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Metrô + Ônibus De Integração
OLÁ, sabemos que muitas pessoas que participam do Simpósio de Pesquisa Sobre Migrações não conhecem muito bem a região e, por isso, algumas dúvidas podem surgir. Pensando nisso, montamos esse breve guia para te ajudar e para facilitar sua experiência tanto no Campus da Praia Vermelha da UFRJ quanto no Rio de Janeiro. SUMÁRIO 4 Transportes 9 Onde comer? 12 Pontos turísticos 22 Agenda cultural 30 Outras dicas 3 TRANSPORTE Separamos algumas das principais linhas de ônibus que circulam pela Zona Sul e que passam próximas ao Campus da Praia Vermelha. TRO 1 Sai da General Osório (Ipanema), passa pela UFRJ e vai para Central (via Av. Nossa Senhora de Copacabana/ Aterro do Flamengo). * TRO 2 Sai do Jardim de Alah (entre Leblon e Ipanema), passa pela UFRJ Campus Praia Vermelha e segue para rodoviária (via Lapa). * TRO 3 Sai do Leblon, passa pela UFRJ e segue para a Central (via Aterro / Avenida Nossa Senhora de Copacabana). * TRO 4 Sai da Vinicius de Moraes (Ipanema), vai até UFRJ Campus Praia Vermelha e segue para a rodoviária. * 4 TRO 5 Sai do Alto Gávea, passa pela UFRJ e vai para Central (Via Praia de Botafogo). * INT 1 Sai da Barra da Tijuca, mas também passa pelo Alto Leblon e Vieira Souto (Ipanema) e vai para UFRJ, tendo ponto final no Shopping Rio Sul (bem próximo do Campus). * INT 2 Sai da Barra da Tijuca, passa pela Vieira Souto (Ipanema), por Copacabana (Av Atlantida) e segue para a UFRJ, tendo ponto final no Shopping Rio Sul (bem próximo do Campus). * 415 Sai da Cupertino Durão (Leblon), vai para UFRJ e depois segue para o Centro (Central). -
Listagem De Pv Para Dia D Da Campanha De Vacinação Contra Sarampo - 15/02/2020 (Sábado)
SUBPAV SVS CPI LISTAGEM DE PV PARA DIA D DA CAMPANHA DE VACINAÇÃO CONTRA SARAMPO - 15/02/2020 (SÁBADO) AP Nº PV ENDEREÇO BAIRRO 1 AQUARIO PRAÇA MUHAMMAD ALI GAMBOA 2 SUPERMERCADO PREZUNIC R. ITAPIRU, 474 CATUMBI 3 SUPERMERCADO MUNDIAL R. RIACHUELO, 192/194 - DE FATIMA BAIRRO DE FÁTIMA - CENTRO 4 IGREJA SANT'ANA PRAÇA CARDEAL LEME, 11200 CENTRO 5 CADEG R. CAPITÃO FÉLIX, 110 BENFICA 6 ESTAÇÃO BONDE DE SANTA TERESA R. LÉLIO GAMA, S/N CENTRO 7 PRAÇA DO LARGO DA CARIOCA LARGO DA CARIOCA CENTRO 8 EXTRA -RIO COMPRIDO R. ARISTÍDES LÔBO, 234 RIO COMPRIDO 9 BLOCO DE EMBALO RODOPIANDO LARGO DO RODO, S/N TURANO 1.0 10 PRAÇA DO ESTACIO PRAÇA DO ESTACIO ESTACIO 11 PRAÇA MAUÁ PROXIMO AO MUSEO DO AMANHÃ CENTRO 12 SUPERMERCADO ASSAÍ AV. BRASIL, 2251 CAJU 13 INSTITUTO RENOVANDO ATITUDE R. GEN. SAMPAIO, 36 CAJU 14 IGREJA DO DIVINO ESPIRITO SANTO R. ESTÁCIO DE SÁ, 167 ESTACIO 15 CENTRO LUIZ GONZAGA DE TRADIÇÕES NORDESTINAS CAMPO DE SÃO CRISTOVÃO, S/N SÃO CRISTOVÃO 16 CONDOMINIO MANGUEIRA II RUA VISCONDE DE NITERÓI, 90 MANGUEIRA 17 SUPERMERCADO EXTRA RUA SÃO LUIZ GONZAGA,122 SÃO CRISTOVÃO 18 FUNDAÇÃO LEÃO XIII RUA JUPARÁ, S/N MANGUEIRA 19 LARGO DO MACHADO LARGO DO MACHADO LARGO DO MACHADO 20 CAMELÓDROMO - CALÇADA DO METRÔ DE SÃO CONRADO METRÔ RIO SÃO CONRADO ROCINHA 21 ORLA COPACABANA ORLA COPACABANA COPACABANA 2.1 22 PRAÇA NOSSA SENHORA DA PAZ PRAÇA NOSSA SENHORA DA PAZ IPANEMA 23 PRAÇA ELONEIDA STUDART PRAÇA ELONEIDA STUDART LEME 24 RUA SÁ FERREIRA C/ NOSSA SENHORA RUA SÁ FERREIRA C/ NOSSA SENHORA COPACABANA 25 PRAÇA NELSON MANDELA PRAÇA NELSON MANDELA BOTAFOGO 26 PRAÇA EDMUNDO REGO CENTRO DA PRAÇA GRAJAÚ 27 SHOPPING TIJUCA AV. -
A Panoramic Flight Over the City
Rio de Janeiro, commonly referred to simply as Rio, is the capital city of the State of Rio de Janeiro, the second largest city of Brazil. Located in the Southeast of the country, it is the best known Brazilian city abroad, the greater international tourism route in Brazil, and the main tourist destination in Latin America and all over Southern Hemisphere. Founded March 1, 1565 It was the capital of colonial Brazil since 1763, capital of the Portuguese Empire during the Napoleonic Wars, capital of the Area 1.182,296 km² Empire of Brazil, and capital of the Republic until the Population 6.323.037 inauguration of Brasilia in the 1960s. It is also known as Marvelous City and the people who are born in it are called Density 5.348,1/km² carioca. Elevation 2 m Nowadays, Rio de Janeiro is one of the main economic, cultural