996 resultados para Teatro político


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Marilena Chauí and Marco Aurélio Nogueira, the speakers of the first seminar on behalf of Cedec's Thirty Years, discuss the origins of Cedec in the light of the academic, political and cultural debates, which took place in Brazil and abroad at that time, on the future of democracy and socialism.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Incluye Bibliografía

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Political power, territory and environmental crisis in Colombia. We describe some forms of operation of the political power of the Colombian State and their impacts on the territory. The analysis uses some results of a doctoral research that sought to understand the institutional and regulatory foundations and the water management practices in two metropolitan areas of South America, Cali in Colombia, and Campinas in Brazil. The theoretical framework, primarily based on critical thought, starts by making an approach to the concept of power and then links it with the concepts of territory and governance. We present empirical evidence on how the political power of the Colombian State operates on the environmental institutional structure. We concluded that the authoritarian interference of the executive power has generated crisis on the institutional framework and facilitated the advancement of the neo-liberal capitalist model.

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Incluye Bibliografía

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José de Alencar (1829-1877) is more known by the public reader by his novels. However, Alencar was also one of the most famous Brazilian playwright of nineteenth century's second half, with a work marked by successes, failures and controversies. This article intends to study an important part of his work, especially the beginning of his actions towards the still incipient Brazilian theatre in his chronic Ao correr da pena, as well as the analysis of two plays, O demônio familiar (1857), and As asas de um anjo (1857). These works not only show his public's success and failure, but also his flair for controversy. By using as theoretical basis João Roberto Faria and Martin Esslin, as well as other literary and theatre theorists, it will be shown that, although he defended French realism in theatre and used proceedings related to the genre, such realism, on his plays, was mixed with romantic solutions what made his work unique.