599 research outputs found
Book review [Michel Cahen. âNĂŁo somos bandidosâ. A vida diĂĄria de uma guerrilha de direita: a Renamo na Ă©poca do Acordo de Nkomati (1983â1985)]
Michel Cahenâs book NĂŁo Somos Bandidos deals with the National Resistance of Mozambique (Renamo), an armed group that fought the Mozambican Liberation Front (Frelimo) regime from 1972 to 1992, and its role today as the main opposition party. Cahenâs work deconstructs mainstream narratives that present a different story, vilifying Renamo as âarmed banditryâ and an illegitimate organization in the service of neocolonialism
How Does Fiscal Policy React to Wealth Composition and Asset Prices?
We assess the response of fical policy to developments in asset markets in the US and the UK. We estimate fical polyce rules augmented with aggregate wealth, wealth composition (i.e. financial and housing wealth) and asset prices (i.e. stock and housing prices) using: (i) a linear framework based on a fully simultaneous system approach; and (ii) two nonlinear specifications that rely on a smooth transition regression (STR) and a Markov-switching (MS) model. The linear framework suggests that, while primary spending does not seem to react to wealth composition or asset prices, taxes and primary surplus are significantly: (i) cut when financial wealth or stock prices rise, and (ii) raised when housing wealth or housing prices increase. The smooth transition regression model shows that primary spending and fiscal balance are adjusted in a nonlinear fashion to both wealth and price effects, while the Markov-switching framework highlights the importance of tax cuts (in the US) and spending hikes (in the UK) to offset the decline in wealth suring major recessions and financial crises. Overall, our results provide evidence of a non-stabilizing effect of government debt, a countercyclical policy and a vigilant track of wealth developments by fiscal authorities.fiscal policy, wealth composition, asset prices
Travel through the oceans: augmented reality to enhance learning in early childhood education
Early education plays an important role in the education system and
students success in a digital society. Kindergarten pedagogy innovation by integrating
technology is recognized as lacking research, however an area which
needs to be improved. In this context, augmented reality showed an unprecedented
growth, particularly in what regards society and marketing purposes, being
recognized as having great potential this decade in the educational innovation
area. This ongoing research-based methodology aims to understand both students
and educatorâs perceptions, abilities and difficulties in using augmented reality.
The Case study reports to a Portuguese kindergarten with a class of five-year old
students (N=24). The project was designed to enhance children's knowledge
about the ocean speciesÂŽ characteristics (habitat, length/ size, food). A world map
was produced and augmented reality was added to improve their motivation in
the learning process and to acquire research skills. Furthermore, the study provides
evidence of AR capabilities to promote interactive and collaborative work
CaracterĂsticas morfolĂłgicas do sequestro pulmonar
ABSTRACTThe pulmonary sequestration corresponds to pulmonary tissue intra or extra-lobar with systemic arterial nutrition and collateral bronchial ramification. It is unfrequent and the intra-lobar identification depends on the correct clinical signs and morphology.The correct study includes imagiologic identification of the systemic artery and morphological characterization of parenchymal changes. These allow identification of abnormal pulmonary parenchyma in intra-lobar cases and were observed using histochemical and imunohistochemical routine methods, both in intra and extra-lobar cases. Four cases of intra-lobar sequestration and four cases of extra-lobar sequestration were studied with application of histochemical technics â Movatâs pentachrome stain and Verhoeff â and immunolabelling with CK7 and TTF1.The parenchymal inflammatory distortion by colagenization was constantly seen as was BALT hyperplasia and pleuritis.By using Movatâs pentachrome stain we characterized the sequestration by identifying the artery and the parenchymal changes.The CK7 was usefull in the identification of parenchymal damage, together with the antibody anti-TTF1 that had a variable expression, stronger in areas of inflammation because of PII hyperplasia.REV PORT PNEUMOL 2003 IX (2): 153-16
Antenas lente de feixe amplo impressas em 3D
The recent evolution of radio communications combined with innovative manufacturing
techniques, such as 3D printing, has driven antennas development and
implementation of new structures made of unusual materials. An example of this
type of evolution are the lens antennas.
