A responsabilidade de traduzir o in-traduzível: Jacques Derrida e o desejo de [la] tradução

How should one consider the responsibility of the translator, who is located between the differences of two linguistic systems and in the middle of the various idioms constitute each of the languages involved in the translation? (P. Ottoni). What is the role of the translator in inter-acting with both his/her mother tongue and the idiom of the other? These two questions will be discussed in order to reflect on the responsibility of translating the un-translatable. Two hypotheses orient the paper: 1 - an idiom spoken idiomatically is known as the mother tongue and is not appropriated, so that accommodating the other in one's own language automatically considers his/her idiom (J. Derrida) and 2 - face-to-face with language and its idioms, the translator is trapped in a double (responsibility) bind; faced with something which cannot be translated, he/she is forced to perceive it in another way. In conclusion, how should one consider the responsibility of translating the un-translatable Jacques Derrida?

Modern lovers

Modern Lovers was a survey show of contemporary art practices in dialogue with modernism, bringing together established and emerging artists based in London and international artists from Berlin, Jerusalem and Zagreb. The show features video, film, installation, sculpture, music and performance work that addresses the legacy of the avant garde and the survival of its aesthetics within contemporary culture. In 1976, as punk rock was busy smashing the cultural rubble left behind by the second world war and rejecting the consumer society that had emerged from the ruins, one band bravely announced that it wanted no part in this destruction. Jonathan Richman's Modern Lovers sang about how they still loved the old world. Neither parents nor girlfriends could understand, but the decaying inner city with its false promises of progress still held a fascination for Richman, who claimed he wanted to keep his place in this arcane landscape. Punk's assault on culture was the logical conclusion of modernism's linear narrative of art as a force of innovation that must reject preceding artistic movements to establish new ones. Echoing the negations of Dada, it set out to put an end to this narrative, an end to culture. It is partly because of this inherently destructive and totalising side of Modernism that it has come under harsh critique in the post modern era. Nevertheless, we are still caught up in the same dialectic of progress, revolution and destruction. Post modernism has failed to unseat our desire for the revolutionary moment, even as it has been co-opted to the degree of meaninglessness by the discourses of marketing and Capitalism. But, like Jonathan Richman, the artists in the exhibition "Modern Lovers" keep returning to modernism for something else. Instead of taking it at its word when it proffers revolution, they turn to it in search of reform. Still loving the old world and desiring a dialogue with the past, perhaps as an antidote to the eternal present of Capitalism, they are willing to engage with its aesthetics and ideas on equal ground. Leaving behind the ironic deconstructions of post modernism, they find perspectives worth salvaging and juxtapose them with contemporary visual productions. Trading in the grand narratives of modernity for a more personal approach, they don't seek the purity of form that drove the avant garde movements that inspire them but rather revel in adulteration, dilution and contamination of the past by the present". A live performance by sala-manca was sponsored by the British Council and took place May 26th, 19:00. MODERN LOVERS was accompanied by a catalogue (14.80 cm x 14.80 cm) including essays by Avi Pitchon, the sala-manca group and the curators. A discussion panel about the exhibition themes, as well as the catalogue launch,took place at Goldsmiths College's cinema on the 27th of May at 14:00, chaired by Dr. Suhail Malik (Senior Lecturer & Course Leader Postgraduate Fine Art Critical Studies at Goldsmiths College) and with the participation of Tom Morton (curator, Cubitt Gallery, and regular contributor to Frieze magazine), sala-manca (artist group), Dr. Amanda Beech (artist, curator and senior lecturer at the Wimbledon School of Art), Matthew Poole (course director of MA Gallery Studies, dept. of Art History and Theory at the University of Essex).

