1,686 research outputs found
Jorge Pinheiro - obra figurativa : referenciais/diferenciais
No full textIn the sequence of the dissertation, Jorge Pinheiro: The Referential (2010) [Master’s degree in Painting] in FBAUL, aiming at the figurative work of the author in the last decade of the 20th century and the first decade of the 21st century, the current project of research emerges, deepening the knowledge about the representation and figuration of the pictorial work produced during this period of time. The figurative painting of Jorge Pinheiro, produced over 1990-2010, resorting to models of the Model, is the representation of images culturally produced in images obscurely dreamt in the game Composition and Representation. Jorge Pinheiro states that he first starts from the titles he searches for in Literature. Provocative, the title intertwined with the representation reaches the observer. The recognition of the appropriated figurative fragments is the key to decoding his painting. The initial spectator is the one the author looks for. The myths and symbolic values are represented in the Painting. They are representations of representations on behalf of the shapes of power in Composition and Representation. The Symbol-Figures of Representation taken from Painting, Photography, Cinema, and Photojournalism are sublimated icons, corrupted or ruined in the artwork of Jorge Pinheiro. The artwork questions its legitimacy and simultaneously reiterates it, reflects the concept of originality in the work’s identity, identifies the first authors, and makes us think of the authorship of the second authors, highlighting the position of the artist in relation to society and to his own craft with historical background. The cultural image prevails in the game of representation and aesthetic discourse because the object of imitation is not an object but an idea. Reinventing the Memory recall legacy, the painting of Jorge Pinheiro is a permeable territory where Painting evokes Painting, Art, and Western Humanistic Values, allowing a whole generation to identify itself in the artwork and question our way of being in the worl
Jorge Pinheiro - obra figurativa : referenciais/diferenciais
No full textIn the sequence of the dissertation, Jorge Pinheiro: The Referential (2010) [Master’s degree in Painting] in FBAUL, aiming at the figurative work of the author in the last decade of the 20th century and the first decade of the 21st century, the current project of research emerges, deepening the knowledge about the representation and figuration of the pictorial work produced during this period of time. The figurative painting of Jorge Pinheiro, produced over 1990-2010, resorting to models of the Model, is the representation of images culturally produced in images obscurely dreamt in the game Composition and Representation. Jorge Pinheiro states that he first starts from the titles he searches for in Literature. Provocative, the title intertwined with the representation reaches the observer. The recognition of the appropriated figurative fragments is the key to decoding his painting. The initial spectator is the one the author looks for. The myths and symbolic values are represented in the Painting. They are representations of representations on behalf of the shapes of power in Composition and Representation. The Symbol-Figures of Representation taken from Painting, Photography, Cinema, and Photojournalism are sublimated icons, corrupted or ruined in the artwork of Jorge Pinheiro. The artwork questions its legitimacy and simultaneously reiterates it, reflects the concept of originality in the work’s identity, identifies the first authors, and makes us think of the authorship of the second authors, highlighting the position of the artist in relation to society and to his own craft with historical background. The cultural image prevails in the game of representation and aesthetic discourse because the object of imitation is not an object but an idea. Reinventing the Memory recall legacy, the painting of Jorge Pinheiro is a permeable territory where Painting evokes Painting, Art, and Western Humanistic Values, allowing a whole generation to identify itself in the artwork and question our way of being in the worl
Projeto de implementação de um sistema de gestão da qualidade baseado na norma NP EN ISO 9001:2015 - estudo de caso Pinheiro Cardoso, Lda
No full textVersão Final (Esta versão contém as críticas e sugestões dos elementos do júri)O projeto apresentado consiste na implementação de um Sistema de Gestão da Qualidade na
organização Pinheiro&Cardoso, Lda., empresa do setor da Construção Civil – Carpintaria
de Limpos. O projeto tem por base um estudo de caso, com o intuito de melhorar o seu
desempenho organizacional. O Sistema de Gestão da Qualidade projetado é apoiado pela
versão portuguesa da Norma Europeia ISO 9001:2015.
