Submitted by Marco Antonio Ferreira Melo (marco.melo@globo.com) on 2017-01-02T21:17:50Z No. of bitstreams: 1 Dissertação Marco Antonio Melo.pdf: 17872681 bytes, checksum: a662cb03d371f64861e4d513f7fc9176 (MD5) / Approved for entry into archive by Janete de Oliveira Feitosa (janete.feitosa@fgv.br) on 2017-01-04T13:17:09Z (GMT) No. of bitstreams: 1 Dissertação Marco Antonio Melo.pdf: 17872681 bytes, checksum: a662cb03d371f64861e4d513f7fc9176 (MD5) / Made available in DSpace on 2017-01-16T16:36:56Z (GMT). No. of bitstreams: 1 Dissertação Marco Antonio Melo.pdf: 17872681 bytes, checksum: a662cb03d371f64861e4d513f7fc9176 (MD5) Previous issue date: 2016-12-09 / This project applies to the deep and huge study of the effects of financial education to induce the formation of savings rate and investment rate, as it is in Brazil, or in the approaches of the international literature. It intends to understand and explain the low historical insertion of Financial Education in Brazil and its importance for the formation of savings and investment in a still emerging and middle-income economy. We present in this study, qualitative and quantitative databases that guide the perception of individuals about the proposed theme in Brazil and in selected countries. The search for the perfect analogy between the Human Capital applied to Behavioral Finance and their specific conclusion is shown on the selected theme. We offer proposals for the use and optimization of financial education as a fundamental instrument for sustainable increase in the savings rate and the investment rate in the Brazilian Economy and also a teaching plan to oriented and driven to Higher Education. / Este projeto se aplica ao estudo profundo dos efeitos da Educação Financeira como indutora da formação da Taxa de Poupança e da Taxa de Investimento, seja no caso brasileiro, ou nas abordagens da literatura internacional. Procura-se oferecer propostas para a utilização e otimização da Educação Financeira como instrumento fundamental para o incremento sustentável da Taxa de Poupança e da Taxa de Investimentos na Economia Brasileira e um ensaio de plano de ensino voltado ao Nível Superior.

Os Kalankó, Karuazu, Katokinn e Koiupanka. desde 1998 vem reaparecendo no cenário étnico-político como índios resistentes. Como tais, demandam do Órgão indigenista oficial, a FUNAI, reconhecimento, delimitação e demarcação etnicoterritorial. A forma particular como reapareceram marcou os quatro povos: uma aparição pública coletiva chamada "festa do ressurgimento". Apresentando-se de forma similar, mas em espaço físico e temporal distintos, o reaparecimento étnico dos KKKK tem como pano de fundo o processo hist6rico e a trajet6ria (dispersão e reagrupamento) desses grupos como "rama" e "ponta de rama" (dos Pankararu, seus ascendentes) no Alto Sertão alagoano. A pesquisa de campo desenvolve-se, paralelamente, no registro fílmico-fotográfico desses eventos e na reconstrução de seus etnônimos e observa, em seu conjunto, as relações entre a representação indígena e a imagem "como um retorno a si mesmo" como uma forma de entrever o passado desses povos em imagens do presente, nas quais os indivíduos e suas comunidades compõem sua própria forma de "mostrar-se" ao mundo com "novas" especificidades étnicas, numa tentativa de restaurar também sua memória, o que permite, nesta pesquisa, caracterizar o tratamento hist6rico atribuído aos índios, enquanto que, paralelamente, o registro imagético possibilita também formar arquivos dos mesmos no Brasil. / Since 1998 the Kalankó, Karuazu, Katokinn and Koiupanka have been reappearing throughout the ethnic-political scene as resistant Indians. As such, they have demanded from Funai, the official indigenist office, their official recognition, as well as the measurement and official establishment of their ethnic territories. The singular way in which they have reappeared has marked the four peoples: a collective public appearance named the reappearance feast". Showing themselves in a similar way, but in distinct physical and temporal spaces, the ethnic reappearance of the KKKK branch has had as backdrop the historical process and journey (breaking up and regrouping) of these groups as "branch" and "end of branch" (from their ascendants, the Pankararu) in the highlands of Alagoas state. Meanwhile, in the same time frame, fieldwork is developed, overall, using filmic-photographic register of these events observing as well the reconstruction of their ethnic-names, including the relationships between indigenous self-presentation and image "as a return upon oneself'. This is a way to see the past of these peoples and the images of their actuality, in which individuals and their communities compose their own form of "showing themselves off' to the world with "new" ethnic specificities, as an attempt to bring back their memories. All of this allows this research to characterize the historical treatment given to the Indians while, at the same time, the imagetic registration also allows the formation of archives about them in Brazil.

