A CANTORIA DE IMPROVISO NAS ONDAS DO RÁDIO: Novos locutores, novos públicos, variados formatos

O rádio, de acordo com a proposta aqui apresentada, entra em cena como um dos principais meios de propagação da cantoria de improviso, evidenciando as múltiplas funções desempenhadas por este veículo de informação em espaços onde outras fontes se faziam ausente. Neste sentido, surgem reflexões que se nutrem não apenas de fontes teóricas, mas também da memória dos cantadores, cujas falas revelam aspectos e lembranças que findam por confirmar como tal media estava inserida nas práticas cotidianas, de modo que a distribuição da programação orquestrava as mais diversas atividades, contribuindo decisivamente para a formação de um imaginário que unia fantasia e realidade, tendo o improviso como fundo musical e motivando a formação não apenas de apreciadores de repente, mas de novos cantadores.   PALAVRAS-CHAVE: Rádio; Cantoria de improviso; Memória; Cantadores.     ABSTRACT The radio, according to the aim presented here comes as one of the principal means of propagation improvising repentistas[1] singing, showing the multiple functions performed by this vehicle of information in spaces where other sources were absent. In this sense, not only theoretical but also sources from memory of the repentistas*, all these can be considered as sources to be researched. Improving singers(repentistas) show aspects and memories that confirms, how such media was inserted in the daily practices, because of the various distribution programmed activities, contributing decisively to the formation of an imaginary that joined fantasy and reality. When we have improvisation singers as background music, it motivates the formation not only of fans of repente, but also new folk singers or repentistas.   KEYWORDS: Radio; Repentistas; Memory; Folk singers.     RESUMEN La radio, a partir de la propuesta aquí presentada, figura como uno de los principales medios de propagación de la canturía de improviso, evidenciando las múltiples funciones desempeñadas por este vehículo de información en espacios donde otras fuentes se hacen ausentes. De este modo, se plantean reflexiones que se nutren no sólo de fuentes teóricas, sino de la memoria de los cantautores cuyas hablas revelan aspectos y recuerdos que tienden a confirmar como tal media estaba inserida en las prácticas cotidianas, de modo que la distribución de la programación orquestaba las más diversas actividades, contribuyendo decisivamente para la formación de un imaginario que añade fantasía y realidad, con el improviso como fondo musical y motivando la formación no sólo de admiradores del repentismo, sino de nuevos cantautores.   PALABRAS CLAVE: Radio; Cantoria de improvisación; memoria; Cantantes.                                                                                           [1] A repentista is a Northeastern singer-poet who improvises strictly metered verses accompanied only by a guitar

ACALANTO DE ROSA PALMEIRÃO: AS NARRATIVAS DE VIDA DA PERSONAGEM DE MAR MORTO EM VERSOS DE ABC

Resum

Prospecção química, atividade antioxidante, anticolinesterásica e antifúngica de extratos etanólicos de espécies de Senna Mill. (Fabaceae)

The objective of this work was to evaluate the chemical profile, total phenol content and the antioxidant, antiacetylcholinesterase and antifungal activities of ethanol extracts from leaves (EEF) and stem (EEC) of five species of Senna, as well as to evaluate the correlation between the content of total phenols with the DPPH free radical scavenging activity and with the inhibition of the acetylcholinesterase AChEI enzyme. The phytochemical test showed the presence of secondary metabolites in all extracts. The EEF and EEC of Senna trachypus, stood out for presenting the highest values of total phenols. S. trachypus EEF and EEC showed the best action on the acetylcholinesterase enzyme. All species showed antioxidant activity, especially the EEF from S. trachypus. A strong correlation was observed for the variables total phenols and antioxidant activity (r = -0.71), very strong for total phenols and anti-acetylcholinesterase (r = -0.84) and moderate activity for antioxidant and anti-acetylcholinesterase activity (r = 0.43). Only S. trachypus extracts showed activity against all dermatophytes, when compared to the other species. The species S. trachypus was considered the most promising plant for further studies, in order to find compounds with pharmacological actions.O objetivo deste trabalho foi avaliar o perfil químico, teor de fenóis totais e as atividades antioxidante, antiacetilcolinesterásica e antifúngica dos extratos etanólicos das folhas (EEF) e do caule (EEC) de cinco espécies de Senna, bem como avaliar a correlação entre o conteúdo de fenóis totais com a atividade sequestradora do radical livre DPPH e com a inibição da enzima acetilcolinesterase AChEI. No teste fitoquímico, evidenciou-se a presença de metabólitos secundários em todos os extratos. Os EEF e EEC de Senna trachypus, destacaram-se por apresentar os maiores valores de fenóis totais. Os EEF e EEC de S. trachypus mostraram a melhor ação sobre a enzima acetilcolinesterase. Todas as espécies apresentaram atividade antioxidante, em especial o EEF de S. trachypus. Foi observado correlação forte para as variáveis fenóis totais e atividade antioxidante (r = -0,71), muito forte para fenóis totais e antiacetilcolinesterase (r = -0,84) e atividade moderada para atividade antioxidante e antiacetilcolinesterase (0,43). Apenas os extratos de S. trachypus apresentaram atividade contra todos os dermatófitos, quando comparado às demais espécies. A espécie S. trachypus foi considerada a planta mais promissora para estudos subsequentes, a fim de encontrar compostos com ações farmacológicas

De la joute chantée aux festivals : les voies de la poétique orale dans la cantoria improvisée au Brésil.