O presente estudo foi sustentado por reuniões com a gestão de topo da Pinheiro&Cardoso,
Lda., entrevista com os colaboradores, formação de sensibilização com toda a organização
e observações do autor, permitindo o desenvolvimento de uma proposta para futura
implementação de um Sistema de Gestão da Qualidade na empresa.
A metodologia utilizada neste trabalho é o estudo de caso de natureza qualitativa.
Primeiramente, foi feita uma análise das práticas da organização face aos requisitos do
referencial normativo, consentindo num conhecimento para desenvolver as ações
necessárias à implementação do Sistema de Gestão da Qualidade. Foi estudado o processo
do trabalho desenvolvido pela organização desde a consulta dos clientes ao fornecimento de
produtos e serviços, sendo parte fundamental a abordagem por processos recomendado pelo
referencial normativo.
O resultado permitiu adequar os processos existentes, analisar o contexto organizacional e
desenvolver a estratégia de implementação do Sistema de Gestão da Qualidade de acordo
com a norma NP EN ISO 9001:2015, sempre com o foco central na satisfação dos clientes e
outras partes interessadas.
A organização Pinheiro&Cardoso, Lda., com a proposta de implementação do presente
projeto, assumiu uma nova postura face ao pensamento sobre a Qualidade e sua importância.
A perceção do funcionamento e a clarificação do seu sistema documental também foram
adquiridos pela empresa, que se comprometeu a corrigir situações, procurando a melhoria
das ligações com todas as partes interessadas.The project presented consists on the implementation of a quality management system at the
Pinheiro&Cardoso, Lda., of the building construction sector, specifically “Carpintaria de
Limpos”. This project is based on a case study with the aim of improving its organizational
performance. The designed Quality Management System is supported by the Portuguese
version of the European Standard ISO 900:2015.
The actual study was supported by meetings with Pinheiro&Cardoso, Lda. leadership, by the
interviews to the employees and by the awareness formation with the whole organization
and author observations, allowing the development of a proposal to a Management System
of Quality future implementation in the company.
The methodology used for this work was the study of a case with a qualitative nature. Firstly,
the organization's practices in relation to the requirements of the normative framework were
analysed, allowing knowledge to develop the actions necessary for the implementation of
the Quality Management System. The work process developed by the organization was
studied from the customers to the products and services suppliers, being a fundamental part
in the approach by processes recommended by the referential normative.
The result allowed the adequacy of the existing processes, not only to analyse the
organizational context but also to develop the strategy of implementation of the Quality
Management System (NP EN ISO 9001: 2015), always with the central focus on the
customers’ satisfaction and other involved parts.
The Pinheiro&Cardoso, Lda. organization, with the proposed implementation of this project,
assumed a new posture regarding the thought about Quality and its importance. The
perception of the functioning and the clarification of its documental system were also
acquired by the company, which undertook to correct situations, seeking the improvement
of the connections with all the interested parts
Metal speciation dynamics in colloidal ligand dispersions. Part 2: Electrochemical lability
No full textWe investigate the dynamic nature of metal speciation in colloidal dispersions using a recently proposed theory [J.P. Pinheiro, M. Minor, H.P. Van Leeuwen, Langmuir, 21 (2005) 8635] for complexing ligands that are situated on the surface of the particles. The new approach effectively modifies the finite rates of association/dissociation of the colloidal metal complexes, thus invoking consideration of the two basic dynamic criteria: the association/dissociation kinetics of the volume complexation reaction (the "dynamic" criterion), and the interfacial flux of free metal to a macroscopic surface due to dissociation of complex species (the "lability" criterion). We demonstrate that the conventional approach for homogeneous systems that assume a smeared-out ligand distribution, overestimates both the dynamics and the lability of metal complexes when applied to colloidal ligands. It is also shown that the increase of lability with increasing particle radius, as expected for a homogeneous solution, is moderated for spherical microelectrodes and practically eliminated for planar electrodes
