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Libros sobre el tema "Crible visuel"

Autor: Grafiati
Publicado: 21 de diciembre de 2024

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1

Hamacher, Hans-Werner. Deutschland im Visier: Organisiertes Verbrechen. Leipzig: Militzke, 2000.

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2

Stepniak, Daniel. Audio-visual coverage of courts. Cambridge, England: Cambridge University Press, 2008.

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3

Stepniak, Daniel. Audio-visual coverage of courts. Cambridge, England: Cambridge University Press, 2008.

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4

Stepniak, Daniel. Audio-visual coverage of courts. Cambridge, England: Cambridge University Press, 2008.

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5

Stepniak, Daniel. Audio-visual coverage of courts. Cambridge, England: Cambridge University Press, 2008.

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6

Niemetz, Alexander. Die Kokain-Mafia: Deutschland im Visier. München: Goldmann, 1994.

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7

B, Cliteur P., Gennip, Pieter Anton van, 1944- y Laeyendecker L. 1930-, eds. Burgerschap, levensbeschouwing en criminaliteit: Humanistische, katholieke en protestantse visies op de kwaliteit van de huidige samenleving. Amersfoort: De Horstink, 1991.

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8

Sharon, Donna. Countering violence in families and communities: Schools' initiatives and the role of educational television. [Toronto, Ont.]: TVOntario, 1991.

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9

Rugoff, Ralph. Scene of the crime. Cambridge, Mass: Published in association with the MIT Press, 1997.

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10

Désirée, Schauz y Freitag Sabine, eds. Verbrecher im Visier der Experten: Kriminalpolitik zwischen Wissenschaft und Praxis im 19. und frühen 20. Jahrhundert. Stuttgart: Steiner, 2007.

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11

BAIERL, LUZIA FATIMA. Medo social : da violencia visivel ao invisivel da violencia. Sao Paulo: Cortez, 2004.

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12

Thatcher, Frances. The wonderful pop-up Christmas crib. [Sydney]: Angus & Robertson, 1993.

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13

McClanahan, Bill. Visual Criminology. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529207446.001.0001.

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From its earliest days, criminology has been a visual discipline, and the processes of the visual remain significant in the production and configuration of harm, crime, and justice. Reflecting the foundational power of the image, contemporary criminological and social theory are increasingly engaging with the processes and products of the visual from fine art to popular digital cultures. Following a longstanding and critical theoretical interest in the politics of meaning and the ways that our understandings of the phenomena of crime and justice shape (and are shaped-by) their cultural meaning and significance, visual criminology has begun to address the ways that contemporary social conditions, crime, justice, politics, and history configure the production and meaning of the visual (and vice versa). Detailing and employing the most prominent methodological and theoretical approaches at work in visual criminology, with a focus on the ways in which visually-attentive theory can enrich and enliven critical understandings of social relations, this book traces the development of the visual as a field and object of inquiry in criminology and social science at large. It describes the key methodological tendencies of the field, and theoretically explains and explores the visual perspective in relation to material ecology and environmental harm, drugs and drug culture, prison and punishment, and police and police power. This book broadens the horizons of criminological engagement and reveals how visual criminology—as one dimension of a broader sensory agenda—can offer new and critical ways to understand and theorize crime and harm.
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14

Visual Crime. Fantagraphics Books, 2021.

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15

Dielenberg, Robert. Ted Bundy: A Visual TImeline. JumpFish Publishing, 2016.

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16

Visual Culture and the Forensic. Taylor & Francis Group, 2022.

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17

Massey, Peter y Marilyn T. Miller. Crime Scene: A Visual Guide. Elsevier Science & Technology Books, 2018.

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18

Massey, Peter y Marilyn T. Miller. Crime Scene: A Visual Guide. Elsevier Science & Technology, 2018.

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19

author, Massey Peter, ed. The Crime Scene: A Visual Guide. Academic Press, 2015.

