Em conjunto com a Medicina Legal, a Radiologia Forense atua realizando exames radiológicos com fins de auxiliar o poder judiciário na elucidação de crimes. Este trabalho enfocou a atuação do profissional em radiologia nas atividades forenses. Para tanto utilizou-se o método revisão bibliográficas, realizada através de livros, artigos científicos e bancos de dados de bases eletrônicas. Observou-se que a radiologia forense é parceira da Medicina Legal, sendo o radiologista um profissional essencial na formação de uma equipe específica para as atividades forenses, auxilia na recuperação das provas, no diagnóstico de causa sobre morte de vítimas humanas e animais.
The aim of the current study is to analyze the work of street (circus) performers at traffic lights, from a sociological perspective. Therefore, this article focuses on contributing to improve debates about work, by going beyond the individualistic psychological perspective prevailing in the Business Management field and in organizational studies. By assuming work as social practice arising from organizing processes, it uses the classic concepts — deriving from Sociology — of stigma and deviance, as well as takes a critical position about neoliberal rationality, to theoretically contribute to process to think about work based on a non-traditional logic. It analyzes organizations outside organizations, such as family, the streets and the city. The main findings observed in the current study, based on eighteen semi-structured interviews conducted with street artists, enabled seeing that stigmas, such as tramps and filthy people, imposed on these artists, as well as difficulties in their relationship with their families, are the main obstacles to the type of work carried out by them. It was possible concluding that market-oriented neoliberal rationality, which appropriates people’s work and turns profit maximization into the very rationality of life, contributes for circus artists who work at traffic lights to be considered deviant and stigmatized, as well as opens room for angry discourses capable of promoting violence and prejudice. Thus, it is necessary changing the “get a job, you tramp!” statement into understanding of and respect for different individuals.
Este trabalho está licenciado sob uma Licença Creative Commons Attribution 3.0.
Resumo O nosso objetivo neste artigo é analisar o trabalho dos artistas circenses no semáforo a partir de um olhar sociológico. Diante disso, este texto busca contribuir para o avanço do debate sobre trabalho, indo além da perspectiva psicológica individualista que predomina na área de administração e nos estudos organizacionais. Assumindo o trabalho enquanto uma prática social oriunda de processos organizativos, utilizamos as noções clássicas — derivadas da sociologia — de estigma e desvio e uma posição crítica à racionalidade neoliberal, com o objetivo de contribuir teoricamente para se pensar o trabalho por uma lógica não tradicional. Olhamos para as organizações fora das organizações como, por exemplo, família, a rua e a cidade. A partir de dezoito entrevistas semiestruturadas com artistas, apresentamos como principais resultados que o estigma de vagabundos e sujos e as dificuldades de relacionamento com as famílias são os principais entraves desse tipo de trabalho realizado pelos artistas. Concluímos que a racionalidade neoliberal orientada para o mercado, que se apropria do trabalho das pessoas fazendo da maximização do lucro a própria racionalidade da vida, contribui para que os artistas circenses no semáforo sejam considerados desviantes e estigmatizados, abrindo espaço para um discurso raivoso, promotor de violências e preconceitos. Nesse sentido, é preciso transformar o “vai trabalhar, vagabundo!” em compreensão e respeito ao diferente.
Actuellement, le marché de la pisciculture est vaste et présente un fort potentiel de croissance. Seulement entre 2005 et 2010, la production nationale de poisson en captivité a augmenté de 86,3% pour atteindre 479 000 tonnes. Selon l'Organisation des Nations Unies pour l'alimentation et l'agriculture, le Brésil est capable de produire de manière durable 20 millions de tonnes de poisson par an. La pisciculture représente actuellement 33,5% de la production de poisson du pays. Le Nord-Est est le deuxième plus gros producteur de poisson d'eau douce du pays, principalement en raison de la quantité apparente de barrages existants, en plus des programmes "poisson" développés avec le réduire les effets de la sécheresse. Le présent travail a pour objectif de présenter des informations sur des techniques alternatives telles que la réutilisation de l’eau dans la production de Tilapia du Nil, en tenant compte du problème de la pénurie d’eau dans la région Nord-est; montrant à leur tour les variables et les éléments analysés pour la recherche, ainsi que certaines caractéristiques de l'espèce: croissance rapide, habitudes alimentaires via les éléments de base de la chaîne alimentaire. Par ailleurs, les différents systèmes de production et leurs principales différences sont abordés car ils varient en fonction du degré d’interférence de l’éleveur dans l’environnement aquacole (densité de stockage, pratiques de gestion et utilisation des intrants, modifications de l’eau dans l’élevage, productivité) étant classés comme extensifs, semi-intensifs et intensif. Enfin, les pratiques et procédures utilisées dans l'expérience sont exposées, permettant une série de résultats, coûts et faisabilité pour la production commerciale de Tilapia du Nil dans le Nord-est du Brésil.
Juggling as art, were always present in the history of the development of human civilization in the course of the centuries. This practice, actually has occupied the street spaces, thus various other arts. In this point, the circus arts and juggling specifically, had to reinvent and adapt to the new social realities, using the traffic lights as showcase and workplace. The street, understood as a place of insecurities and risks, emerge for the artists as a perfect stage to allow access to all individuals of the population independent of class, race or gender. In this way street art, especially juggling in the traffic light, has been gaining more and more space within cities. This study sought to get a better understand about the practice of juggling in the traffic light, approached from economic, cultural and social perspectives. This practice increasingly present in urban territory, present few scientific studies and limited knowledge and attention of the academic community. In pursuit of this understanding, was used content analysis, quantitative and qualitative perspective of the bibliographic collection selected. It was possible to observe the academy's perspective on this activity, which mostly opted for a socio-economic approach. The researchers' perception of juggling at traffic lights as art also had significant expression of the collection studied, in which the activity is analyzed from an internal perception, as participating observers. Finally, the topic ‘backpackers’ with the lowest representativeness in the analyzed bibliographic material, in which is observed the existent relationship between this group and the studied activity.
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