativa para permanecer solvente involucra mucho más que evaluar los recursos líquidos disponibles al cierre de un período contable, se debe tomar en cuenta, cuánto efectivo recibe la empresa durante el año, cuáles son las fuentes de ingresos de efectivo, a cuánto ascienden los desembolsos que se han hecho en el año. Para responder a estas interrogantes se hace necesario analizar el comportamiento de los indicadores financieros de la cooperativa. El trabajo consiste en un estudio de caso que tiene por objetivo analizar la sostenibilidad financiera de la la Unión de Cooperativas de Cafés Especiales Cordillera Isabelia R.L (UCCEI - R.L), Matagalpa, 2010 – 2013, a través del análisis de los principales indicadores fianacieros aplicables a la cooperativa: estructur a de costos, análisis financiero mediante el metodo dinàmico, punto de equilibrio, ratios financieros. La investigación es cuantitativa, no experimental basada en un estudio de caso, retrospectiva de corte transversal, se centra en el análisis financiero de la Unión de Cooperativas de Cafés Especiales Cordillera Isabelia R.L. Para la realización del trabajo se consolidó informacion contable de la empresa para la obtención de estructuras de costos, estados financieros, cálculos de los ratios y punto de equilibrio. Los servicios que oferta la empresa, son el beneficiado de café pergamino y la comercialización de café oro verde, de estos dos servicios en el que se incurre en mayores costos es en el servicio de beneficiado de café. La relación ingresos versus costos de producción total en cada uno de los servicios ofertados, el servicio que genera mayores ingresos es la comercialización (exportación), teniendo un comportamiento creciente en los cuatro periodos en estudio. En cambio, el servicio de beneficiado presenta un déficit en los ingresos, esto por la tarifa de venta establecida en los estatutos de UCCEI, la cual, se mantiene desde hace cinco años en 0.198 centavos dólar por kilogramo, menor a la tarifa de mercado que es de 0.33 centavos dó lar por kilogra mo beneficiado. El punto de equilibrio fue superado en los periodos 2011 al 2013, lo que significa que se han recuperado los costos variables, más los costos fijos asociados a las operaciones de la empresa, permitiendo la obtención de excedentes en estos periodos. La empresa cooperativa, ha sido una empresa Suficientemente sólida, evidenciándose en el comportamiento de los activos versus pasivos, donde los activos circulantes promedios en los cuatro periodos (60.71 por ciento) son mayores a los pasivos circulantes promedios (54.90 por ciento). En el analisis de la rentabilidad por el metodo Dupont, demuestra que no se obtuvo rentabilidad en el 2010, sino hasta el año 2011 con 0.05, incrementando en el 2012 a 0.10 y disminuyò en el 2013 a 0.09, por la baja de los ingresos por ventas y por ende de los excedentes. La empresa cooperativa es sostenible en términos financieros tomando en cuenta el comportamiento de los principales indicadores financieros, punto de equilibrio y la rentabilidad

Calidad física –organoléptica del café (Coffea arabica L.), en manejo orgánico y manejo convencional en fincas de San Juan del Río Coco - Madriz, ciclo 2013-2014

El café (Coffeaarabica L.) de Nicaragua se caracteriza por su alta calidad, lo que lo lleva a competir entre los cafés especia les que son cotizados internacionalmente, mediante el concurso de taza de la excelencia del café. La calidad del café es un atributo multifactorial que puede ser afectado por la altura y factores de manejo en la etapa de producción, así como durante la cosecha, beneficiado y transporte. El objetivo del estudio fue evaluar la calidad física y organoléptica del café en fincas localizadas en tres zonas altitudinales de San Juan del Río Coco, Madriz , durante la zafra cafetalera 2013 - 2014 . Se colectaron muestras de café en seis fincas con manejo orgánico y seis fincas con manejo convencional, localizadas en tres niveles de altura (771 - 892; 984 - 1 ,064 y 1 , 209 - 1 , 327 msnm) . A las muestras se les hizo análisis físico y organoléptico en los laboratorios de calidad de la Central de Cooperativas PRODECOOP R.L. - Palacagüina - Madriz . Se hizo una caracterización de cada finca, incluyendo el manejo cultural y fitosanitario , tipo de suelo, incidencia de plagas y características socioeconómicas. Los resultados indican que de las muestras de las fincas la calificación obtenida osciló entre 79 y 82 puntos porcentuales de calidad, observándose una finca con manejo orgánico y una con manejo convencional con el mayor puntaje, ubicadas a 1 , 238 y 1 , 327 msnm respectivamente. Fincas a al turas medias mostraron resultados medios, sin embargo las muestras de fincas de baja altitud mostraron calificación alta y también la menor calificación.