DUAS LEITURAS DE “JULIETA: CONTO FANTÁSTICO”, DE PINHEIRO CHAGAS
No full textThe Portuguese writer Manuel Pinheiro Chagas (1842-1895) was very productive in the second half of the 19th century. Despite his diversified work, currently, he is practically forgotten, and he is not usually associated to Portuguese fantastic literature. The objective of this work is to read a narrative compiled in the collection A lenda da meia-noite (1874), “Julieta: conto fantástico”, in comparison with an article published in the journal O panorama (1868), in which the author makes theoretical-critical considerations on the fantastic. Our hypothesis is that Pinheiro Chagas, in the referred short story, inserts the fantastic in a similar way to his appointments in the respective article. In addition, we will show two possibilities of reading the short story, which are different, depending on the publication support.O escritor português Manuel Pinheiro Chagas (1842-1895) foi bastante produtivo na segunda metade do século XIX. Embora tenha uma obra diversificada, atualmente, é praticamente esquecido e não costuma ser vinculado à literatura fantástica portuguesa. Objetiva-se, neste estudo, a leitura de uma narrativa compilada na coletânea A lenda da meia-noite (1874), “Julieta: conto fantástico”, em cotejo com um artigo publicado no periódico O panorama (1868), no qual o autor faz considerações teórico-críticas acerca do fantástico. A nossa hipótese é que Pinheiro Chagas, no referido conto, insere o fantástico de forma semelhante aos apontamentos defendidos por ele no respectivo artigo. Além disso, mostraremos duas possibilidades de leitura para o conto, que são diferentes, a depender do suporte de publicação
Pinheiro Chagas, a forgotten writer
No full textEste estudo tem por objetivo refletir sobre uma figura literária pouco estudada, Manuel Pinheiro Chagas (1842-1895), escritor português considerado pela crítica principalmente como romancista histórico. Ao eleger o romance histórico como narrativa romântica, parece que Chagas tenta disputar espaço com o romance realista/naturalista, mesmo depois da consolidação do Realismo. Por meio da análise de quatro de seus romances, A virgem Guaraciaba (1865), A máscara Vermelha (1873) e a sua continuação O juramento da Duquesa (1873), e A descoberta da Índia. Contada por um marinheiro (1890), verificamos como o projeto literário deste escritor, que se inicia com a efabulação da História, vai convergindo para um realismo pouco romantizado, que ele denominou de estudo histórico romântico.This study is intended to reflect about the literary understudied character, Manuel Pinheiro Chagas (1842-1895), portuguese writer considered by public opinion mainly as historical novelist. Choosing the historical novel as romance narrative, seems that Chagas tries to establish space with the realistic/naturalist novel, even after the Realism consolidation. Analyzing four of his novels, A virgem Guaraciaba (1865), A máscara Vermelha (1873) and its continuation O juramento da Duquesa (1873), and A descoberta da Índia. Contada por um marinheiro (1890), we could verify how the literary project from this author, that initiates itself with the history creation, starts to converge to a type of less romanticized realism, that he defines as romantic historical study
Yaka (ou o calcanhar de Aquiles?)
No full textO autor, a partir do romance do angolano Pepetela, YAKA, põe em evidência as consequências do sistema colonial, no plano dos colonizadores. Os aspectos dramáticos decorrentes da condição de ‘superioridade’ do colonizador face a uma situação colonial concreta são ressaltados por Alexandre Pinheiro Torres, configurados num drama inserido numa situação concreta.The author, as from the novel of the Angolan writer Pepetela, Yaka, puts in evidence the consequences of the colonial system in the plan of the colonizers. The dramatic aspects due to the conditions of superiority of the colonizers in view of situation concrete colonial are the results of Alexandre Pinheiro Torres, configured in an inserted drama in a concrete situation
Amphimedon estelae Santos, Docio & Pinheiro, 2014, sp. nov.