Política de atenção à saúde do idoso em Mossoró/RN: potencialidades e possibilidades para promoção do envelhecimento saudável no estado do Rio Grande do Norte

It discusses the Health Care of the Elderly in the town of Mossoró, traversing the paths that discussed the history of health care, which has been altered by the new (con) formation and required adjustments of society which led the development and implementation of the National Health Care for the Elderly with the backdrop of the guiding principles of the Health System - SUS. The goals outlined were: To map the implementation of the policy of health care for the elderly in Mossoró considering whether this is based on the principles and guidelines of the NHS and National Health Policy of the Elderly; Check if health promotion is seen as a strategy that favors the elderly mossoroenses the possibility of healthy aging; identify the discourse of the elderly about the aging process and the strategies you use to take care of your needs. Applies as a methodological strategy BOAS, complemented by interviews with twenty (20) elderly residents of Mossoró with a view to understand the objective elements, and the political and subjective traits that express a regularity which marks the area of health care mossoroense elderly. The data were tabulated and the BOAS divided into nine sections for analysis. The speeches were transcribed seized and subjected to a thorough reading that allowed the visualization of issues that have been examined with theoretical and methodological support to the model proposed by Boaventura de Souza Santos (2006) designated this cosmopolitan reason being supported by three meta-sociological procedures, namely, the sociology of absences, the sociology of translation work and emergencies. It appears as a result the exclusion and discrimination of the elderly in different social settings, a condition that prevents them from being aware of their importance as citizens deserving of decent treatment and respect for the family, society and the government, when addressing health the elderly said the need to propose alternative models of care that has the paradigm of health promotion. We conclude that in these areas, meetings are held, to draw lines that were heterogeneous because they were built by the dissimilarities that engender incessantly and show that although we have advanced regarding the attention of the elderly in Mossoró there is still a long way to go in order to meet the needs revealed by the elderly. It is suggested that the practice of trial-creation-differentiation, while highlighting the historical and procedural dimension, deconstructions and negotiations with collective effects. A democratic paradigm and analytical creeps: the constitution are moments of Health Care for the Elderly shaping a new landscape in the town of Mossoró.

Pavimentações do plano: um estudo com professores de matemática e arte

Pós-graduação em Educação Matemática - IGCE

Sexualidade(S) em cena: as contribuições do discurso audiovisual para a problematização das diferenças no espaço escolar

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Estudo da elaboração do plano de descomissionamento para desativação de empreendimentos

Deconstructions, although hardly covered in Civil Engineering courses, are a very important field of study. Due to numerous factors, such as obsolescence, buildings life cycle comes to an end leading to their deactivations. Decommissioning is a process that intends to plan the hole deactivation by providing the cleaning of contaminated areas, avoiding risks to public health, as well as promoting a screening of generated waste, whether dangerous or not, offering their correct disposal or even reuse when possible. Decommissioning must be developed by a plan that covers from the recognition of the area until its releases to other uses. When this procedure is appropriate, attention must be paid to the cost effective of its implementation and to the cleaning standard that the plan intends to reach. The execution of the service allows to reuse the area, becoming productive again

Mulher e poder: percepções de líderes femininas nas organizações

The final paper “Woman and power: perceptions of women leaders in organizations” is a study based on the perception of the female rise to leaderships positions. Through the history and social relations, this study aims to understand how this process happens in fact. This topic has been part of studies over the last 200 years and still is far away from being over. In order to enrich this paper, a historical investigation was conducted focusing on woman occupying public and private spaces. To improve this experience, Michel Foucault and his power theories were used to understand how this process happens. Complementing this study, Margarida Kunsch, the PR theoretician, investigated the power relations trough the organization environment, based on the influence caused by Organization Communication. To complement this study, 9 women in leadership positions shared their experience in leadership positions and the main characteristic of women in this position. Throughout the study, it was noticed that the social-historical interventions affect not only the professional life, but also, the personal life. Concluding this study, it was noticed that there is no recipe to be a woman in a leadership position, but, each interviewed constructed their own way, living the deconstructions process of the social accepted gender

Concepção da sexualidade de estudantes surdos usuários de Libras em uma escola polo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Traditionen, Utopien, Dekonstruktionen - die Sozialstaatskonzepte des 'Ostblocks' (1945-1990)