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20

Stepniak, Daniel. Audio-visual Coverage of Courts. Cambridge University Press, 2008.

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21

Programming in Visual Basic.Net 2005- Text Only. McGraw Hill, 2006.

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22

Crime Oracle: A 99 Card Deck of Visual Prompts and Keywords. Isinglass Press, 2022.

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23

Guilty and threatening: Visual bias in television news crime stories. Columbia, SC: Association for Education in Journalism and Mass Communication, 2003.

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24

Baer, Hester y Jill Suzanne Smith, eds. Babylon Berlin , German Visual Spectacle, and Global Media Culture. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350370098.

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The essays in this collection address the German television series Babylon Berlin and explore its unique contribution to contemporary visual culture. Since its inception in 2017 the series, a neo-noir thriller set in Berlin in the final years of the Weimar republic, has reached audiences throughout Europe, Asia, and the Americas and has been met with both critical and popular acclaim. As a visual work rife with historical and contemporary citations, Babylon Berlin offers its audience a panoramic view of politics, crime, culture, gender, and sexual relations in the German capital. Focusing especially on the intermedial and transhistorical dimensions of the series across four parts—Babylon Berlin, Global Media and Fan Culture; The Look and Sound of Babylon Berlin; Representing Weimar History; and Weimar Intertexts—the volume brings together an interdisciplinary and international group of scholars to critically examine various facets of the show, including its aesthetic form and citation style, its representation of the history and politics of the late Weimar Republic, and its exemplary status as a blockbuster production of neoliberal media culture. Considering the series from the perspective of a variety of disciplines, Babylon Berlin, German Visual Spectacle, and Global Media Culture is essential reading for students of film, TV, media studies, and visual culture on German Studies, History, and European Studies programmes.
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25

Stepniak, Daniel. Audio-Visual Coverage of Courts: A Comparative Analysis. Cambridge University Press, 2008.

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26

Stepniak, Daniel. Audio-Visual Coverage of Courts: A Comparative Analysis. Cambridge University Press, 2008.

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27

Stepniak, Daniel. Audio-Visual Coverage of Courts: A Comparative Analysis. Cambridge University Press, 2008.

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28

Stepniak, Daniel. Audio-Visual Coverage of Courts: A Comparative Analysis. University of Cambridge ESOL Examinations, 2012.

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29

Stepniak, Daniel. Audio-Visual Coverage of Courts: A Comparative Analysis. Cambridge University Press, 2009.

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30

The ultimate spectacle: A visual history of the Crimean War. Australia: Gordon and Breach, 2001.

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31

Keller, Ulrich. Ultimate Spectacle: A Visual History of the Crimean War (Documenting the Image). Routledge, 2001.

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32

Almino de Freitas, Nilson, Claudia Turra Magni y Philipi Emmanuel Lustosa Bandeira. Trajetórias pessoais na antropologia (audio)visual no Brasil. Volume 1. SertãoCult, 2022. http://dx.doi.org/10.35260/54210119-2022.