Demonym Carioca and financial centers of the country, being internationally known Time zone BRT (UTC−3) for its many cultural and landscape attractions, as the Sugar Loaf, the Corcovado mountain with the Christ the Redeemer Area code(s) +55 21 statue, the beaches of the neighborhoods of Copacabana, Ipanema and Barra da Tijuca (among others), the Maracanã Stadium, the João Havelange Olympic Stadium, the forests of Tijuca and Pedra Branca, the Quinta da Boa Vista, the Paquetá Island, the Copacabana’s New Year’s Eve and the Carnival. Covered by a large number of universities and institutes, it is the second largest Brazilian research and development center, being responsible for 17% of the national scientific production, according to 2005 data. -
16º Congresso Brasileiro De Assistentes Sociais Tema: “40 Anos Da “Virada” Do Serviço Social” Brasília (DF, Brasil), 30 De Outubro a 3 De Novembro De 2019
16º Congresso Brasileiro de Assistentes Sociais Tema: “40 anos da “Virada” do Serviço Social” Brasília (DF, Brasil), 30 de outubro a 3 de novembro de 2019 Eixo: Questões Agrária, Urbana, Ambiental e Serviço Social. Sub-Eixo: Ênfase em Questão Urbana. FAVELA DOS GUARARAPES: UMA NARRATIVA DE ESTIGMA E RESISTÊNCIA Beatriz Fartes de Paula Neves1 Resumo: O tema a ser elencado neste trabalho trata-se de uma pesquisa qualitativa, apoiada no uso da história oral, sobre o processo de estigmatização das favelas do Rio de Janeiro e a luta pela permanência das famílias residentes na Favela Guararapes, localizada no bairro Cosme Velho, na cidade do Rio de Janeiro. Palavras-chave: Estigmatização socioespacial, favela, marginalização e resistência. Abstract: The theme to be highlighted in this work is a qualitative research, supported by the use of oral history, the stigmatization process of the favelas of Rio de Janeiro and the struggle for the permanence of the families living in Favela Guararapes, located in the neighborhood Cosme Velho , In Rio de Janeiro city. Keywords: Socio-spatial stigmatization, favela, marginalization and resistance. I. INTRODUÇÃO A presente exposição tem como proposta contribuir com reflexões sobre a luta pela permanência das famílias residentes na Favela Guararapes, localizada no bairro Cosme Velho, na cidade do Rio de Janeiro. Como metodologia de pesquisa, proponho a realização de uma pesquisa qualitativa de natureza histórica, apoiada no uso da história oral que incluirá entrevistas semiestruturadas com antigos moradores dos Guararapes. Por se tratar de um trabalho em curso, as informações aqui contidas são ainda parciais, baseadas em análise documental e análise de dados secundários como arquivos, jornais, bancos de dados, bibliotecas, sites da Internet a respeito do tema e também de informações obtidas através da observação de campo. -
Mário Pedrosa PRIMARY DOCUMENTS
Mário Pedrosa PRIMARY DOCUMENTS Editors Glória Ferreira and Paulo Herkenhoff Translation Stephen Berg Date 2015 Publisher The Museum of Modern Art Purchase URL https://store.moma.org/books/books/mário-pedrosa-primary-documents/911- 911.html MoMA’s Primary Documents publication series is a preeminent resource for researchers and students of global art history. With each volume devoted to a particular critic, country or region outside North America or Western Europe during a delimited historical period, these anthologies offer archival sources–– such as manifestos, artists’ writings, correspondence, and criticism––in English translation, often for the first time. Newly commissioned contextual essays by experts in the field make these materials accessible to non-specialist readers, thereby providing the critical tools needed for building a geographically inclusive understanding of modern art and its histories. Some of the volumes in the Primary Documents series are now available online, free-of-charge. © 2018 The Museum of Modern Art 2 \ Mário Pedrosa Primary Documents Edited by Glória Ferreira and Paulo Herkenhoff Translation by Stephen Berg The Museum of Modern Art, New York Leadership support for Mário Pedrosa: Copyright credits for certain illustrations Primary Documents was provided and texts are cited on p. 463. by The International Council of The Museum of Modern Art. Distributed by Duke University Press, Durham, N.C. (www.dukepress.edu) Library of Congress Control Number: 2015954365 This publication was made possible ISBN: 978-0-87070-911-1 with cooperation from the Fundação Roberto Marinho. Cover: Mário Pedrosa, Rio de Janeiro. c. 1958 p. 1: Mário Pedrosa in front of a sculp- Major support was provided by the ture by Frans Krajcberg at the artist’s Ministério da Cultura do Brasil. -