Cette thèse étudie la trajectoire de Festivals de Violeiros realisées dans le Nord-est du Brésil, en ayant comme fil conducteur de la recherche la poétique orale, notamment la cantoria improvisée. Pour construire une cartographie des festivals, on réfléchit sur les changements sociaux qui ont motivé l'émergence de cette structure plus moderne, le festival, avec des éléments dirigés au spectacle urbain comme transformation d'une pratique plus traditionnelle, o pé de parede, qui avait lieu dans les régions rurales. Le trajet entre la permanence d'une modalité et le renforcement de l'autre passe par la production de rencontres et de congrès qui occupent les espaces de cantoria improvisée, connu aussi como repente. La première partie, intitulé Improviso e pé-de-parede, met en évidence la nature structurelle de ce type de poésie orale, en mettant l'accent sur le processus de création des vers improvisés, ainsi comme la réflexion sur la performance à partir du trépied: la voix, le corps et l'image, qui module la figure du repentista. On offre également une discussion sur la participation des chanteurs et chanteuses dans l'univers de la cantoria depuis l'enfance, à partir de l'analyse des entrevues réalisées au cours de la recherche. La deuxième partie, intitulée Festivals: entre les routes et les vagues, se concentre sur les festivals et cherche à présenter une trajectoire à partir des événements organisées en Europe et comme le modèle adopté au Brésil a cherché son inspiration dans la manière en vogue dans les festivals de musique populaire brésilienne, par exemple. Bien que la structure était utilisé dans une grande tradition de congrès et de rencontres réalisées encore dans les années 1940, le nom festival n’était adopté que dans les années 1970. La recherche a mis en évidence l'existence de routes qui conduisent le mouvement des festivals. Dans le même temps, il était aperçu des changements dans la configuration des événements, en tranformant l’esthétique par rapport à la viola, au vers et à la voix ainsi que leur inclusion dans le circuit de l’industrie culturelle, encourageant la création de spectacles dirigés à la consommation de masse et de l'utilisation des médias comme réseaux de permanence et d'expansion.This thesis investigates the trajectory of Violeiros Festivals held in Northeast Brazil having as common thread of the research the oral poetry, notably the improvisation singing. To build a cartography of these festivals, the research reflects on the social changes that led to the emergence of this more modern structure, the festival, with elements facing the urban spectacle as a transformation from a more traditional practice, o pé de parede, which occurred in rural areas. The route between the permanence of a modality and the strengthening of other involves the production of meetings and conferences which occupy the spaces of improvised singing, known as repente. The first part, entitled Improvisation and pé de parede, aims at the structural nature of this type of oral poetry, focusing on the process of creating improvised verses, as well as thinking about performance from the tripod voice, body and image, which modulates the “repentista” profile. It also offers a discussion of the involvement of the singers and “cantadoras” with the universe of “cantoria” since childhood, from the analysis of the interviews conducted during the research. The second part, entitled Festivals: between routes and waves, addresses festivals and aims at presenting a trajectory from the events held in Europe and how the model adopted in Brazil found inspiration in the pattern still in practice in Brazilian Popular Music Festivals for example. Although the structure had already been used in a wide tradition of conferences and meetings performed in the 1940s, the noun “festival” started to be adopted only from the 1970s. The research revealed the existence of routes that drive the movement of the festivals. At the same time, there are changes in the configuration of events, changing aesthetics in relation to the viola, the verse and the voice as well as the inclusion in the cultural circuit industry, encouraging the creation of shows geared for mass consumption and making use of the media as maintenance and expansion channels

Na rota dos festivais: uma tradição que se renova

Orality is an advantageous space to the development of research and thinking that aims at altering, or at least re-thinking, theoretical bases that seem quite strong. In this aim, the present article looks at a trajectory established in Northeast Brazil’s improvised singing, more specifically the universe of poetic match, coming from the “pés de parede” (simple matches) to the festivals of guitar players that spread themselves through Northeast Brazil, aiming to realize that cultural contexts gave birth, if not to invention, at least the renewal of a tradition

