O mote central da investigação é a dança-teatro e suas possibilidades pedagógicas. O estudo tem por objetivo extrair princípios pedagógicos em dança-teatro a partir de premissas de criação da coreógrafa alemã Pina Bausch e do documentário Sonhos em Movimento (2010), dirigido por Anne Linsel e Rainer Hoffmann, que mostra o desenvolvimento do trabalho de Bausch com jovens, na remontagem do espetáculo Kontakthof (2008). De modo geral, pretende-se evidenciar a dança-teatro como elemento de conhecimento humano, através da educação. Como campo teórico relacionado à dança-teatro são estudados diversos autores brasileiros e estrangeiros que abordam o processo cênico de Bausch. Referente à noção de “juventudes”, são trazidos autores que discutem a relação do jovem com seu meio social, sua criação de identidade e sua corporeidade. Para tratar de conceitos pedagógicos são utilizados escritos de Jacques Rancière, Fernando Becker, Vera Lúcia Bertoni dos Santos, João Pedro Gil e Odailso Berté, dentre outros. Através dos depoimentos dos jovens participantes do documentário pode-se identificar que, mesmo sem este fim, a proposta de Bausch possibilita neles uma nova visão de si perante seu cotidiano a partir da entrada no universo da arte, gerando construção de conhecimento por meio da poética artística. Para finalizar o estudo foi desenvolvida uma oficina com jovens, que gerou o compartilhamento das descobertas da investigação, possibilitando o relato dos participantes acerca de seus aprendizados junto à proposta pedagógica em dança-teatro. / The central theme of the investigation is Dance Theatre and its pedagogical possibilities. This study aims to extract the pedagogical principles of Dance Theatre from creation premises of the German choreographer Pina Bausch and from the documentary Dancing Dreams (2010), directed by Anne Linsel and Rainer Hoffmann, which shows the development of Bausch's work with young people in the recreation of the spectacle Kontakthof (2008). In general, this investigation intends to consolidate Dance Theatre as an element of human knowledge, through education. As theoretical field related to Dance Theatre, several Brazilian and foreign authors dedicated to Bausch's scenic process are studied. Concerning the notion of "youths", we brought authors that discuss young people's relations with their social environment, with the creation of their identity and with their corporeity. To deal with Pedagogy concepts it is used writings of Jacques Rancière, Fernando Becker, Vera Lúcia Bertoni dos Santos, João Pedro Gil, Odailso Berté, among others. Through the testimonies of the young participants of the documentary it can be identified that, even without that intention, Bausch's proposition promotes a new view of themselves towards their daily lives, through their entrance in the Art world, generating the construction of knowledge through the artistic poetics. To end the study, there was a workshop with young people, which made it possible to share the research findings, allowing the participants to report their learnings along with the pedagogical proposition of Dance Theatre.

À travers l’analyse d’œuvres de Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono et Emma Dante, cette étude propose une ouverture des outils traditionnels des études théâtrales aux concepts de la psychanalyse et aux méthodes des études visuelles pour rendre compte de l’expérience émotionnelle intense que les créations de ces artistes induisent. La notion de symptôme, théorisée par Freud et reprise dans le champ de l’histoire de l’art par Georges Didi-Huberman, permet de dépasser une vision de la scène comme « système de signes » « à lire » – sous l’influence de la sémiologie et du structuralisme – et de penser au contraire ce qui, dans les images proposées, ne se laisse pas saisir immédiatement. Après avoir montré les limites des outils dramaturgiques, il est possible de mettre en évidence les moments d’irruption du geste-symptôme dans les œuvres, en adoptant une attitude plus phénoménologique. Le paradigme du rêve, comme modèle analogique d’une organisation-désorganisation, peut nous permettre de comprendre l’agencement des éléments scéniques. Ce qui touche le spectateur ne se situe plus au niveau de la représentation, mise en branle par la présence du symptôme, mais sous celle-ci et entre les éléments. Le rapport au réel qui s’instaure pour le spectateur relève alors plus de l’imaginable que d’une forme de mimèsis : les images ouvrent le regard et modifient la position du spectateur touché corporellement et émotionnellement. Le sujet théâtral diffracté porté par le corps de l’acteur amène le spectateur à faire l’épreuve de l’Autre en scène. Les œuvres à l’étude proposent ainsi une expérience de subjectivation et de symbolisation qui réactive les processus de la construction psychique de l’individu mise en crise dans la société contemporaine. Dans le corps-à-corps qui s’installe entre la scène et la salle, c’est à sa position de sujet face aux autres, à lui-même et au monde, que le spectateur accède. / Through an analysis of works by Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono and Emma Dante, this thesis attempts to open up the traditional analytical tools that tend to be privileged by the discipline of theatre studies to concepts stemming from psychoanalysis or visual arts, which are more appropriate for rendering the intense emotional experience that these works induce. The notion of symptom, theorised by Freud and reappropriated by art history thanks to the work of Georges Didi-Huberman, can allow us to see the stage as more than a “system of signs”, “to be read”, under the influence of semiology and structuralism, but also to go beyond the image, towards something that is not immediately evident. Having shown the limitations of dramaturgical tools, it is possible to highlight the specific moments when a symptomatic gesture irrupts within these works by relying on a more phenomenological analysis. Dream patterns, which have the similar quality of being models of an order-disorder, are essential to our understanding of the organization of stage elements and processes. Whatever moves the spectator, is no longer strictly conditioned by representation, which is itself disrupted by the symptom, but is situated beyond it, under it, between the different scenic elements. The audience’s perception of reality becomes more reliant on imaginable rather than on some form of mimesis: images open up the gaze and alter the spectator’s stance, touching him physically and emotionally. The diffracted theatrical subject contained in the actor’s body helps the public witness Otherness onstage. The works studied here involve an experience of subjectivation and symbolisation, which activates the constitutive elements of the individual’s psyche, in crisis in contemporary society. Within the very physical relationship that is built between stage and audience, the spectator experiences his own position as a subject facing others, himself and the world.

