Desafios Para Moçambique 2010
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OLÍMPICAS AS PORTUGUESAS NOS JOGOS DE HELSÍNQUIA’52 AO RIO’16 CIPRIANO LUCAS OLÍMPICAS As Portuguesas Nos Jogos De Helsínquia’52 Ao Rio’16 OLÍMPICAS
CIPRIANO LUCAS OLÍMPICAS AS PORTUGUESAS NOS JOGOS DE HELSÍNQUIA’52 AO RIO’16 CIPRIANO LUCAS OLÍMPICAS AS poRTUGUEsas Nos JOGos DE HElsíNQUia’52 ao Rio’16 OLÍMPICAS ÍNDICE PREFÁCIO – Rita Amaral Nunes ................................................................................................................................ 7 APRESENTAÇÃO .......................................................................................................................................................... 9 INTRODUÇÃO ........................................................................................................................................................... 11 EVOLUÇÃO HISTÓRica – da GRÉCIA ANTiga A TÓQUIO 2020 ............................................... 12 PRESENÇA PORTUGUESA – de HELSÍNQUIA’52 AO RIo’16 ............................................................ 20 ATLETAS PORTUGUESAS OLÍMpicaS ........................................................................................................... 47 Albertina Dias – Atletismo, Seoul 1988, Barcelona 1992 e Atlanta 1996 .............................................................. 48 Albertina Machado – Atletismo, Los Angeles 1984, Seoul 1988 e Atlanta 1996 .................................................. 49 Ana Alegria – Natação, Barcelona 1992 e Atlanta 1996 ........................................................................................... 50 Ana Barros – Ciclismo, Barcelona 1992 e Atlanta 1996 ........................................................................................... -
Portimonense Sporting CP
JORNADA 3 Portimonense Sporting CP Domingo, 04 de Outubro 2020 - 21:00 Estádio Municipal de Portimão, Portimão MAIN SPONSOR OFFICIAL SPONSOR OFFICIAL STATS POWERED BY Jornada 3 Portimonense X Sporting CP 2 Confronto histórico Ver mais detalhes Portimonense 6 5 26 Sporting CP GOLOS / MÉDIA VITÓRIAS EMPATES VITÓRIAS GOLOS / MÉDIA 32 golos marcados, uma média de 0,86 golos/jogo 16% 14% 70% 71 golos marcados, uma média de 1,92 golos/jogo TOTAL PORTIMONENSE (CASA) SPORTING CP (CASA) CAMPO NEUTRO J PSC E SCP GOLOS PSC E SCP GOLOS PSC E SCP GOLOS PSC E SCP GOLOS Total 37 6 5 26 32 71 6 5 9 25 37 0 0 17 7 34 0 0 0 0 0 Liga NOS 34 5 5 24 27 61 5 5 7 20 27 0 0 17 7 34 0 0 0 0 0 Taça de Portugal 1 0 0 1 1 6 0 0 1 1 6 0 0 0 0 0 0 0 0 0 0 Allianz Cup 2 1 0 1 4 4 1 0 1 4 4 0 0 0 0 0 0 0 0 0 0 J=Jogos, E=Empates, PSC=Portimonense, SCP=Sporting CP FACTOS PORTIMONENSE FACTOS SPORTING CP TOTAIS TOTAIS 70% derrotas 70% vitórias 51% em que marcou 86% em que marcou 86% em que sofreu golos 51% em que sofreu golos MÁXIMO MÁXIMO 1 Jogos a vencer 2 Jogos sem vencer 1980-03-30 -> 1980-12-08 13 Jogos sem vencer 1982-10-17 -> 1988-11-20 1 Jogos a perder 2 Jogos sem perder 1980-03-30 -> 1980-12-08 13 Jogos sem perder 1982-10-17 -> 1988-11-20 RECORDES PORTIMONENSE: MAIOR VITÓRIA EM CASA I Divisão 1988/89 Portimonense 3-1 Sporting CP Taça CTT 2015/16 Portimonense 2-0 Sporting CP Liga NOS 18/19 Portimonense 4-2 Sporting CP I Divisão 1981/82 Portimonense 2-0 Sporting CP SPORTING CP: MAIOR VITÓRIA EM CASA I Divisão 1983/84 Sporting CP 3-0 Portimonense SPORTING CP: MAIOR -
A Study of the Rap Music Industry in Bogota, Colombia by Laura
The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals. -
University of Florida Thesis Or Dissertation Formatting