No full text<i>Amphimedon estelae</i> sp. nov. <p>(Figures 1–3; Tables 1–2)</p> <p> <b>Type Locality:</b> Brazil, Bahia State, Maraú, Taípus de Fora (near Camamu Bay).</p> <p> <b>Type Specimens: Holotype—</b> UFPEPOR 695, Taípus de Fora (13º53’49”S, 38º55’45”W), Maraú (near Camamu Bay), Bahia State, Brazil, intertidal 0.5 m depth, col. U. Pinheiro, 25.XI.2007. Paratype—UFPEPOR 689, Taípus de Fora (13º53’49”S, 38º55’45”W) Maraú (near Camamu Bay), Bahia State, Brazil, intertidal 0.5 m depth, col. U. Pinheiro, 20.V.2007.</p> <p> <b>Diagnosis.</b> <i>Amphimedon estelae</i> <b>sp. nov.</b> is the only <i>Amphimedon</i> in the Atlantic with strongyles, styles or oxeas covered by lumped swellings.</p> <p> <b>External morphology of holotype</b> (Fig. 2 A). Massive with volcano-shaped oscular projections, 2 x 1.6 cm (height x length). Surface punctate due to regularly distributed subdermal cavities, microconulose. Oscules circular, 5 mm in diameter. Ectosome a translucent membrane, not easily detachable. Consistency firm and relatively compressible, but difficult to tear. Color in life is dark green, turning beige after preservation in ethanol 80%.</p> <p> <b>Paratype.</b> Massive, 3.5 x 1 cm (height x length). Consistency firm. Color in life is dark green, turning beige after preservation in ethanol 80%.</p> <p> <b>Specimens Color in life Spicules Skeleton.</b> The ectosomal skeleton consists of an irregular paratangential reticulation of uni-paucispicular (Fig. 2 B). Producing rounded meshes (150–500 Μm in diameter), covered by a fine membrane, which is lost in preserved specimens. Rounded meshes (240–750 µm in diameter) parallels to the surface (subectosomal), which may be poorly defined or masked by abundant free spicules (Fig. 2 C–D). Choanosomal skeleton is isotropic in some parts with multispicular tracts (36–100 µm in diameter), these being regularly distributed and cored by 6–20 spicules. Spongin not abundant, but always present cementing tracts and joining free spicules (Fig. 2 D).</p> <p> <b>Spicules</b> (Figure 3; Table 1–2). Three categories of spicules were observed: (1) Strongyles (89%) can also vary in styles (7%) and oxeas (4%) with just one category of size (115–154 / 6–9 µm). Theses spicules show surfaces lumped swellings, generally in the middle region, but sometimes occur near the tips (Fig. 3 A–B). Few spicules do not have surface with lumped swellings. (2) Oxeas smooth, robust, straight to slightly curved (158–184 / 7–11 µm) were observed. Tips short and sharp (Fig. 3 C).</p> <p>(3) Thin oxeas smooth, slender, slightly curved and pointed at both tips were observed (100–153 / 1–1.6 µm). The finest oxeas are raphidiform (Fig. 3 D).</p> <p>References: (1) Pulitzer-Finali (1986); (2) Verrill (1907); (3) van Soest (1980); (4) Hartman (1955); (5) Duchassaing & Michelotti (1864); (6) Cuartas (1988); (7) Wilson (1902);</p> <p>) Dendy (1887); (9) Muricy & Hajdu (2006); (10) Muricy <i>et al</i>. (2011); (11) Hechtel (1965); (12) Campos <i>et al.</i> (2005); (13) Goodwin <i>et al.</i> (2011). * In <i>Amphimedon estelae</i></p> <p>. <b>nov.</b> the strongyle can vary also in styles and oxeas.</p> <p> <b>Ecology.</b> The species is sciophilous and was collected at 0.5–1 m deep.</p> <p> <b>Distribution</b> (Fig. 1). Northeastern coast of Brazil, Bahia State, Brazil. The distributions of others species of <i>Amphimedon</i> from Brazilian coast are available in Muricy et al (2011)</p> <p> <b>Etymology.</b> The chosen specific name honors the senior author’s wife Maria Estela de Souza Alagão.</p> <p> <b>Remarks.