Lens antennas are always associated with a source antenna (usually a microstrip
patch antenna) and allow changing the source antennaâs radiation characteristics
(varying the gain or directivity). Thus, lenses can improve the performance of
some types of communication systems, such as phased arrays, which are used for
beamforming. However, they have some limitations in coverage due to the array
elements having low directivity. The use of a lens antenna changes the radiation
diagram to obtain a wider beamwidth and is a potential solution to the problem
of phased arrays.
Throughout this dissertation, was studied the possibility of using lens antennas
to change the radiation beam and increase the beamwidth of a simple microstrip
patch antenna. For this purpose, simulations of several lens antenna structures
were performed with a patch antenna (calibrated for 7.8GHz) to determine the
arrayâs behavior and verify if it is possible to increase the beamwidth.
One of the requirements to produce prototypes of lens antennas with 3D printing is
knowing the electrical characteristics of the manufacturing materials (PLA, PETG,
and nylon), more precisely, their dielectric constant. For that several samples of
these materials were characterized considering different manufacturing conditions.
The last step is the fabrication, by 3D printing, of prototype antennas using different
materials and fabrication conditions. Nine lenses (six with a single material
structure and three with several different materials) and seven patch antennas (five
linearly polarized and two circularly polarized) were fabricated.
Finally, was made a comparative study of the results obtained by simulation with
the measurements performed in an anechoic chamber for both the patch antennas
and the lens antenna array.A recente evolução das radiocomunicaçÔes combinada com as inovadoras técnicas
de fabrico, como a impressão 3D, impulsionaram o desenvolvimento e implementação
de antenas com novas estruturas fabricadas com materiais incomuns. Um
exemplo deste tipo de evolução são as antenas lente.
As antenas lente estĂŁo sempre associadas a uma antena fonte (usualmente uma
antena microstrip patch) e permitem alterar as caraterĂsticas de radiação (variar o
ganho ou a directividade) da antena fonte. Assim, as lentes podem ser usadas para
melhorar o desempenho de alguns tipos de sistema radiantes, como por exemplo
o caso dos phased arrays, utilizados para fazer beamforming. No entanto, estes
apresentam algumas limitaçÔes de cobertura, devido aos seus elementos do array
terem ganho diretivo variåvel na zona de interesse. A utilização duma antena lente
faz com que ocorra a alteração do diagrama de radiação de modo a obter uma
maior largura de feixe podendo ser uma solução para referida limitação.
Ao longo desta dissertação foi estudada a possibilidade de se utilizarem lentes para
aumentar a largura de feixe de uma simples antena microstrip patch. Para isso,
foram estudadas e realizadas simulaçÔes de vårias estruturas de antenas lente com
uma antena patch (calibrada para os 7.8GHz) com o intuito de determinar qual o
comportamento do conjunto e verificar a possibilidade de tornar mais uniforme o
diagrama de radiação no semi-espaço pretendido .
A produção de protótipos de antenas lente com a impressão 3D requer o conhecimento
das caracterĂsticas elĂ©tricas dos materiais de fabrico (PLA, PETG e nylon),
mais precisamente sua constate dielétrica. Para tal, foi feita uma caracterização de
vårias amostras desses materiais tendo em conta diferentes condiçÔes de fabrico.
A Ășltima etapa foi a fabricação, por impressĂŁo 3D, de protĂłtipos de antenas e
lentes, utilizando diferentes materiais e condiçÔes de fabrico. No total foram fabricadas
nove lentes (seis com uma estrutura de um Ășnico material e trĂȘs com vĂĄrios
materiais distintos) e sete antenas patch (cinco de polarização linear e duas de
polarização circular).
