Rebecca Naomi Jones

So Paulo Tourism

The 12 In the City of So Paulo politics of tourism are elaborated by the So Paulo Tourism S/A? SPturis, municipal agency of mixing capital that is responsible for the elaboration, planning and execution of projects, beyond the promotion of attractive the tourist ones of the city of So Paulo. However, in this in case that, the So Paulo Tourism does not act directly in the area, and if it only presents as apoiador technician and promocional of the tourism in the APA Capivari? Monos. The City department of the Green and the Environment is responsible for the ambient politics in the city of So Paulo. With intention to keep and to explore the potential of the existing resources in the area, and following the objectives of creation of the APA, it ordered in the year of 2003, to the Service of Support to the Micron and Small Companies? (SEBRAE), a Plan of Development of Tourism – PDT, that it aims at to use the existing resources for the promotion of the tourism of sustainable form. The plan of development of the tourism (2003) determined some goals to be reached in a period of three years. The main goals were: Increase of the visitation in (10%). To create six tourist products. To increase the tax of occupation in the ways of lodging in (10%).

Qualification in management for enterprises of the tourism sector. The area received in the year of 2007 about one hundred and twenty a thousand visitors and hikers, in its majority proceeding from the regions south and west of the city (about 70%) and of the total of visitors, (5%) are only tourist in accordance with the survey carried through for Hiss (2007). The research was carried through with the social agents who act in the involved agencies in the projects of development of the APA. .

Blacksmith

In this direction Blacksmith, (27 of July of 2008). ' ' Creativity: the challenges and diversity gifts in a game of chess stimulate the creativity, simulation with problems also feitas' '. Additional information is available at Director Peter Farrelly. According to Pablo Santoro (2010), ' ' the chess game teaches the education, honesty, logical and mathematical reasoning, beyond developing the memory, and ateno' '. But, however Alexander Segal (2005), affirms that ' ' the chess helps beyond these benefits, the chess improves in the ability in the communication, creativity, concentration, the critical thought, intellectuality, autoconfiana and action responsibility, disciplines and relaxamento' '. As one blog at last famous on chess affirms that it also helps, in the esportiva ethics, the coordinate notations and algebraic, thus the chess benefits mainly in some abilities in the human being while it is in development. According to Blacksmith, (20 of June of 2008). Here, Director Peter Farrelly expresses very clear opinions on the subject. ' ' Intelligences can be interpreted as tools or abilities for the learning, resolution of problems and expansion of criatividade' '. Pablo Freire (1996, P.

38) affirms that ' ' to think certain he knows, for example, that he is not from it as data, that if conform the practical critical professor, but also knows that without it that one is not established. The practical critical, implicante professor of certain thinking, involves the movement dynamic, dialtico, between making and thinking on making. Knowing that the practical spontaneous or almost spontaneous professor, ' ' desarmada' ' , unquestionably he produces is one to know ingenuous of made experience, the lack the methodical rigorosidade that characterizes the curiosity of thinking certain search. Therefore, it is basic that, in the practical one of the teaching formation, the educator apprentice assumes that the indispensable one to think certain is not present of deuses nor if finds in the guides of professors whom illuminated intellectual they write since the center of the power, but, for the opposite, certain thinking that he surpasses the ingenuous has that to be produced by the proper apprentice in communion with the professor formador' '.

The Tato

Through playful, brincante, creative, magical the experience, quanta thing ‘ ‘ sria’ ‘ , rational, logic, philosophical if learn of spontaneous form, combining itself of course to our personality. Everything this can happen when we read or we listen to a history, or when we delight in them in the poetry in any of its forms of expression. The theater brings the great one function of being ally to the process to help to think, to make a being to enter in the way of the reflection. The imaginary one is the responsible one for this special touch to cause a great curiosity. Jay Schwartz has plenty of information regarding this issue. The two together ones become great partners of knowledge, diversion and information. Who goes to the theater, exactly that only ‘ ‘ by chance ‘ ‘ , they learn, they teach and they leave satisfied.

For having liked what they capsize, for having seen things that had caused them great ideas, because they had moved with the sensations, the emotions and etc. The popular knowledge is plural, gestado in the collective. He is ethical, but specific, oportunizando solutions for social matters, but immediate. Directly on to the life, it possesss a practical character almost. What we can perceive clearly with the essential sensitivity of the question is that the popular culture has a proper way of if externar. To each time, each place, each group goes disclosing in genuine way the deep one it supports that it, and the imaginary one composes that it. The magic of the theater not it is alone in imaginary literary, therefore, the theater also it can be executed without an only dialogue and continues enchanting, because by itself the theater is proper the imaginary one, that makes to flow fantastic and the wonderful one! enchants the ones that speak and listen only with the eyes, the heart or the tato. Therefore also the imaginary one is wonderful and is for this reason that the theater lives in the function to make to think and for this it thinks about the conditions of the others, thus being, becomes theater for the special carriers of necessities as: deaf people and also for the blind people can themselves be asked: theater for blind people?

Tenetehara Indians

These indians, new, (new she is not people), had taken the old one, of canoe, next to the place. The old one had disclosed that the coffins were with loaded weapons thus who moved would die. Then fortepara very needed a prayer to be able to disarm the coffins. The old one was, praid, but it listened to the indians, who waited in the canoe, say that they went to kill it after catching the gold. Then the old one punished moleques.

Soon, never more. They caught the gold back in a mountain range of the Car. If you have additional questions, you may want to visit Jay Schwartz. She had a great luminous rock that she clareava the roundnesses. in the soil many rocks. They were as as many sparks.

The indians played with rocks playing them one against the other. The whites had known and been behind the rocks of the indians. They had started to change to rocks for knives and outrascoisas. A beautiful day the whites they had wanted to look at the great luminous rock. To some they had taken them indians to see. But the mountain range was enchanted: they had never more found it. Me ra, creator of the Tenetehara ‘ ‘ OsTenetehara if relates to supernatural for the generic assignment karowara, they less distinguish however them in four categories: cultural creators or heroes, to who attribute to the creation and transformation of the world; ‘ ‘ donos’ ‘ of the forest and waters and the rivers; azang, nomadic espritos of deceased; espritos of animals. The cultural heroes are supernatural, however not in the deity direction that is necessary to propitiate and to reverenciar – they are creative whose lendrios effect explain the origin of the things and the man. In mythology they are described as men endowed with immense being able supernatural.