La programación neurolingüística como método para mejorar la acentuación en los estudiantes de tercero del colegio Juan Luis Londoño de la Salle sede Usme

Bogotá (Colombia) : Universidad de La Salle. Facultad de Ciencias de La Educación. Licenciatura en Lengua Castellana, Inglés y Francés

Comparative Cytogenetics Of Physalaemus albifrons And Physalaemus Cuvieri Species Groups (anura, leptodactylidae).

Recently, Physalaemus albifrons (Spix, 1824) was relocated from the Physalaemus cuvieri group to the same group as Physalaemus biligonigerus (Cope, 1861), Physalaemus marmoratus (Reinhardt & Lütken, 1862) and Physalaemus santafecinus Barrio, 1965. To contribute to the analysis of this proposition, we studied the karyotypes of Physalaemus albifrons, Physalaemus santafecinus and three species of the Physalaemus cuvieri group. The karyotype of Physalaemus santafecinus was found to be very similar to those of Physalaemus biligonigerus and Physalaemus marmoratus, which were previously described. A remarkable characteristic that these three species share is a conspicuous C-band that extends from the pericentromeric region almost to the telomere in the short arm of chromosome 3. This characteristic is not present in the Physalaemus albifrons karyotype and could be a synapomorphy of Physalaemus biligonigerus, Physalaemus marmoratus and Physalaemus santafecinus. The karyotype of Physalaemus santafecinus is also similar to those of Physalaemus marmoratus and Physalaemus biligonigerus owing to the presence of several terminal C-bands and the distal localization of the NOR in a small metacentric chromosome. In contrast, the Physalaemus albifrons karyotype has no terminal C-bands and its NOR is located interstitially in the long arm of submetacentric chromosome 8. The NOR-bearing chromosome of Physalaemus albifrons very closely resembles those found in Physalaemus albonotatus (Steindachner, 1864), Physalaemus cuqui Lobo, 1993 and some populations of Physalaemus cuvieri Fitzinger, 1826. Additionally, the Physalaemus albifrons karyotype has an interstitial C-band in chromosome 5 that has been exclusively observed in species of the Physalaemus cuvieri group. Therefore, we were not able to identify any chromosomal feature that supports the reallocation of Physalaemus albifrons.

Juan César García: Social Medicine As Project And Endeavor.

This paper analyses some aspects of the trajectory of the Argentinian physician and sociologist Juan César García (1932-1984) in the field of Latin American Social Medicine. Three dimensions constituting his basic orientations are highlighted: the elaboration of systematic and reflective social thought; a critical attitude in questioning teaching and professional practices; a commitment to the institutionalization and dissemination of health knowledge.

L’hipocrisie dans Dom Juan de Molière

Dans Dom Juan, Molière continue son combat contre l’hypocrisie sociale qui caractérise la société de son époque et qui est symbolisée par la noblesse du royaume. L’originalité de cette pièce de théâtre réside dans la complexité du personnage principal, Dom Juan, et dans le mélange de religieux, de tragique, de comique, de surnaturel et de spectaculaire sur lequel elle est fondée. Dans cette pièce, rien n’est laissé au hasard: le temps et l’espace reflètent bien le caractère libertin de Dom Juan et le langage est une arme dont il se sert pour conquérir et séduire une femme. Le langage est ici un miroir de la réalité, c’est-à-dire du monde où tous les personnages sont insérés. Dom Juan tantôt utilise le langage de l’hypocrisie pour se défendre tantôt il se sert de la rhétorique pour séduire ses victimes: c’est à travers le pouvoir verbal qu’il arrache une femme à un homme. Le langage est la clé du jeu de miroirs sur lequel la pièce est fondée. Molière montre dans Dom Juan que le langage est un instrument dangereux dans les mains des hypocrites qui s’en servent pour défier l’ordre social, la religion, la famille et la morale.