Entre pés-de-parede e festivais: rota(s) das poéticas orais na cantoria de improviso

Esta tese investiga a trajetória dos Festivais de Violeiros realizados no Nordeste brasileiro, tendo como fio condutor da pesquisa a poética oral, notadamente a cantoria de improviso. Para construir uma cartografia dos festivais, reflete sobre as mudanças sociais que motivaram o surgimento dessa estrutura mais moderna, o festival, com elementos voltados para o espetáculo urbano como transformação de uma prática mais tradicional, o pé de parede, que acontecia no âmbito rural. O percurso entre a permanência de uma modalidade e o fortalecimento de outra passa pela produção de encontros e congressos que ocupam os espaços da cantoria improvisada, conhecida como repente. A primeira parte, intitulada Improviso e pé-de-parede, volta-se para o caráter estrutural dessa modalidade de poesia oral, enfocando o processo de criação dos versos improvisados, assim como pensa sobre performance a partir do tripé voz, corpo e imagem, que modula a figura do repentista. Além disso, traz uma discussão sobre o envolvimento dos cantadores e das cantadoras com o universo da cantoria desde a infância, a partir da análise das entrevistas realizadas ao longo da pesquisa. A segunda parte, intitulada Festivais: entre rotas e ondas, debruça-se sobre os festivais e busca apresentar uma trajetória a partir dos eventos realizados na Europa e como o modelo adotado no Brasil buscou inspiração nos moldes já em voga nos Festivais de Música Popular Brasileira, por exemplo. Embora a estrutura já fosse utilizada numa vasta tradição de congressos e encontros realizados ainda nos anos 1940, o nome festival passou a ser adotado apenas a partir dos anos 1970. A pesquisa trouxe à tona a existência de rotas que impulsionam o movimento dos festivais. Ao mesmo tempo, verificou-se mudanças na configuração dos eventos, alterando a estética no que se refere à viola, ao verso e à voz, bem como a inserção no circuito da indústria cultural, fomentando a criação de espetáculos voltados para o consumo de massa e valendo-se dos medias como canais de manutenção e expansão.This thesis investigates the trajectory of Violeiros Festivals held in Northeast Brazil having as common thread of the research the oral poetry, notably the improvisation singing. To build a cartography of these festivals, the research reflects on the social changes that led to the emergence of this more modern structure, the festival, with elements facing the urban spectacle as a transformation from a more traditional practice, o pé de parede, which occurred in rural areas. The route between the permanence of a modality and the strengthening of other involves the production of meetings and conferences which occupy the spaces of improvised singing, known as repente. The first part, entitled Improvisation and pé de parede, aims at the structural nature of this type of oral poetry, focusing on the process of creating improvised verses, as well as thinking about performance from the tripod voice, body and image, which modulates the “repentista” profile. It also offers a discussion of the involvement of the singers and “cantadoras” with the universe of “cantoria” since childhood, from the analysis of the interviews conducted during the research. The second part, entitled Festivals: between routes and waves, addresses festivals and aims at presenting a trajectory from the events held in Europe and how the model adopted in Brazil found inspiration in the pattern still in practice in Brazilian Popular Music Festivals for example. Although the structure had already been used in a wide tradition of conferences and meetings performed in the 1940s, the noun “festival” started to be adopted only from the 1970s. The research revealed the existence of routes that drive the movement of the festivals. At the same time, there are changes in the configuration of events, changing aesthetics in relation to the viola, the verse and the voice as well as the inclusion in the cultural circuit industry, encouraging the creation of shows geared for mass consumption and making use of the media as maintenance and expansion channels

Late-Relapsing Hepatitis after Yellow Fever

One patient presented hyporexia, asthenia, adynamia, and jaundice two months after acute yellow fever (YF) onset; plus laboratory tests indicating hepatic cytolysis and a rebound of alanine and aspartate transaminases, and total and direct bilirubin levels. Laboratory tests discarded autoimmune hepatitis, inflammatory or metabolic liver disease, and new infections caused by hepatotropic agents. Anti-YFV IgM, IgG and neutralizing antibodies were detected in different times, but no viremia. A liver biopsy was collected three months after YF onset and tested positive for YFV antigens and wild-type YFV-RNA (364 RNA-copies/gram/liver). Transaminases and bilirubin levels remained elevated for five months, and the arresting of symptoms persisted for six months after the acute YF onset. Several serum chemokines, cytokines, and growth factors were measured. A similar immune response profile was observed in the earlier phases of the disease, followed by more pronounced changes in the later stages, when transaminases levels returned to normal. The results indicated viral persistence in the liver and continual liver cell damage three months after YF onset and reinforced the need for extended follow-ups of YF patients. Further studies to investigate the role of possible viral persistence and the immune response causing relapsing hepatitis following YF are also necessary