Finalmente foi feito um estudo comparativo dos resultados obtidos por simulação
com as medidas realizadas em cĂąmara anecoica tanto para as antenas patch, como
para o conjunto antena lente.Mestrado em Engenharia Eletrónica e TelecomunicaçÔe
Reasons and possible constraints resulting from the lack of an aggregating concept for the theme of "media education"
Apesar de uma das tendĂȘncias da investigação do campo da âEducação para os Mediaâ ir no sentido da criação de um quadro conceptual operatĂłrio para a literacia mediĂĄtica, nĂŁo existe um conceito agregador para definir esta ĂĄrea. HĂĄ vĂĄrias denominaçÔes que aparentemente pretendem significar a mesma coisa. Com este artigo pretende-se responder Ă pergunta: por que Ă© que nĂŁo existe uma Ășnica definição para designar âEducação para os Mediaâ? Para alĂ©m disso, espera-se contribuir com um quadro explicativo para a existĂȘncia dessa situação, avançando-se com eventuais razĂ”es para isso. Pretende-se, tambĂ©m, observar se isso configura um eventual constrangimento para que o campo se afirme em termos de investigação.Although one of the investigation trends in âMedia Educationâ go towards the creation of a conceptual framework for media literacy surgery, there isnât an aggregate concept to define this area. There are several denominations who apparently intended to mean the same thing. With this article it is intended to answer the question: Why isnât there a single definition to describe âMedia Educationâ? In addition, it is also expected to contribute to an explanatory framework for the existence of this situation, moving forward with any reasons. The aim is also to observe if it sets up a potential embarrassment for the field is stated in terms of research
O difĂcil percurso da lusofonia pelos trilhos da âportugalidadeâ
Com este artigo, pretendemos observar de que modo a âportugalidadeâ â termo cunhado durante o Estado Novo â pontua a construção da lusofonia, que Ă© um conceito pĂłs-colonial. NĂŁo obstante afirmar-se que apenas falta colocĂĄ-lo em prĂĄtica, o conceito de lusofonia nĂŁo Ă© consensual, subsistindo vĂĄrios equĂvocos interpretativos. Ou se olha para ele a partir de uma centralidade portuguesa, reconstruindo as narrativas do antigo impĂ©rio, pela via do luso-tropicalismo ou ainda numa lĂłgica de histĂłria do ressentimento. Ainda que, de forma residual, o discurso polĂtico portuguĂȘs faça a ligação entre âportugalidadeâ e lusofonia, concluĂmos que ambos os conceitos, quando associados, sĂŁo incompatĂveis, jĂĄ que remetem sempre para uma centralidade portuguesa, o que nĂŁo Ă© compaginĂĄvel com uma lĂłgica pĂłs-colonial, de interculturalidade.In this article we set out to show how âPortugalityâ, a term coined under the Estado Novo (New State) regime, peppers the construction of lusophony, which is a postcolonial concept. Though it is said that all that remains is to put it into practice, the concept of lusophony is not consensual since it has been interpreted in various ways. It is viewed from the standpoint of Portuguese centrality, with the reconstruction of narratives from the former empire, or via lusotropicalism, or from the perspective of a history of resentment. Even though Portuguese political discourse forms the link between âPortugalityâ and lusophony, albeit residually, we conclude that when associated the two concepts are incompatible. This is because they always refer to a Portuguese centrality that cannot be reconciled with a postcolonial rationale of interculturality.Dans cet article, nous nous proposons de rĂ©flĂ©chir comment la âportugalitĂ©â, un terme inventĂ© pendant lâĂtat Nouveau (Estado Novo), ponctue la construction de la lusophonie, qui est un concept postcolonial. MĂȘme si lâon dit quâil ne manque plus que de le mettre en pratique, le concept de lusophonie nâest pas consensuel, puisquâil subsiste diverses interprĂ©tations Ă©quivoques. Du point de vue portugais, la lusophonie est souvent considĂ©rĂ©e comme une reconstruction de rĂ©cits de lâancien empire, via le luso-tropicalisme, ou du point de vue de lâhistoire du ressentiment. MĂȘme si le discours politique portugais fait le lien entre la âportugalitĂ©â et la lusophonie, nous concluons que, lorsquâelles sont associĂ©es, les deux notions sont incompatibles, parce quâelles se rĂ©fĂšrent toujours Ă une centralitĂ© portugaise qui ne peut pas ĂȘtre conciliĂ©e avec une logique postcoloniale de lâinterculturalitĂ©