HIP-HOP LIFE AND LIVELIHOOD IN NAIROBI, KENYA By JOHN ERIK TIMMONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 John Erik Timmons To my parents, John and Kathleen Timmons, my brothers, James and Chris Timmons, and my wife, Sheila Onzere ACKNOWLEDGMENTS The completion of a PhD requires the support of many people and institutions. The intellectual community at the University of Florida offered incredible support throughout my graduate education. In particular, I wish to thank my committee members, beginning with my Chair Richard Kernaghan, whose steadfast support and incisive comments on my work is most responsible for the completion of this PhD. Luise White and Brenda Chalfin have been continuous supporters of my work since my first semester at the University of Florida. Abdoulaye Kane and Larry Crook have given me valuable insights in their seminars and as readers of my dissertation. The Department of Anthropology gave me several semesters of financial support and helped fund pre-dissertation research. The Center for African Studies similarly helped fund this research through a pre-dissertation fellowship and awarding me two years’ support the Foreign Language and Area Studies Fellowship. Another generous Summer FLAS Fellowship was awarded through Yale’s MacMillan Center Council on African Studies. My language training in Kiswahili was carried out in the classrooms of several great instructors, Rose Lugano, Ann Biersteker, and Kiarie wa Njogu. The United States Department of Education generously supported this fieldwork through a Fulbright-Hays Doctoral Dissertation Research Award. -
Cape Verde and Brazil Musical Connections
Cape Verde and Brazil Musical Connections Juliana Braz Dias Universidade de Brasília / University of Pretoria Introduction The insertion of Brazilian music in contexts outside of the country is no lon- ger a novelty. Indeed, the media often reports on these musical flows. For instance, newspapers and specialized magazines have played a crucial role in highlighting the presence of Brazil on the international stage through reports on Grammy Awards won by Brazilian musicians (namely, Sérgio Mendes, Milton Nascimento, Gilberto Gil, Caetano Veloso e João Gilberto). Another example is the increased visibility of concerts featuring Brazilian artists in other countries, such as the Brazilian Day in New York, which attracts more than a million people to the streets of that city – above all Brazilians, but also North-Americans and migrants from other countries. However, it should be noted that the presence of Brazilian music outside of the country’s borders is not necessarily related to the global cultural indus- try, neither to the impact of recent migration processes. Musical exchanges involving Brazilian musicians have been going on for some time, in multiple ways, following diverse routes and movements of people. In this article, I focus on a particular trajectory that some forms of Brazilian music have taken. I refer to the Atlantic flows that allowed for the arrival of music and musicians from Brazil to Cape Verde, deeply influencing musical productions in the archipelago. Adopting an anthropological ap- proach, I seek to engage with discourses articulated by Cape Verdeans on the role of “Brazilian music” (as they understand it) and its relationship to the music produced in Cape Verde. -
O DESPORTO NA DESCOLONIZAÇÃO PORTUGUESA Índice
VALORIZAR SOCIALMENTE O DESPORTO: UM DESÍGNIO NACIONAL 6 O DESPORTO NA DESCOLONIZAÇÃO PORTUGUESA ÍNDICE CONTEXTUALIZAÇÃO .............................................3 NOTA INTRODUTÓRIA DO AUTOR ..........................5 DESPORTO E A LÍNGUA PORTUGUESA..................7 A EXPERIÊNCIA BRASILEIRA DO FUTEBOL NO SÉCULO XX .................................9 PELÉ NO BRASIL, EUSÉBIO EM PORTUGAL ........10 O ATLETA NEGRO ..................................................11 A DESCOLONIZAÇÃO PORTUGUESA ...................14 CONCLUSÃO ..........................................................21 CONTEXTUALIZAÇÃO Foi a 23 de agosto de 2013 que a Assembleia Geral das Nações Unidas tomou a decisão histórica de aprovar a criação de um Dia Internacional do Desporto para o Desenvolvimento e a Paz. Ficou então decidido que, a partir daquele dia, o Dia Internacional do Desporto para o Desenvolvimento e a Paz seria celebrado a 6 de abril, por ter sido o dia da cerimónia de abertura dos primeiros Jogos Olímpicos da era moderna em 1896, em Atenas. No âmbito desta decisão, a AG das Nações Unidas relembrou ainda o papel fulcral que o Comité Olímpico Internacional desem- penha na promoção de estilos de vida saudáveis e na criação de acesso ao desporto ao maior número de pessoas possível em todo o mundo. Após a decisão das Nações Unidas, Jacques Rogue, Presidente do Comité Olímpico Internacional, acompanhado do n.