Antonio Dias Brazilian Art Icon Questions the Limits of Painting in A
antonio dias Brazilian art icon questions the limits of painting in a solo show at galeria nara roesler st th opening Galeria Nara Roesler will host from April 1 to May 6 a show featuring April 1st, 2014 the recent production of Brazilian art icon, Antonio Dias 7pm>10pm The selected pieces are part of the artist’s recent production and demonstrate the strength and freshness of the work of Dias, who exhibition Apr. 02 > May 6 continues to restlessly research on an organic painting that is alive Mon>Fri 10am>7 pm and in consonance with the present. Sat 11am>3pm The artist is also on show at Fundação Iberê Camargo with the galeria nara roesler avenida europa 655 exhibition Potencia da Pintura, curated by Paulo Sergio Duarte. The 01449-001 show opens on March 13th. são paulo sp brasil t 55 (11) 3063 2344 About Dias’ paintings, art critic Sonia Salzstein wrote: “Antonio Dias’ f 55 (11) 3088 0593 www.nararoesler.com.br recent set of paintings follow the path chosen by the artist as of the mid-1980s. These works confirm procedures that were characteristics press office of what he began to do at that time." What we see are assemblages agência guanabara of chaotically put together juxtaposed and superimposed paintings t 55 (11) 3062 6399a [email protected] that deconstruct the two-dimensional notion of painting by means of [email protected] its volumes and its irregular contours. Nevertheless, the alternation of framing and surface is not the only aspect that subverts the traditional pictorial quality: in the seemingly monotonous patterns printed in each module by the irregular pigmentation and almost left to their own devices as a result of the deposition of volatile material – pigments, mineral elements, agglutinants – Dias creates chromatic units that constitute a set that is similar to the pieces of a mosaic, forming deceitful visual nuances that fool the eye by abruptly rupturing color temperatures and organic Antonio Dias patterns. -
Dissertação Laeticia Jensen Eble
Universidade de Brasília Instituto de Letras Departamento de Teoria Literária e Literaturas IMAGENS CONVERGENTES: os anônimos de Oswaldo Goeldi e Luiz Ruffato Laeticia Jensen Eble Brasília 2011 Laeticia Jensen Eble IMAGENS CONVERGENTES: os anônimos de Oswaldo Goeldi e Luiz Ruffato Dissertação apresentada ao Programa de Pós- Graduação em Literatura da Universidade de Brasília (UnB) como parte dos requisitos exigidos para obtenção ao grau de Mestre em Literatura. Orientadora: Prof a Dr a Regina Dalcastagnè Aprovada em 15 de dezembro de 2011. Banca Examinadora: ____________________________ Prof a Dr a Regina Dalcastagnè Presidente Universidade de Brasília – UnB ____________________________ Prof. Dr. Paulo Thomaz Membro interno Universidade de Brasília – UnB ____________________________ Prof a Dr a Susana Moreira de Lima Bigio Membro externo Escola de Aperfeiçoamento dos Profissionais da Educação – Eape ____________________________ Prof. Dr. Anderson da Mata Suplente Universidade de Brasília – UnB Ao Franc, sempre. AGRADECIMENTOS Este trabalho fala acerca da capacidade da arte de comunicar o incomunicável. Talvez agradecer esteja nessa categoria do incomunicável, porque, em alguns casos, dizer obrigado parece nunca ser suficiente. É assim que agradeço às pessoas que nomeio aqui, com a sensação de que este é só um registro, e as palavras estarão sempre aquém da gratidão que sinto. Agradeço, então, primeiramente, à prof a Regina Dalcastagnè, que me mostrou o caminho e me proporcionou enxergar um sentido em meus estudos desde a graduação. Agradeço também por ser para mim um modelo de profissional e de pessoa. Seus ensinamentos e a confiança que sempre depositou em mim revolucionaram minha vida. Conhecê-la e compartilhar com ela de tantas felicidades acadêmicas faz toda a diferença. -