</b> <i>Amphimedon estelae</i> sp. nov. differs from all other species of the genus because it is the only that has one category of spicules with surfaces lumped swellings, varying among strongyles, styles and oxeas (see Table 2, Fig. 3). Among the five species recorded for the Brazilian coast, <i>A. viridis</i> is the most similar to <i>A. estelae</i> sp. nov. in the spicules size (see Table 2), color green and massive shape. The new species differs from <i>A. viridis</i> in the skeleton: <i>A. estelae</i> sp. nov. presents ectossomal skeleton with paratangential reticulation of uni-paucispicular tracts against the ectosomal skeleton with a tangential reticulation of multispicular tracts of <i>A. viridis</i> (Pinheiro <i>et al.</i> 2005). However, the principal difference between the species is the type of spicules. Despite <i>A. viridis</i> be one of the most known species of the Brazilian cost and Caribbean (Zea 1987; Muricy & Ribeiro 1999; Pinheiro <i>et al.</i>, 2005; Muricy & Hajdu 2006; Moraes 2011; Muricy <i>et al.</i> 2011), it always had only oxeas and never was record strongyles and styles for this species or the presence of spicules with surface lumped swellings.</p> <p> Other species whose oxeas have lumped swellings is <i>Dendroxea adumbrata</i> Corriero, Scarela Liace & Pronzato (1996) from Mediterranean Sea. The authors used this characteristic as main diagnostic character of this species. Despite ecophenotypic variation had seen in the spicules of marine sponges (e.g. Uriz 1983; Uriz <i>et al</i>. 2003), nobody indicated the spicules with surface lumped swellings as consequence of silica concentration ranges in the environment. Finally, other sponges collected in the same locality of <i>A. estelae</i> <b>sp. nov.</b> did not present modifications in its spicules. Thus, we believe that the spicule with surface lumped swellings is a reliable character. De Laubenfels (1956) recorded <i>A. erina</i> to São Paulo State (Brazil) without describing it. However, this species never been collected again, even after several studies carried out in this region (e.g. Muricy & Ribeiro 1999; Santos & Hajdu 2003; Pinheiro <i>et al.</i> 2005). We believe that the specimen reported by De Laubenfels is <i>A. viridis</i>, which is very common in the region, here synonymized. It is plausible that <i>A. erina</i> be a junior synonym of <i>A. viridis</i> requiring further studies for confirmation (Alcolado 1984; Zea 1987; Muricy & Ribeiro 1999; Muricy <i>et al.</i> 2011). <i>Amphimedon caribica</i> was recorded in Brazil by Campos <i>et al.</i> (2005) from Maranhão State. However, when we compared to the original description (Pulitzer-Finali 1986: 170) and this record differs in the shape of spicules, as well as the dimensions. Spicules vary between oxeas and styles with mucronate tips in Brazilian material, which are different from those present in Puerto Rican material, because the latter has only oxeas with simple tips. In addition, spicules of Caribbean material are larger and thicker (Tab. 2). Thus, we consider invalid the report <i>A. caribica</i> for Brazil, which requires a review to define the taxonomic status of these specimens.</p> <p> Sarmento & Correia (2002) made the only record of <i>Amphimedon complanata</i> for Brazil (from Alagoas State), providing a list of species. This material was revised and identified as <i>Halichondria</i> sp. (Hajdu E. pers. com.) therefore we also invalidate this record.</p> <p> <i>Amphimedon compressa</i> from Virgin Islands differs of new species by presents ramose to flabelliform shape, dark red color, surface smooth and, small oxeas (Tab. 2). In addition, <i>A. compressa</i> has skeleton like <i>A. viridis</i> with multispicular tracts against uni-paucispicular tracts of <i>A. estelae</i> <b>sp. nov.</b> According Moraes (2011), the skeleton characteristics of Brazilian specimens of <i>A. compressa</i> were not different from the Caribbean specimens. However, no ramose specimens were found in Brazil and the spicules size of Brazilian specimens was lower than Caribbean specimens. A systematic study with revision of Brazilian populations is necessary to confirm the co-specific status between both populations.</p> <p> Thus, only three valid species are considered to occur in Brazil: <i>Amphimedon estelae</i> <b>sp. nov.</b>, <i>A. compressa</i> and <i>A. viridis.</i></p>Published as part of <i>Santos, George Garcia, Docio, Loyana & Pinheiro, Ulisses, 2014, Two new species of the family Niphatidae van Soest, 1980 from Northeastern Brazil (Haplosclerida: Demospongiae: Porifera), pp. 265-274 in Zootaxa 3774 (3)</i> on pages 266-270, DOI: 10.11646/zootaxa.3774.3.3, <a href="http://zenodo.org/record/225014">http://zenodo.org/record/225014</a>