This research aims to study Maria Lígia Madureira Pina's life story - Professor, literate and academic- by establishing comprehension about the relationship between her intellectual formation and pedagogical practices developed at Colégio de Aplicação at Universidade Federal de Sergipe [SE Federal University], as well as the production of her writings and how this cultural capital contributed to her effectiveness in Academia Sergipana de Letras [SE Academy of Letters]. In this sense the following categories and its respective theorists were recurred: field, history, social capital and cultural capital by Pierre Bourdieu (1996, 2002 e 2004); Jacque Le Goff's (2014) document;intellectuals by Jean Francois Sirinelli (2003). We use the life history technique performed through biography testimonies and of people in her familiarity as well as the use of documentary sources located in the following archives: Instituto Histórico e Geográfico de Sergipe; Academia Sergipana de Letras and of the Universidade Federal de Sergipe [ Historical and Geographical Institute of Sergipe; SE Academy of Letters; Federal University of Sergipe]. Ligia Madureira Pina was born in 1925, in Aracaju city. She studied at the following schools: Frei Santa Cecília, Nossa Senhora de Lourdes and Normal School. Ligia majored in geography and history at the Faculdade Católica de Filosofia de Sergipe [Philosophy Catholic College of Sergipe]. She taught at several schools in Aracaju, including: Normal School, Atheneu and Colégio de Aplicação [Application High School] of UFS, in this last educational institution she developed a number of activities and materials in order to streamline the lessons of history. In 1991, she finished her educational activities and started devoting to her literary works and from 1998 on, in the activities of Academia Sergipana de Letras. / A presente pesquisa teve o propósito de investigar a trajetória de vida de Maria Lígia Madureira Pina, professora, literata e acadêmica, estabelecendo compreensões a respeito das relações entre sua formação intelectual e as práticas pedagógicas desenvolvidas no Colégio de Aplicação da Universidade Federal de Sergipe, bem como a produção dos seus escritos, e como esse capital cultural contribuiu para a sua efetivação na Academia Sergipana de Letras. Neste sentido, foram recorrentes as seguintes categorias e seus respectivos teóricos: campo, trajetória, capital social, capital cultural e intelectual de Pierre Bourdieu (1996, 2002, 2003 e 2004); documento de Jacques Le Goff (2014). Utilizamos a técnica de história de vida, realizada por meio de coleta de relatos orais da biografada e de pessoas do seu convívio, bem como a utilização de fontes documentais localizadas nos arquivos do Instituto Histórico e Geográfico de Sergipe; Academia Sergipana de Letras e da Universidade Federal de Sergipe. Lígia Madureira Pina nasceu em 1925, na cidade de Aracaju; estudou no colégio Frei Santa Cecília, Escola Nossa Senhora de Lourdes e Escola Normal. Fez o curso superior em Geografia e História na Faculdade Católica de Filosofia de Sergipe. Lecionou em diversos estabelecimentos de ensino de Aracaju, dentre eles: Escola Normal, Atheneu e Colégio de Aplicação da UFS. Nesta instituição de ensino desenvolveu uma série de atividades e materiais didáticos com o propósito de dinamizar as aulas de história. Em 1991 encerrou as suas atividades pedagógicas, passando a se dedicar as suas obras literárias, e a partir de 1998, às atividades da Academia Sergipana de Letras.

The human use of landscape causes fragmentation and loss of original habitats. Different species vary in their sensitivity to habitat loss. Especially carnivores can be more sensitive to decrease of their habitat because of lower abundance of their prey. On the other hand several opportunistic carnivores can profit in human modified habitats. This study was carried out in the České Budějovice basin, Czech Republic during the years 2008 and 2009 and the aim of this study was to determine carnivore{\crq}s habitat preferences in the fragmented landscape. During these two years were seven carnivore species monitored in forest patches by using scent stations. Records of this monitoring were compared with physiognomy of these patches and structure of surrounding landscape.