CR12 Michaels.Pdf
Smile, You’re in Rio From the beach at Ipanema to the Favela of Rocinha, a host City braces for the 2016 Olympic Games By Julia Michaels y the time we came from São Paulo to live in Rio de Janeiro, in 1995, the grubby apartments we looked at boasted wheezing psychedelic orange refrigerators. BWe noticed that people’s cars were older than those in São Paulo, the metropolis to which banks and businesses and even the stock market had fled in the 1980s. Trees grew out of crumbling façades. “Buy an armored car,” advised our São Paulo friends, who thought we were crazy to move to a place at war with itself. Rio was divided between its informal and formal parts, between “hill” and “asphalt,” as the locals say. As the city developed, in the late nineteenth century, the poor were relegated to hills and swamps, to the shantytowns known here as favelas, with troublesome access both for people and infrastructure. Many favela residents worked for the upper classes, who happily squeezed into the South Zone flat areas between the hills and the ocean: Ipanema, Copacabana, and Leblon—names synonymous with Brazilian sun, surf, and sexiness. We did buy an armored car, and hired a driver to do our errands and escort our children to and from a private school. Drug traffickers were taking over huge swathes of the informal city—often the hilltop favelas—in both the North and South Zones. In West Zone favelas, inhabited largely by construction workers who’d come from drought-stricken northern Brazil, paramilitary groups ran things. -
Art's Complicity
Papers on Social Representations Volume 26, Issue 1, pages 6.1-6.15 (2017) Peer Reviewed Online Journal ISSN 1021-5573 © 2017 The Authors [http://www.psych.lse.ac.uk/psr/] Art’s Complicity JORGE COLI University of Campinas ABSTRACT In the course of its history, the artistic culture fashioned in Brazil has rebuffed direct observation. In the country’s domain of the visual arts and literature, artists, intellectuals and writers tend to cloister in an imaginary world, without seeing their own surroundings. Some of the significant works in the history of Brazilian art and culture have been taken into account in this paper. The works described here in a synthetic and simplified manner reiterated myths, arranged hierarchies, established preconceptions and concealed perceptions for the benefit of imaginaries that were not all that innocent. One can easily see that, in the course of its history, the artistic culture fashioned in Brazil has rebuffed direct observation. In the country’s domain of the visual arts and literature, artists, intellectuals and writers tend to cloister in an imaginary world, with no eyes for their own surroundings. Correspondence should be addressed to: Jorge Coli, Email: [email protected] 6.1 J. Coli Art’s Complicity Although rather generic and simplified, this initial comment sheds light on certain fundamental characteristics that historically have been associated with Brazil’s art history and production. These characteristics are linked to ideological tenets involving national identity and original roots. They comprise fictions, constructs and fantasies that definitively affect not only individual and group perceptions and expectations, but also ways of thinking and conceiving the world. -
Palácio Itamaraty Itamaraty Palace
Palácio Itamaraty Itamaraty Palace Palácio Itamaraty – Apresentação | 3 Itamaraty Palace – Presentation | 4 | Ministério das Relações Exteriores Ministry of External Relations | O Palácio Itamaraty e seu anexo em construção | | The Itamaraty Palace and its annex in construction | Palácio Itamaraty – Apresentação | 5 Itamaraty Palace – Presentation | É com prazer que apresento esta publi- It is with pleasure that I present this pub- cação, produzida para servir de guia e lication, compiled to serve as a guide and apoio aos visitantes e admiradores do support to the visitors and admirers of the Palácio Itamaraty, obra-prima de Oscar Itamaraty Palace - a masterpiece by Oscar Niemeyer. Niemeyer. Todos nós, diplomatas, sentimos orgulho ao falar All of us diplomats proudly to talk about Itamaraty. do Itamaraty. Esse verdadeiro palácio–museu en- This true palace-museum