Seis passeios pelas praias de uma ficção: notas sobre algumas movimentações de drag queens na cidade do Rio de Janeiro

O presente trabalho tem por objetivo traçar breves notas sobre algumas movimentações de drag queens e outras artistas da travestilidade que tiveram lugar na cidade do Rio de Janeiro, nos anos de 2009 e 2010. Através de um trabalho de observação participante, foram selecionados alguns locais e espetáculos que poderiam ser representativos desta categoria artística, não se pretendendo um levantamento extenso sobre quem são e onde estão tais artistas. Nomeio como artistas da travestilidade aqueles corpos que têm o ato de travestir-se como central em sua construção artístico-cultural, principalmente construindo corporalidades baseadas em um gênero diferente daquele identificado socialmente no nascimento, como drag queens, atores transformistas, travestis e transexuais artistas. Apoiando-me em pressupostos dos métodos cartográfico e etnográfico assumi, nesta dissertação, o posicionamento de um pesquisador-espectador, objetivando o contato com aquilo que drag queens e outras artistas da travestilidade desejam tornar público, ou seja, seus shows e espetáculos. Acompanhei diversas apresentações deste tipo em teatros, boates, bares e clubes de bairro, bem como em outros locais nos quais se fizeram presentes, como na Parada do Orgulho LGBT do Rio de Janeiro e em alguns blocos do carnaval carioca. Tendo ainda como campo de diálogo alguns postulados da Esquizoanálise vertente teórica fundamentada principalmente nas contribuições de Gilles Deleuze e Félix Guattari , pretendi situar e afirmar as drag queens e a arte da travestilidade dentro dos estudos de gênero e sexualidade, principalmente aqueles mais diretamente relacionados às manifestações de uma subcultura camp e cultura gay e/ou homossexual.

Accents of Chopin anniversaries in territories annexed by Prussia

This article discusses the way in which the Chopin Year of 1910 was celebrated in Wielkopolska. It presents a script prepared in the nineteenth century and shows similarities with celebrations of Mickiewicz and other Polish heroes and artists. Invariably used in such commemorations was a “symbolic capital” that made it easier to create an intergenerational code, thereby disseminating knowledge of national culture and history. A significant role was played in 1910 by a centenary panel, which produced “Guidelines for popular Chopin celebrations” and also many occasional, popular materials. Chopin’s induction into the national pantheon involved the use of audio material (vocal and instrumental concerts), verbal material (articles, poems, lectures and brochures) and also a visual code (anniversary window stickers, tableaux vivants or tableaux illuminés). Illuminated pictures – recommended by a catalogue of slides produced in Poznań – stimulated the imagination of the masses and served as a guide through the composer’s life and work, and their impact was enhanced by a commentary. Most of the living pictures were probably inspired by Henryk Siemiradzki’s canvas Chopin grający na fortepianie w salonie księcia Radziwiłła [Chopin playing the piano in Prince Radziwiłł’s salon] and Józef Męcina Krzesz’s painting Ostatnie akordy Chopina [Chopin’s last chords]. This combination of codes made it possible to create a model adapted to the times and to the expectations of a mass audience. The Chopin anniversary, in which admiration was inseparably intertwined with manipulation, was a pretext for strengthening the national identity.