D. Juan de e.t.a. Hoffmann e don gionvanni de lorenzo da ponte – análise comparativa e intertextual

Através da análise comparativo/intertextual do conto Don Juan, de E.T.A. Hoffmann e do libreto da ópera Don Giovanni, de Mozart, da autoria de Lorenzo da Ponte, o objectivo deste artigo foi pôr em relevo a relação intrínseca, presente em muitas das obras de E.T.A. Hoffmann, entre a escrita e a música, explicável pela enorme sensibilidade musical deste autor, a que não só dedicou a sua vida, como também produziu várias obras musicais. Tal como na ópera Don Giovanni, de Mozart, a escrita de Hoffmann é dirigida por uma batuta imaginária, apresentando o suspense próprio dos enigmas, cuja revelação é suspensa por um entreacto – neste caso, uma carta escrita a um amigo, em que nos é apresentada uma reformulação do mito de Don Juan – entreacto este que vem prolongar o mistério e nos encaminha para um finale, em que a progressão da melodia e a sequência narrativa se unem mais uma vez. Por seu turno, na análise puramente intertextual, é feita uma tentativa de estabelecer, de forma clara, os paralelismos existentes com o pré-texto, isto é, com o libreto da autoria de Lorenzo da Ponte, bem como com outros pré-textos presentes no texto de forma mais esbatida, mas cujo peso é, também ele, significativo para a criação do novo mito de Don Juan, um homem sempre consciente do absurdo da existência, interpretação esta que abriu caminho para novas abordagens do mito, do herói e da história. Tal como em muitas outras obras, o pós-texto procura, em geral, apropriar-se do texto pressuposto, tentando ultrapassá-lo em mestria, o que acontece com este texto de Hoffmann, literária e semanticamente mais rico que o seu pré-texto.

A música teatral na Lisboa de oitocentos: uma abordagem através da obra de Joaquim Casimiro Júnior (1808-1862)

Tese de Doutoramento em Ciências Musicais (especialidade Ciências Musicais Históricas)

Humor and the framing of the public sphere and public opinion in Portugal (1797-1834)

In his Answer to the Question: What is Enlightenment (1784), Kant puts forward his belief that the vocation to think freely, which humankind is endowed with, is bound to make sure that “the public use of reason” will at last act “even on the fundamental principles of government and the state [will] find it agreeable to treat man – who is now more than a machine – in accord with his dignity”. The critical reference to La Mettrie (1747), by opposing the machine to human dignity, will echo, in the dawn of the 20th century, in Bergson’s attempt to explain humor. Besides being exclusive to humans, humor is also a social phenomenon. Freud (1905) assures that pleasure originated by humor is collective, it results from a “social process”: jokes need an audience, a “third party”, in order to work and have fun. Assuming humor as a social and cultural phenomenon, this paper intends to sustain that it played a role in the framing of the public sphere and of public opinion in Portugal during the transition from Absolute Monarchy to Liberalism. The search for the conditions which made possible the critical exercise of sociability is at the root of the creation of the public sphere in the sense developed by Habermas (1962), whose perspective, however, has been questioned by those who point 2 out the alleged idealism of the concept – as opposed, for example, to Bakhtin (1970), whose work stresses diversity and pluralism. This notwithstanding, the concept of public sphere is crucial to the building of public opinion, which is, in turn, indissoluble from the principle of publicity, as demonstrated by Bobbio (1985). This paper discusses the historical evolution of the concept of public opinion from Ancient Greece doxa, through Machiavelli’s “humors” (1532), the origin of the expression in Montaigne (1580) and the contributions of Hobbes (1651), Locke (1690), Swift (1729), Rousseau (1762) or Hume (1777), up to the reflection of Lippman (1922) and Bourdieu’s critique (1984). It maintains that humor, as it appears in Portuguese printed periodicals from 1797 (when Almocreve de Petas was published for the first time) to the end of the civil war (1834) – especially in those edited by José Daniel Rodrigues da Costa but also in O Piolho Viajante, by António Manuel Policarpo da Silva, or in the ones written by José Agostinho de Macedo, as well as in a political “elite minded” periodical such as Correio Braziliense –, contributed to the framing of the public sphere and of public opinion in Portugal.

O DESENVOLVIMENTO OVOCITÁRIO EM Macrobrachium amazonicum(Heller, 1862)(CRUSTACEA: DECAPODA: PALAEMONIDAE), CAMARÃO DULCÍCOLA DA REGIÃO AMAZÔNICA

É descrito o desenvolvimento ovocitário em Macrobrachium amazonicum(Heller, 1862), um camarão dulcícola da família Palaemonidae da Amazônia Central. O seu desenvolvimento é semelhante ao de Macrobrachium acanthurus(Wiegmann, 1836). As fases iniciais do desenvolvimento ocupam a região intema do ovario, enquanto que as fases vitelogênica e madura situam-se perifericamente. São descritas ainda a morfologia dos folículos pós-ovulatórios e das células foliculares.