CHABY PINHEIRO E O FLUXO CULTURAL ENTRE BRASIL E PORTUGAL
No full textThis paper’s aim is to analyze the memoirs of Portuguese actor António Augusto de Chaby Pinheiro (1873-1933), also known as Chaby Pinheiro, heeding the procedures of biographical writing noticed in his memoirs, as well as the issue of the cultural flux between Brazil and Portugal fostered by the theater as a means of artistic expression, and, finally, the construction of the biographer’s image by means of the recurrence to diverse enunciative sources. The writing of the author’s memoirs has been interrupted due to his passing away, being completed with a variety of cuttings that he himself used to collect, among other pieces of information accessed by the organizers of the book. The author’s narrative, as well as the numerous cuttings it consists of, makes reference not only to his figure, but also to a range of issues and theatrical personalities. Such records, as well as the writing of his memoirs, prove relevant in the sense of their contribution to an understanding of the ways through which the theatrical activity took shape at the time, and of the value society used to attribute to this practice.Nossa pesquisa tem como objetivo principal analisar as memórias do ator português António Augusto de Chaby Pinheiro (1873-1933), conhecido como Chaby Pinheiro, atentando para os procedimentos da escrita biográfica presentes em suas memórias, bem como para a questão do fluxo cultural entre Brasil e Portugal promovido por meio do teatro como forma de expressão artística, além da construção de sua imagem pelo uso de diversas fontes enunciativas. A escrita das memórias foi interrompida devido à morte do ator, tendo sido complementada por variados recortes que ele mesmo colecionava, dentre outras informações adquiridas pelos organizadores do livro. A narrativa do ator, assim como os numerosos recortes que a integram, não faz referência apenas à sua figura, mas a diversos assuntos e personalidades do teatro. Tais registros possuem uma relevância significativa, pois, assim como a escrita de suas memórias em geral, contribuem para a compreensão do modo como a atividade teatral era desenvolvida na época e do valor que a sociedade atribuía a essa prática
“A quiconque lira ce manuscrit”: Uma obra inédita de Silvestre Pinheiro Ferreira sobre Pantomima Clássica
No full textThe article offers a brief introduction to the Mémoire sur l'origine et les progrès des Pantomimes chez les anciens, the first ever work by Silvestro Pinheiro Ferreira (1769-1846). The essay, which concerns ancient pantomime, was never published by the author. It has come down to us through a single manuscript witness, an autograph preserved in the National Archives of Torre do Tombo in Lisbon. Forgotten until now, it is an original and truly archetypal study by Silvestre Pinheiro Ferreira.O estudo apresenta de modo breve e introdutório o Mémoire sur l'origine et les progrès des Pantomimes chez les anciens, a primeira obra de Silvestro Pinheiro Ferreira (1769-1846). Este ensaio de juventude sobre a pantomima clássica nunca foi publicado pelo autor e só chegou até nós através de um único testemunho, um manuscrito autógrafo que se conserva no Arquivo Nacional da Torre do Tombo em Lisboa. Esquecido até agora, trata-se de um texto no qual reconhecemos um estudo original e verdadeiramente arquetípico de Silvestre Pinheiro Ferreira
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