The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes

The enculturation of Irish traditional musicians involves informal, non-formal, and sometimes formal learning processes in a number of different settings, including traditional music sessions, workshops, festivals, and classes. Irish traditional musicians also learn directly from family, peers, and mentors and by using various forms of technology. Each experience contributes to the enculturation process in meaningful and complementary ways. The ethnographic research discussed in this dissertation suggests that within Irish traditional music culture, enculturation occurs most effectively when learners experience a multitude of learning practices. A variety of experiences insures that novices receive multiple opportunities for engagement and learning. If a learner finds one learning practice ineffective, there are other avenues of enculturation. This thesis explores the musical enculturation of Irish traditional musicians. It focuses on the process of becoming a musician by drawing on methodologies and theories from ethnomusicology, education, and Irish traditional music studies. Data was gathered through multiple ethnographic methodologies. Fieldwork based on participant-observation was carried out in a variety of learning contexts, including traditional music sessions, festivals, workshops, and weekly classes. Additionally, interviews with twenty accomplished Irish traditional musicians provide diverse narratives and firsthand insight into musical development and enculturation. These and other methodologies are discussed in Chapter 1. The three main chapters of the thesis explore various common learning experiences. Chapter 2 explores how Irish traditional musicians learn during social and musical interactions between peers, mentors, and family members, and focuses on live music-making which occurs in private homes, sessions, and concerts. These informal and non-formal learning experiences primarily take place outside of organizations and institutions. The interview data suggests these learning experiences are perhaps the most pervasive and influential in terms of musical enculturation. Chapter 3 discusses learning experience in more organized settings, such as traditional music classes, workshops, summer schools, and festivals. The role of organizations such as Comhaltas Ceoltóirí Éireann and pipers’ clubs are discussed from the point of view of the learner. Many of the learning experiences explored in this chapter are informal, non-formal, and sometimes formal in nature, depending on the philosophy of the organization, institution, and individual teacher. The interview data and field observations indicate that learning in these contexts is common and plays a significant role in enculturation, particularly for traditional musicians who were born during and after the 1970s. Chapter 4 explores the ways Irish traditional musicians use technology, including written sources, phonography, videography, websites, and emerging technologies, during the enculturation process. Each type of technology presents different educational implications, and traditional musicians use these technologies in diverse ways and some more than others. For this, and other reasons, technology plays a complex role during the process of musical enculturation. Drawing on themes which emerge during Chapter 2, 3, and 4, the final chapter of this dissertation explores overarching patterns of enculturation within Irish traditional music culture. This ethnographic work suggests that longevity of participation and engagement in multiple learning and performance opportunities foster the enculturation of Irish traditional musicians. Through numerous and prolonged participation in music-making, novices become accustomed to and learn musical, social, and cultural behaviours. The final chapter also explores interconnections between learning experiences and also proposes directions for future research.

Selected Works from Character Pieces in the 19th - Early 20th Centuries

During the Romantic Era, the character piece flourished and became one of the most important genres. Even though character pieces existed as early as the eighteenth century, it was not until the nineteenth century that Romantic Era literary figures discovered that music was as powerful as any other artistic medium in expressing unspeakable emotions. The character piece allowed composers to express a definite mood, a programmatic idea, or a pictorial association. Character pieces often have titles that suggest briehess or casualness, such as a Beethoven Bagatelle, a Schubert Impromptu or Moment musicaux. Others have expressive programmatic titles, such as Schumann's Kreisleriana and Liszt's Apres une lecture de Dante. Ths dissertation was based on selected works from the nineteenth century and early-twentieth century in order to demonstrate the great variety of musical thought and stylistic development. I have examined composers from different countries and of different nationalities to establish what and how they contributed to the remarkable diversity in this genre. The selected works allowed for very personal programs. These concerts, in addition to being good combinations of pieces, are representative of the genre. The first program consisted of Chopin's Preludes, Op. 28; three pieces from Debussy7s Images Books I and 11; and Liszt7s Apres une lecture de Dante. The second program included seven of Beethoven's Bagatelles, Op. 33; Schumann's Kinderscenen, Op. 15; Poulenc's Mouvements perpetuels and Intermezzo in A-jlat Major; Faure7s Nocturne in B Major, Op. 33, No. 2 and Impromptu No. 2 in F Minor; three of Mompou's Canciones y Danzas; four of Villa-Lobos Prole do bebe Suite No. 1; and Albkniz's Navarra. The third and final program comprised four selections from Rachrnaninoff s Moment musicaux, Op. 16; five pieces from Grieg's Lyric Pieces; and Arensky7s Suite No. 1 for Two Pianos and Suite No. 2 for Two Pianos. I wanted to bring out nuances specific to the individual composers and show how their character pieces helped in shaping the Romantic Era. Even in the twenty-first century, an era of highly specialized musical tastes, the popularity and accessibility of character pieces stand out.