The welfare state concepts in Eastern Europe under state socialism (1945-1990) were based on the conviction that only the state was responsible for solving all social problems. The 'bourgeois' manners of individual care were substituted by general measures in the field of labour- and family politics, as well as urban development. The experience showed however that this way of substitution was an illusion, because certain target groups were still in need of help (for example ill or handicapped children and adults, elderly people etc). Nevertheless, most of the Eastern European countries - with the exception of Yugoslavia - decided to abolish the existing forms of professional social work and the training for social workers. Instead, they invented 'surrogate structures' to manage the care for the 'needy': Various institutions and occupational groups (schools, hospitals and ambulances, employees groups etc.) took over the tasks of social workers and were trained to fulfil this as a kind of 'social practice'. Therefore, it is wrong to claim that social work was completely abolished under state socialism, But: as social work 'as such' did not exist any longer, it is more reasonable to speak of welfare state concepts, including social policy on one hand, and non- or paraprofessional social practice on the other. To characterize the effect of these welfare state concepts three parameter of interpretation seem to be useful: 'traditions', 'visions', and 'deconstructions' - embedded in a system of repression as well as incentives. Traditions: The huge 'social laboratory' that was installed was not a totally new one - it still carried on the heritage of the bygone: some bourgeois traces as well as elements out of the fascist heritage and -last but not least - the traditions of their own socialist movement. Visions: The socialist traditions included visions of social justice, the creation of a 'new mankind', a classless society, the end of exploitation and a peaceful living together of all people. Although the 'real existing socialism' has destroyed most of these visions, the power of these utopian ideas has outshined a lot of the every day’s misfortune and injustice for quite a long time. Deconstructions: The term of 'deconstruction' has a threefold meaning: the deconstruction of professional welfare, the deconstruction - in the sense of reinterpretation - of the socialist ideals such as social justice and social security, making an instrument of inclusion and exclusion out of it. And the deconstruction that is necessary to free the history of social work under state socialism from the prejudices and distorting practices, from both sides, the east and the west. In the contribution these three parameter of interpretation are applied on the following issues: The gaps in the 'overall system' of social security; working morale and education for work; mass organisations as an instrument of egalitarianism and general prevention; de-professionalisation by 'surrogating' social work; the 'transparent client'; church as refuge or 'state organ'; women’s politics as bio-politics.

Gendered Responses to Global Crisis: Circular Migration and Return among Ecuadorian Families in Spain and Ecuador

This paper analyzes the impact of Spain’s economic crisis on social reproduction strategies of Ecuadorian migrant families in Madrid and Quito. The paper analyzes circular migration experiences and more permanent returns to Ecuador. I argue that these strategies and migrants' greater or lesser capabilities to move between different migration destinations show significant gender differences. On the one hand, men and women make a differential use of their migratory status to deploy transnational strategies and expand their mobility. On the other hand, migrants’ degree of mobility and flexibility with regard to the labor market and transnational social reproduction are derivative of a specific gendered order and sexual division of labor.

A dança de salão no processo de composição coreográfica em Jomar Mesquita

Esta dissertação apresenta como objetivos conhecer e descrever o processo de composição coreográfica de Jomar Mesquita, onde a transposição da Dança de Salão do seu contexto genuíno e social para o contexto cênico constitui a dimensão estruturante do processo criativo. A obra de Jomar Mesquita pode ser vista principalmente através das apresentações da Mimulus Companhia de Dança (MCD), a qual ele dirige, por isso a pesquisadora foi a Belo Horizonte/Minas Gerais – Brasil, onde a companhia funciona, realizar a pesquisa de campo. Esta pesquisa apresenta-se como um estudo de caso cuja metodologia é de natureza qualitativa. Foram usados como instrumentos desta pesquisa a observação não-participante da rotina diária do estabelecimento onde funcionam a Mimulus Companhia de Dança, a Mimulus Escola de Dança e a Associação Cultural Mimulus; entrevistas semiestruturadas a integrantes da Mimulus Companhia de Dança e dois funcionários da Mimulus Escola de Dança; questionários a alunos da Mimulus Escola de Dança; e fontes documentais acerca da Mimulus Companhia de Dança. Esta pesquisa demonstrou que o processo de composição coreográfica em Jomar Mesquita caracteriza-se principalmente pelas desconstruções dos passos e figuras padronizados da Dança de Salão, assim como das representações e conceitos incutidos nessa dança. Caracteriza-se ainda pela participação dos bailarinos tanto nos processos vivenciados pela MCD, quanto nos processos vivenciados em outras companhias de dança.