The film "The Golden Cage": reflections on the massive return of Portuguese emigration and the 'portugalidadeâ of an (increasingly less) golden cage
A histĂłria de um casal de emigrantes portugueses em França bateu, no verĂŁo de 2013, recordes de audiĂȘncia nas salas de cinema. O filme âA Gaiola Douradaâ, de Ruben Alves, recuperou a temĂĄtica da emigração portuguesa, numa altura em que esta atingiu o boom registado nos anos 1960. Recorrendo ao seu percurso, o realizador refere-se Ă âportugalidadeâ como alegada âpertença a Portugalâ, que assume como um clichĂ©, e utiliza de forma humorĂstica vĂĄrios estereĂłtipos associados aos emigrantes portugueses, atravĂ©s dos quais Ă© mostrada alguma vergonha que os filhos dos emigrantes sentem em relação ao comportamento dos pais, trazendo ao de cima os contrastes com a sociedade onde vivem. A grande ficção reside no regresso ao paĂs de origem, concretizando o sonho da grande maioria dos emigrantes, mas subvertendo a lĂłgica: no filme, nĂŁo sĂŁo os pais que voltam a Portugal, mas os filhos, que aparentemente pouco se identificam com o paĂs dos progenitores. âA Gaiola Douradaâ reintroduziu o debate sobre a emigração em Portugal, aproveitando a crise econĂłmica para refletir sobre o seu regresso em força, bem como traçar o perfil dos novos emigrantes. SerĂĄ que os portugueses na âdiĂĄsporaâ ainda reavivam a chama âlusitanaâ (Gonçalves, 2009)? E serĂĄ que a partilha do nome âPortugalâ basta para sublinhar uma alegada identidade nacional (Sobral, 2012)?The story of a couple of Portuguese migrants in France hit in the summer of 2013, the record ratings in theaters. The film "The Golden Cage" by Ruben Alves, recovered the theme of Portuguese emigration, at a time when this reached the boom recorded in the 1960s. Filmmaker refers to âportugalidadeâ as an alleged 'belonging to Portugal', using his own route, which named as a clichĂ©, and uses multiple stereotypes in a humorous way by which some shame that the children of immigrants feel toward their parents , as well as contrasts with the society they live in is shown. The great fiction in the film is the anticipation of the return to the country of origin, fulfilling the dream of subverting the logic: in the film, there are not the parents that returns back, but the children, who apparently arenât identified with the country of progenitors. The film sparked the debate about emigration, taking advantage of the economic crisis to reflect on his return in force as well as the profiles of new migrants. Did the Portuguese in the âdiasporaâ still rekindle the 'Lusitanian' flame (Gonçalves, 2009)? And is the sharing of the name âPortugalâ enough just to highlight an alleged national identity (Sobral, 2012)?(undefined
A ternura do grotesco no encontro de Paula Rego com AdĂlia Lopes
A ruptura em relação Ă conceptualização clĂĄssica de arte, problematizando o conceito de âsublimeâ -
em que se verificou um abaixamento de valores, da eternidade para a corporalidade - leva-nos ao
grotesco e sobre o que se entende por arte, belo e, em consequĂȘncia, pelo seu contrĂĄrio.
Com este artigo, pretende-se saber de que forma Ă© que o grotesco se dissemina nas pinturas de
Paula Rego e os escritos de AdĂlia Lopes e se o que a primeira referiu em relação Ă obra de AdĂlia e
Ă s suas prĂłprias produçÔes, usando o epĂteto de âgrotesco beloâ e possuidor de âmuita ternuraâ, Ă©
verificĂĄvel.