º 1 do ranking mundial de ténis, Novak Djokovic, afirmou que “o ver- dadeiro valor do desporto é determinado não por palavras escri- tas, mas pela forma como o desporto é praticado. Sem valores, o desporto é um combate com outro nome. Mas com valores, é um caminho para o entendimento cultural, educação, saúde e desenvolvimento económico e social. Vemos o verdadeiro valor do desporto e da atividade física várias vezes. -
Angola's Oil Industry - a Century of Progress in Exploration and Production*
Angola's Oil Industry - A Century of Progress in Exploration and Production* Tako Koning1 Search and Discovery Article #70174 (2014)** Posted November 30, 2014 *Adapted from oral presentation given at AAPG International Conference & Exhibition, Istanbul, Turkey, September 14-17, 2014 **Datapages © 2014 Serial rights given by author. For all other rights contact author directly. 1Gaffney, Cline & Associates, Bellaire, TX, U.S. ([email protected]) Abstract In 2015 Angola will have experienced a century of oil exploration and production. A variety of wide-ranging, high potential plays have led to a dramatic surge in Angola's oil production. A decade ago, Angola was producing approximately 750,000 bopd (barrels of oil per day) and now production of almost 2.0 million bopd has been achieved. In the late 1700's Portuguese colonialists discovered oil seeps and asphalt deposits at Libongos, about 60 km north of Luanda and shipped some of the oil to Lisbon and Rio de Janeiro to be used as a caulking material to prevent water leakage into their ships. First-ever drilling for oil was in 1915 about 40 km northeast of Luanda. Dande-4 drilled in 1916 was tested at 6 bopd and was subsequently abandoned but it signified the first flow of oil in Angola. In 1956 the Benfica oil field, near Luanda, went on production representing the beginning of oil production in Angola. The first offshore oil field in Angola, Malongo, was discovered in 1968 in the Angola province of Cabinda by the American company, Gulf Oil. In 1996 Elf Petroleum discovered the Girassol oil field on Block 17 in 1,300 meters of water about 140 kilometers off the coast of Angola. -
COCA-COLA 1 the Coca-Cola Company Nick White Lourdes
Running Head: COCA-COLA 1 The Coca-Cola Company Nick White Lourdes University COCA-COLA 2 Table of Contents Introduction ……………………………………………………….………………………...3 Domains …………………………………………………………...…………….………......5 Management …………………………………………………………....…………...5 Legal Environment ………………………………………………………………….8 Economic Environment …………………………………………………………….11 International Business ……………………………………………………………...14 Summary …………………………………………………………………………………...17 References ………………………………………………………………………………….18 COCA-COLA 3 The Coca-Cola Company Introduction Beginning in 1886, pharmacist Dr. John S. Pemberton created a distinctive flavored syrup that, when mixed with carbonated water, became what most people know today as “Coca-Cola.” Fast forward to today, The Coca-Cola Company is currently the world’s largest, non-alcoholic beverage producer, bringing in over $31 billion in net operating revenues in 2018 (Coca-Cola History, 2019). Besides being the largest producer of soft drinks, Coca-Cola has a few other strengths. First, Coca-Cola has a solid brand identity, meaning its logo and name are well known around the world in over 200 countries. Moreover, the company is known for