CABARET: MIRROR OF SOCIETIES

The basic definition of a cabaret is a café that offers live entertainment performed by singers, musicians and dancers and serves food and drink. It is generally housed in small, intimate spaces. Starting in the middle of the nineteenth century, artists, composers and writers met at Parisian cafés and salons to share their works. The cabaret was a suitable place for social activities. Artists could meet, discuss their opinions, and share their art in a relaxed setting. Even though cabaret music was often based on popular idioms, social and political commentary coupled with satirical settings represented the true soul of the genre. This trend flourished in the late nineteenth and early twentieth centuries. The first cabaret in Paris, Le Chat Noir inspired the growth of similar places in major cities throughout Europe besides Paris. The three recitals that comprise this dissertation project were performed at University of Maryland venues: the Robert & Arlene Kogod Theatre on 11 May 2011, Ulrich Recital Hall on 4 December 2011, and Gildenhorn Recital Hall on 4 March 2012. The repertoire for the first recital included works by Erik Satie with mezzo-soprano Monica Soto-Gil, Friedrich Hollaender with soprano Gabrielle DeMers, William Bolcom with baritone Ethan Watermeier and mezzo-soprano Stepanie Sadownik, and Poulenc with baritone Andrew McLaughlin. André Previn‘s Tango Song and Dance with violinist Jennifer Kim served as the instrumental interlude. The second recital included songs by Friedrich Hollaender with mezzo-soprano Monica Soto-Gil, Hanns Eisler and Viktor Ullmann with mezzo-soprano Stephanie Sadownik, and Mischa Spoliansky with soprano CarrieAnne Winter. Victor Hollaender‘s Romance and Albumblatt were the instrumental interludes with violinist Jennifer Kim. The last recital featured works for piano and violin, the Graceful Ghost Rag by William Bolcom with violinist Jenny Wu, Four Souvenirs by Paul Schoenfield with violinist Jennifer Kim, Cabaret Songs by Benjamin Britten with soprano Linda Mabbs, and Souvenirs for piano four-hands by Samuel Barber with pianist Rita Sloan. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

SELECTED ICONIC CHAMBER MUSIC WORKS WITH PIANO FROM THE NINETEENTH AND TWENTIETH CENTURIES

Chamber music repertoire featuring the piano blossomed from the mid-nineteenth through the early twentieth century. The quantity of works increased greatly during this time and the quality of these works reached the highest level. Among the many symbolic works that were composed were sonatas for a single string instrument with piano, piano trios, quartets: and quintets as well as two-piano works and four-hand duets. Being able to study and perform many of these iconic works before I graduated was one of the major goals I set for myself as a collaborative pianist. The abundance of repertoire has made it easy to choose works considered "iconic" for my dissertation's three recitals. Iconic is defined as "very famous or popular, especially being considered to represent particular opinions or a particular time" in the online Cambridge Advanced Leamer's Dictionary & Thesaurus © Cambridge University. The compositions featured in the recitals were composed from 1842 through 1941, including works by Schumann, Brahms, Faure, Rachmaninoff, Ravel, and Lutoslawski. Choosing the repertoire with my fellow performers in mind was an important part of this dissertation. In addition to trying to make balanced programs which include variety, working with different instruments and performers is one of the most fulfilling parts of the musical experience for me as a collaborative pianist. Joining me for the concerts were members of the Aeolus String Quartet (violinist Nicholas Tavani, violinist Rachel Shapiro, violist Greg Luce, and cellist Alan Richardson), pianist Hsiao-Ying Lin (a doctoral student from the Peabody Conservatory), and my colleagues from the Peabody Institute Preparatory Division (faculty violinist Dr. Christian Tremblay and cellist Alicia Ward), and Derek Smith, Associate Principal violist of the Annapolis Symphony Orchestras). The three recitals were performed in the Gildenhom and Ulrich Recital Halls at the University of Maryland, College Park, Maryland. They are recorded on CD and available on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Cutaneous Grooves: Composing for the Sense of Touch

What if the traditional relationship between touch and music was essentially turned upside down, making the tactile sensation the aesthetic end? This paper presents a novel coupling of haptics technology and music, introducing the notion of tactile composition or aesthetic composition for the sense of touch. A system that facilitates the composition and perception of intricate, musically structured spatio-temporal patterns of vibration on the surface of the body is described. Relevant work from disciplines including sensory substitution, electronic musical instrument design, simulation design, entertainment technology, and visual music is considered. The psychophysical parameter space for our sense of touch is summarized and the building blocks of a compositional language for touch are explored. A series of concerts held for the skin and ears is described, as well as some of the lessons learned along the way. In conclusion, some potential evolutionary branches of tactile composition are posited.