Os Kalankó, Karuazu, Katokinn e Koiupanka. desde 1998 vem reaparecendo no cenário étnico-político como índios resistentes. Como tais, demandam do Órgão indigenista oficial, a FUNAI, reconhecimento, delimitação e demarcação etnicoterritorial. A forma particular como reapareceram marcou os quatro povos: uma aparição pública coletiva chamada "festa do ressurgimento". Apresentando-se de forma similar, mas em espaço físico e temporal distintos, o reaparecimento étnico dos KKKK tem como pano de fundo o processo hist6rico e a trajet6ria (dispersão e reagrupamento) desses grupos como "rama" e "ponta de rama" (dos Pankararu, seus ascendentes) no Alto Sertão alagoano. A pesquisa de campo desenvolve-se, paralelamente, no registro fílmico-fotográfico desses eventos e na reconstrução de seus etnônimos e observa, em seu conjunto, as relações entre a representação indígena e a imagem "como um retorno a si mesmo" como uma forma de entrever o passado desses povos em imagens do presente, nas quais os indivíduos e suas comunidades compõem sua própria forma de "mostrar-se" ao mundo com "novas" especificidades étnicas, numa tentativa de restaurar também sua memória, o que permite, nesta pesquisa, caracterizar o tratamento hist6rico atribuído aos índios, enquanto que, paralelamente, o registro imagético possibilita também formar arquivos dos mesmos no Brasil. / Since 1998 the Kalankó, Karuazu, Katokinn and Koiupanka have been reappearing throughout the ethnic-political scene as resistant Indians. As such, they have demanded from Funai, the official indigenist office, their official recognition, as well as the measurement and official establishment of their ethnic territories. The singular way in which they have reappeared has marked the four peoples: a collective public appearance named the reappearance feast". Showing themselves in a similar way, but in distinct physical and temporal spaces, the ethnic reappearance of the KKKK branch has had as backdrop the historical process and journey (breaking up and regrouping) of these groups as "branch" and "end of branch" (from their ascendants, the Pankararu) in the highlands of Alagoas state. Meanwhile, in the same time frame, fieldwork is developed, overall, using filmic-photographic register of these events observing as well the reconstruction of their ethnic-names, including the relationships between indigenous self-presentation and image "as a return upon oneself'. This is a way to see the past of these peoples and the images of their actuality, in which individuals and their communities compose their own form of "showing themselves off' to the world with "new" ethnic specificities, as an attempt to bring back their memories. All of this allows this research to characterize the historical treatment given to the Indians while, at the same time, the imagetic registration also allows the formation of archives about them in Brazil.

While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.

Keywords music, immigration, asylum seekers in Czech republic, theatre, audience, medial mening, performance, xenofoby, globalization, postmodernism, cultural antropology, cultural and medial studies, semiotics Summary The aim of this thesis is describe and analyse a music, which cohere with refugees and the other forms of immigration in Czech republic. Concretely is about the music, which originate from Archa Theatre. This theatre is few years attending to the theme of immigration and refugees. The aim of this thesis is analyse the concept of "refugee music" created by Archa Theatre. In this music performance cooperate the asylum seekers and the czech and foreign professional artists altogether. I want to describe for what reason this music concept was created, how this artistically cooperation is proceeding, which meaning the particular musicians consider in this concept and which meaning of this music should be adress to audience. Simultaneously this music is set in the context of the complex artistic production with immigration themes of Archa Theatre. The another intention of this thesis is to show, which meanings of this music and the relative artistic production find the audience. I analyse in which way the audience is influenced with this production and also if is possible in this way to form the...

Цель данной работы состоит в определении того, как воспринимали японо-китайскую 1894-1895 гг. и русско-японскую 1904-1905 гг. войны японские женщины. Особое внимание уделено раскрытию роли японских женщин в период войн против Китая и России, автор определяет их отношение к вышеуказанным войнам, а также уделяет внимание положению женщин в японском обществе и доступным им правам. / The purpose of this paper is to define the Japanese women’s perception of Sino-Japanese 1894-1895 and Russo-Japanese 1904-1905 Wars. A special attention is paid to unveil the role of women in Japanese society during wars against China and Russia. The author defines women’s attitude toward mentioned above wars, also author pays attention to Japanese women’s place in Public and their Rights.