producing not only its main product, but it is well known to produce a wide variety of non-alcoholic beverages. Coca-Cola also has a high retention of its customer base because, while there are alternatives to Coca-Cola, there is no other alternative that tastes exactly the same as a traditional Coca-Cola. Besides having and acknowledging strengths, The Coca-Cola Company does have its weaknesses. While the company excels in producing beverages across all of its product lines, that is the only type of product it produces. This is a drawback for Coca-Cola, as it limits the company's potential growth and leaves a way for competitors, like PepsiCo (sometimes referred to as Pepsi) who owns the Lay’s Potato Chip company, to expand into different markets. -
Ÿþm I C R O S O F T W O R
ýlj 119m11,1J i lill ýlj 119m11,1J i lill L:liv:liýlýlil MOCAMBIOUE PELO SED POVO EDIÇAO DE JOSÉ CAPELA / PORTO 1971 MOCAMBIOUE PELO SEU POVO CARTAS À "VOZ AFRICANA" selecção prefácio notas de: josé capela afrontamento/porto Os ladrões que mais pr6pria e dignamente merecem este itulo, são aqueles a quem os reis encomendam os exércitos e legiões, ou o governo das provincias, ou a administração das cidades, os quais j com manha, j6 com força, roubam e despojam os povos. Os outros ladrões roubam um homem, estes roubam cidades e reinos: os outros furtam debaixo do seu risco, estes sem temor, 'nem perigo: os outros, se furtam são enforcados, estes furtam e enforcam. P. António Vieira (Sermão do Bom Ladrão) PREFACIO O que se publica, a seguir, são cartas dirigidas pelos leitores ao jornal «Voz Africana». Iniciei a publicação semanal de «Voz Africana» em 2 de Junho de 1962. Este título é pertença do Centro Africano de Manica e Sofala, Beira, que, na altura, e desde há muito, não dispunha de meios para o editar. Entramos num acordo, segundo o qual, o Centro Social, Lda.' (que publicava, então, o «Diário de Moçambique» e que viria a publicar, mais tarde, outro semanário, «Voz da Zambézia», e a revista mensal «Em Economia de Moçambique) passaria a editar, de sua inteira responsabilidade, «Voz Africana». ' Sociedade por quotas mais tarde transformada em sociedade anónima sob a designação de Companhia Editora de Moçambique S. A. R. L., em cujo capital ficou largamente maiorit6ria a Diocese de Beira. A posiç5o da Diocese nesta Companhia foi vendida em 1 de Setembro de 1970 a um grupo de que apareceu como único executivo o engenheiro Jorge Jardim, então o personagem principal dos grandes interesses que o grupo Champalimaud detém em Moçambique (Exclusivo dos cimentos, aço, indústria química, BancaPinto e Sotto Mayor, seguros- Mundial de Moçambique, produtos alimentares- Mobeira, imprensa, etc.) e de outros empreendimentos empresariais tais como a Lusalite de Moçambique. -
Belenenses SAD Moreirense FC
JORNADA 4 Belenenses SAD Moreirense FC Sexta, 27 de Agosto 2021 - 19:00 Estádio Dr. Magalhães Pessoa, Leiria POWERED BY Jornada 4 Belenenses SAD X Moreirense FC 2 Confronto histórico Ver mais detalhes Belenenses SAD 10 9 8 Moreirense FC GOLOS / MÉDIA VITÓRIAS EMPATES VITÓRIAS GOLOS / MÉDIA 36 golos marcados, uma média de 1,33 golos/jogo 37% 33% 30% 26 golos marcados, uma média de 0,96 golos/jogo TOTAL BELENENSES SAD (CASA) MOREIRENSE FC (CASA) CAMPO NEUTRO J BEL E MFC GOLOS BEL E MFC GOLOS BEL E MFC GOLOS BEL E MFC GOLOS Total 27 10 9 8 36 26 7 4 2 18 4 3 5 6 18 22 0 0 0 0 0 Liga Portugal bwin 20 8 6 6 23 16 5 3 2 12 3 3 3 4 11 13 0 0 0 0 0 Liga Portugal SABSEG 6 2 2 2 10 7 2 1 0 6 1 0 1 2 4 6 0 0 0 0 0 Allianz Cup 1 0 1 0 3 3 0 0 0 0 0 0 1 0 3 3 0 0 0 0 0 J=Jogos, E=Empates, BEL=Belenenses SAD, MFC=Moreirense FC FACTOS BELENENSES SAD FACTOS MOREIRENSE FC TOTAIS TOTAIS 78% em que marcou 56% em que marcou 56% em que sofreu golos 78% em que sofreu golos MÁXIMO MÁXIMO 5 Jogos a vencer 2012-04-07 -> 2016-02-13 3 Jogos a vencer 2019-02-04 -> 2020-07-11 3 Jogos a perder 2019-02-04 -> 2020-07-11 6 Jogos sem vencer 2012-04-07 -> 2016-12-29 6 Jogos sem perder 2012-04-07 -> 2016-12-29 5 Jogos a perder 2012-04-07 -> 2016-02-13 RECORDES BELENENSES SAD: MAIOR VITÓRIA EM CASA 2ª Divisão de Honra 1998/1999 Belenenses SAD 4-0 Moreirense FC BELENENSES SAD: MAIOR VITÓRIA FORA Liga NOS 15/16 Moreirense FC 2-3 Belenenses SAD SuperLiga 04/05 Moreirense FC 0-1 Belenenses SAD Liga NOS 14/15 Moreirense FC 0-1 Belenenses SAD MOREIRENSE FC: MAIOR VITÓRIA EM CASA -