comprises the spirit cerra em sua arquitetura, em seus espaços e no which guides our diplomacy in its architecture, in seu acervo o próprio espírito que norteia a nossa its spaces, and in its assets – a diplomacy whose diplomacia, cujos alicerces estavam presentes na- foundations were present in that “certain idea of quela “certa idéia de Brasil”, pensada e realizada Brazil”, thought of and accomplished by our pa- por nosso patrono, o Barão do Rio Branco. tron, the Baron of Rio Branco. Último dos palácios de Brasília a ser construído, The last of the palaces of Brasilia to be built, the a Chancelaria brasileira foi o primeiro ministério Brazilian chancellery was the fi rst Ministry to be a transferir-se totalmente do Rio de Janeiro para completely transferred from Rio de Janeiro to a nova capital federal. -
The Body As Capital. Understanding Brazilian Culture VIBRANT - Vibrant Virtual Brazilian Anthropology, Vol
VIBRANT - Vibrant Virtual Brazilian Anthropology E-ISSN: 1809-4341 [email protected] Associação Brasileira de Antropologia Brasil Goldenberg, Mirian The Body as Capital. Understanding Brazilian Culture VIBRANT - Vibrant Virtual Brazilian Anthropology, vol. 7, núm. 1, junio, 2010, pp. 220-238 Associação Brasileira de Antropologia Brasília, Brasil Available in: http://www.redalyc.org/articulo.oa?id=406941909013 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The Body as Capital Understanding Brazilian Culture Mirian Goldenberg Universidade Federal do Rio de Janeiro Introduction While carrying out research on new forms of conjugal life and sexuality among men and women of the urban middle class of Rio de Janeiro1 over the last decade, I have been constantly surprised by the frequency with which the category of the body made its way into the discourse of my interlocutors. It is important to recognize that it is not possible to generalize the idea of the body in Brazilian culture as a whole. This idea is present in a very particular segment of the Brazilian middle class and, in particular, among the residents of Rio de Janeiro. This is a very small segment of the Brazilian middle class which can be described as: predominantly whiter than average, heterosexual, college-educated, with a high income according to Brazilian standards, residents of the Southern Zone of Rio de Janeiro and especially of the richest neighborhoods (Leblon, Ipanema, Gávea, Lagoa, Jardim Botânico , Botafogo, Copacabana, Humaitá). -
The Region of Rio De Janeiro, One of the First Europeans to Praise Its Water Was the Shipping Pilot Nicolas Barré, Who Took Part in the French Colonisation Project
Manuscript accepted for publication in the Journal of Latin American Studies on April 22, 2017. Paradise for Whom? Conservatism and Progress in the Perception of Rio de Janeiro’s Drinking Water Supply, Sixteenth to Nineteenth Centuries Jorun Poettering1 Abstract: This article examines the ways in which the perception of Rio de Janeiro’s drinking water contributed to shaping the city’s hydric management in colonial and imperial times. Even though the general assessment of climate and vegetation changed from paradisiacal to injurious in the second half of the eighteenth century in accordance with Enlightenment ideas, this had no effect on the locals’ appreciation of the city’s drinking water. The criteria to evaluate the quality and quantity of available water were based on works from classical antiquity and remained essentially unchanged from early colonial times to the end of the empire. Not even the population growth and the increasing susceptibility to epidemics in the nineteenth century did induce the authorities to reform the water supply system as they were confident that the city was provided with good and abundant water by virtue of its natural disposition. Introduction 1 I am grateful to Tamar Herzog, Susan Fitzpatrick-Behrens, Malte Griesse and Martin Biersack as well as to the anonymous peer reviewers and editors for their helpful comments on distinct versions of this article. Thanks also go to William Templer for revising my English. The research was supported by funding from the Alexander von Humboldt-Foundation and the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No 659520.