As postulaçÔes principais sobre o grotesco foram produzidas por Mikhail Bakhtin, Wolfgang
Kayser e Victor Hugo. Para além das produçÔes de cada uma das criadoras, foi também observado
o cruzamento de ambas no livro âObraâ, uma antologia de AdĂlia Lopes, com imagens da autoria
de RegoThe break with the classical conceptualization of art, questioning the concept of âsublimeâ - in
which there was a lowering of values, from eternity to embodiment - brings us to the grotesque and
what is meant by art, beautiful and, consequently, its opposite.
With this article, we intend to find out how the grotesque is spread through the paintings of Paula
Rego and the writings of AdĂlia Lopes and if what the painter commented about AdĂliaâs work, and
her own artistic productions, using the epithet âgrotesque beautifulâ and having âa lot of
tendernessâ, is verifiable.
The main postulates on the grotesque were produced by Mikhail Bakhtin, Wolfgang Kayser and
Victor Hugo. In addition to the productions of each one of the creators, the crossing of both
authors was also observed in the book âObraâ, an anthology of AdĂlia Lopes, with images by Rego
A luz, as sombras e a procura da verdade. Os mĂ©dia e a construção de uma realidade equĂvoca e totalizante
A luz, associada Ă ideia de verdade, realça o real que vive dela e a reflete em tons diferenciados. PlatĂŁo (âAlegoria da Cavernaâ) observava que a caverna correspondia ao mundo do visĂvel e o sol ao fogo cuja luz se projetava dentro dela. Para Nietzsche âverdadeâ era um ponto de vista, sendo que Umberto Eco prefere as mentiras (Eco, 2015). JosĂ© Saramago (Ensaio sobre a cegueira) utiliza inĂșmeras metĂĄforas para explicar como Ă© que as pessoas vĂŁo cegando no mundo contemporĂąneo. Existem, por conseguinte, vĂĄrias realidades, todas elas socialmente construĂdas (Berger & Luckmann, 1999).
A anterior visĂŁo do mundo, demasiado primĂĄria, quando nĂŁo excluĂa Deus, interpretava as noçÔes de âCĂ©uâ e âInfernoâ como consequĂȘncias das prĂłprias açÔes humanas (Mattoso, 2012). O certo Ă© que, apesar da anunciada morte de Deus, ainda hoje a incerteza e o vazio reativam antigas e novas espiritualidades (Lipovetsky, 2007).
O que significa entĂŁo, hoje, a verdade? SerĂĄ que a luz ilumina a realidade? A luminosidade em excesso nĂŁo pode provocar cegueira? HĂĄ um mundo paralelo criado pela dissimulação da luz? O dos mĂ©dia, por exemplo, que deixam fora do agenda setting e do framing, a maior parte da realidade? SĂŁo estas reflexĂ”es que tentarei desenvolver neste artigo.The light associated with the idea of truth, enhances the actual living of it and reflects it in different tones. PlatĂŁo (âAlegoria da Cavernaâ [Cave Allegory]) observed that the cave corresponded to the visible world and the sun to the fire whose light projected into it. For Nietzsche 'truth' was a point of view; Umberto Eco prefers the lies (Eco, 2015). JosĂ© Saramago ( Ensaio sobre a cegueira [Blindness]) uses many metaphors to explain how people are becoming more and more blind in the contemporary world. There are therefore various realities, all of them socially constructed (Berger & Luckmann, 1999). The previous worldâs view, too primary, if it didnât exclude God, interpreted the notions of "Heaven" and "Hell" as consequences of human actions themselves (Mattoso, 2012). The truth is that despite the announced death of God, uncertainty and emptiness still reactivate old and new spiritualities (Lipovetsky, 2007). What then means the truth today? Does the light illuminate reality? Can the excess of light cause blindness? Is there a parallel world created by concealment of light? Does the media world with its agenda setting and framing , exclude most of reality? These are reflections that will be dealt with in this article.(undefined)info:eu-repo/semantics/publishedVersio
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