My Voice Is My Weapon: Music, Nationalism, and the Poetics Of
MY VOICE IS MY WEAPON MY VOICE IS MY WEAPON Music, Nationalism, and the Poetics of Palestinian Resistance David A. McDonald Duke University Press ✹ Durham and London ✹ 2013 © 2013 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Cover by Heather Hensley. Interior by Courtney Leigh Baker Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data McDonald, David A., 1976– My voice is my weapon : music, nationalism, and the poetics of Palestinian resistance / David A. McDonald. pages cm Includes bibliographical references and index. isbn 978-0-8223-5468-0 (cloth : alk. paper) isbn 978-0-8223-5479-6 (pbk. : alk. paper) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Political aspects—Israel. 3. Music—Political aspects—Gaza Strip. 4. Music—Political aspects—West Bank. i. Title. ml3754.5.m33 2013 780.89′9274—dc23 2013012813 For Seamus Patrick McDonald Illustrations viii Note on Transliterations xi Note on Accessing Performance Videos xiii Acknowledgments xvii introduction ✹ 1 chapter 1. Nationalism, Belonging, and the Performativity of Resistance ✹ 17 chapter 2. Poets, Singers, and Songs ✹ 34 Voices in the Resistance Movement (1917–1967) chapter 3. Al- Naksa and the Emergence of Political Song (1967–1987) ✹ 78 chapter 4. The First Intifada and the Generation of Stones (1987–2000) ✹ 116 chapter 5. Revivals and New Arrivals ✹ 144 The al- Aqsa Intifada (2000–2010) CONTENTS chapter 6. “My Songs Can Reach the Whole Nation” ✹ 163 Baladna and Protest Song in Jordan chapter 7. Imprisonment and Exile ✹ 199 Negotiating Power and Resistance in Palestinian Protest Song chapter 8. -
Coca-Cola 2020 World Without Waste Report
2020 World Without Waste Report THE COMPANY Introduction Design Collect Partner What’s Next Assurance Statement Design Make 100% of our packaging recyclable globally by 2025—and We have a responsibility to help solve the global use at least 50% recycled material plastic waste crisis. That’s why, in 2018, we in our packaging by 2030. launched World Without Waste—an ambitious, sustainable packaging initiative that is creating systemic change by driving a circular economy Collect for our bottles and cans. Collect and recycle a bottle or can for each one we sell by 2030. The World Without Waste strategy has signaled a renewed focus on our entire packaging lifecycle—from how bottles and cans are Partner designed and produced to how they’re recycled Bring people together to and repurposed—through a focus on three support a healthy, debris-free environment. fundamental goals: Our sustainability priorities are interconnected, so we approach them holistically. Because packaging accounts for approximately 30% of our overall carbon footprint, our World Without Waste strategy is essential to meeting our Science-Based Target for climate. We lower our carbon footprint by using more recycled material; by lightweighting our packaging; by focusing on refillable, dispensed and Coca-Cola Freestyle solutions; by developing alternative packaging materials, such as advanced, plant-based packaging that requires less fossil fuel; and by investing in local recycling programs to collect plastic and glass bottles and cans so they can become new ones. This is our third World Without Waste progress report (read our 2018 and 2019 reports). Three years into this transformational journey, the global conversation about plastic pollution—and calls for urgent, collaborative action—are intensifying.