Impure Thinking Practices and Clinical Acts: The Sonorous Becomings of Heidi Fast

This article introduces the recent sound works of Heidi Fast, a Finnish voice and performance artist. Fast’s creative practice operates between art and philosophy, and articulates several ‘zones of becoming’: what Fast designates as ‘the clinical’, ‘the virtual’ and ‘vocal thought-material’. Using a methodology of routing, the article shows how these zones emerge as aesthetic, ethical and political concerns within Fast’s work. Since 2005, Fast’s sound works have variously taken shape as miniature concerts, social sculptures, imaginary soundscapes and environmental music performances. Drawing upon the writings of theorists who have helped shape her practice, this article argues that Fast uses sound and voice to propose an ‘actualising philosophy’. This philosophy actualises virtualities (unrealised potentials), affecting transformative shifts through tiny mutations in perceptions and behaviours.

Fauna

Stapleton’s self designed instrument, the BoSS (Bonsai Sound Sculpture, 2010) combines with Rose’s circular breathed baritone, multi-phonic and harmonic textures, to explore other sound worlds through real time interaction/composition. The method of exploration commits to a free improvisation aesthetic whereby the music is created at the point of performance. Encountering one another’s music while performing at the ‘Call them Improvisers’ performance at SARC, an ensemble directed by Evan Parker (November 2010) an affinity to the possibilities of one another’s particular approach became immediately apparent. This strongly identified connection led them to further explore the musical possibilities within the parameters created by the duo setting. Duo activities include concerts at Ausland (Berlin), SARC (Belfast), Sowieso (Berlin), Wendel (Berlin), and a recording with Elmar Susse in Hoffnungskirche, Pankow released by the California-based pfMENTUM record label in 2013.

This output is published in the form of an audio CD on the pfMENTUM record label.

Belfast's Traditional Music Scene: A Narrative of Change and Development

Today Belfast is home to a vibrant traditional music scene. There have never been more sessions, concerts, classes or lectures devoted to traditional music in the north's biggest city. A complex system of promoters, performers and listeners has emerged in a city that is growing in confidence as it moves away from the dark days of the Troubles. But how does this system function? While Dowling (2014) has examined the development of traditional music-making in Belfast as it shifted from a pre-conflict to conflict ridden environment, little research has been carried out into the reasons behind the boom in traditional music-making in a post-conflict setting.

This paper examines the impact upon the traditional music scene of the first wave of students to arrive in Belfast after the signing of the Good Friday Agreement in 1998. These musicians, such as Donal O'Connor, Ruadhrai O'Kane and Aidan Walsh have had a lasting impact upon the lives of musicians native to Belfast, helping to bring traditional music to new venues and audiences.

The work of Belfast-based music schools with varying remits, such as Belfast Trad., and the Andersonstown School of Traditional and Contemporary Music, is also examined for the purpose of illustrating how both adults and young people are being educated about their musical heritage.

“A quiet still voice that just touches”: music’s relevance for adults living with life-threatening cancer diagnoses.

Purpose
Music has historically aided health and loss-adaptation, however, cancer patients’ experience of music for self-care is not well understood. This study examines adult cancer patients’ views about music’s role before and after diagnosis.
Methods
Constructivist approach, with grounded theory informed design using convenience, snowball and theoretical sampling. Patients from Australian metropolitan cancer and hospice settings completed demographic questionnaires and participated in semi-structured interviews. Qualitative inter-rater reliability was applied.
Results
Fifty-two patients reported comparable time spent experiencing music pre-post diagnosis. Music may remain incidental; however, many patients adapt music usage to ameliorate cancer’s aversive effects. Patients often draw from their musical lives and explore unfamiliar music to: remain connected with pre-illness identities; strengthen capacity for enduring treatment, ongoing survival (even when knowing “you’re going to die”), or facing death; reframe upended worlds; and live enriched lives. Patients can ascribe human or physical properties to music when describing its transformative effects. Familiar lyrics maybe reinterpreted, and patients’ intensified emotional reactions to music can reflect their threatened mortality. Sometimes music becomes inaccessible, elusive, and/or intensifies distress and is avoided. Families’, friends’ and professionals’ recognition of patients’ altered musical lives and music-based suggestions can extend patients’ use of music for self-care.
Conclusion
Health professionals can support patients by inquiring about their music behaviours and recognising that altered music usage may signify vulnerability. Although commonly recommended, hospital concerts and music broadcasts need sensitive delivery. Patients’ preferred music should be available in diagnostic, treatment and palliative settings because it can promote endurance and life enrichment.

Music for Mercer's: The Mercer's Hospital Music Collection and Charity Music in Eighteenth-Century Dublin

Account of benefit concerts in support of Mercer's Hospital, Dublin 1736-80 and an analysis of extant manuscript and printed music sources dating from c.1736-c.1771

O empreendedorismo português na cidade do Recife na primeira metade do século XX

A tese analisa o empreendedorismo do imigrante português na cidade do Recife, Estado de Pernambuco, Nordeste do Brasil, durante a primeira metade do século XX. O foco da tese pode ser assim formulado: teria o imigrante português sido empreendedor nesse cenário de mudança econômica e cultural dos primeiros cinquenta anos do século XX, seja como grupo étnico, seja como pessoa de comportamento empreendedor? O corpus teórico principal é, portanto, derivado do campo do empreendedorismo. É uma pesquisa interdisciplinar, que se ampara nas áreas de história, estudos migratórios, econômicos e organizacionais. De acordo com a literatura consultada, esse tipo de abordagem não é incomum no vasto campo do empreendedorismo (Fillion, 1999 e Martinelli, 2007). À luz dessa visão interdisciplinar, a investigação debruça-se sobre o período referido, resgata a trajetória desse imigrante no país e no Recife e discute sua inserção na economia e sociedade locais. Identifica características do dinamismo econômico comercial existente no período e reconstrói a atmosfera de modernidade que a cidade atravessava no mesmo interregno histórico. Para seu desenvolvimento, a pesquisa se apóia em conteúdos de estudos migratórios, históricos e econômicos porque nesse interregno de tempo, a cidade do Recife estava atravessando a chamada era da modernidade nas esferas econômica, cultural e comportamental. No que diz respeito às questões migratórias, a pertinência é óbvia porque o tema do trabalho tem como alvo o imigrante luso. Já quanto à esfera econômica e ao contexto histórico da modernidade, seus conteúdos são trabalhados como o cenário ou o teatro de operações no qual o ator social, imigrante luso, movimentou-se. O trabalho adota, portanto, o olhar de ourives a procurar e a espiar nos textos, livros, discursos visitados e entrevistas realizadas, eventos ou sinais que conduzam à compreensão e interpretação do comportamento do ator econômico, o imigrante português, na história empresarial da cidade do Recife, na condição de empreendedor. Trata-se, por assim dizer, de uma pesquisa de postura quase arqueológica voltada a procurar achados, materiais e imateriais, que denunciem e permitam a discussão e análise do foco acima citado. Diferentemente de pesquisas recentes a serem referidas no capítulo III que exploram o comportamento empreendedor e o empreendedorismo étnico no cenário dos dias de hoje, o estudo olha pelo retrovisor para quase um século atrás e tenta reconstituir e identificar, na história do imigrante português na cidade, conteúdos empreendedorísticos. Está estruturada em 09 (nove) capítulos. No primeiro, são indicados os objetivos perseguidos, a relevância do estudo sob o ponto de vista teórico e os percalços que a pesquisa atravessou para atingir seu termo final. Faz-se, ainda, uma apresentação detalhada dos demais capítulos do trabalho. No corpo do texto, estão ainda, estampadas imagens que testemunham a presença lusa na cidade e documentam a atmosfera da vida do Recife, no período pesquisado. Os resultados encontrados sinalizam para evidências consistentes de empreendedorismo de natureza étnico lusitana nas cadeias produtivas – conceito a ser definido no 9º capítulo– das indústrias da panificação; de terreno, ferragens e construção; e alimentos em geral. Indica, ainda, comportamento empreendedor do imigrante português em diversas atividades econômicas, desde exportação e importação, cafés, restaurantes até o setor de entretenimento em geral. Acredita-se, destarte, que os resultados alcançados podem aditar contribuições relevantes nos campos referidos acima, bem como indicar novos temas de investigação que desdobrem sugestões formuladas nas considerações finais da investigação.