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O que nasceu como uma tentativa de aproximar pesquisadores de diversas áreas, de mobilizar os membros do Conselho Editorial da SertãoCult na elaboração de um material que exprimisse a capacidade da editora em produzir obras com qualidade técnica e com relevância acadêmica, tornou-se um sucesso logo em sua primeira edição. Após o lançamento do volume Diálogos sobre a Ditadura, que reuniu alguns dos maiores pesquisadores sobre a temática no Brasil, e do volume dois, Trajetórias de pesquisadores e os estudos das cidades médias em perspectiva, a série Território Científico chega ao seu terceiro volume, que reúne alguns dos maiores pesquisadores da Antropologia Visual. É com orgulho que apresentamos Trajetórias pessoais na antropologia (audio)visual no Brasil – Volume 1. É gratificante concluirmos mais esta contribuição para a comunidade científica, apresentando as trajetórias de algumas das maiores referências da Antropologia Visual brasileira, que no contexto da pandemia da Covid-19 ficaram tão fisicamente distantes, mas nunca tão próximos, unidos através da tecnologia, que permitiu a troca de experiências com colegas de diferentes regiões do país. E mais: é só o primeiro volume de uma série de três, nos quais são reunidas três dezenas de entrevistas. Estas obras já surgem como referência para aqueles que buscam conhecer a Antropologia Visual. Passados alguns meses da realização das entrevistas, finalmente a pandemia dá mostras de arrefecimento. O isolamento que tanto nos custou, começa a dar lugar a reencontros presenciais e estas entrevistas, mais do que um relato de experiências de pesquisa, passam a compor um registro histórico de como a crise sanitária afetou toda a nossa sociedade. Se a produção científica segue sendo alvo de constantes ataques e aqueles que se dedicam a ela ainda são encarados quase como inimigos do Estado, é mais do que pertinente, mas necessário que todos aqueles que acreditam na educação, na ciência, no conhecimento se unam e abracem projetos que busquem aproximar essa produção e o público em geral. Mais um livro se junta à nossa série, nos deixando ainda mais orgulhosos e empenhados em nossa defesa incondicional da ciência. Que venham os próximos volumes!
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33

The Surveillance Web: The Rise of Visual Surveillance in an English City. Willan Publishing (UK), 2002.

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34

Frisken, Amanda. Graphic News. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252042980.001.0001.

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This book explores sensationalism as it took hold of U.S. media between 1870 and 1900. During this period, print news publishers became adept at translating stories about sex, crime, and violence into emotion-based pictures. Analysis of significant episodes in media history shows how a range of news media producers engaged with the sensational style. As they pioneered the art of visual journalism, news publishers conveyed racial, class, and gender anxieties in a complex dialogue with audiences that established precedents for modern media. Prominent cases – obscenity litigation, anti-Chinese violence, the Ghost Dance, Jim Crow-era lynching, and domestic violence – demonstrate how efforts to maximize the dramatic power of the news transformed everyday reporting and established standards for visual journalism. Commercial newspaper editors exploited sensationalism’ economic benefits, while marginalized groups and social activists experimented with its power to challenge negative stereotyping and mobilize their own constituencies. By the 1890s, a wide range of publications had come to embrace, adapt, and expand the sensational style through news illustration – albeit in different ways for different audiences. The patterns prevalent in entertainment publications infiltrated the commercial dailies, and even low-budget political news sheets: few publications could afford to resist borrowing from the sensational toolkit. As sensationalism increasingly pervaded visual journalism, the very nature of the news changed.
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35

Brantingham, Patricia L., Paul J. Brantingham, Justin Song y Valerie Spicer. Advances in Visualization for Theory Testing in Environmental Criminology. Editado por Gerben J. N. Bruinsma y Shane D. Johnson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190279707.013.37.

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This chapter discusses advances in visualization for environmental criminology. The environment within which people move has many dimensions that influence or constrain decisions and actions by individuals and by groups. This complexity creates a challenge for theoreticians and researchers in presenting their research results in a way that conveys the dynamic spatiotemporal aspects of crime and actions by offenders in a clearly understandable way. There is an increasing need in environmental criminology to use scientific visualization to convey research results. A visual image can describe underlying patterns in a way that is intuitively more understandable than text and numeric tables. The advent of modern information systems generating large and deep data sets (Big Data) provides researchers unparalleled possibilities for asking and answering questions about crime and the environment. This will require new techniques and methods for presenting findings and visualization will be key.
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36

Donoso Macaya, Ángeles. The Insubordination of Photography. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401117.001.0001.

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The Insubordination of Photography studies the documentary practices of photography devised by different collectives (relatives of the detained-disappeared, church organizations, visual artists, and photographers), organizations, and independent media, which resisted, defied, and participated in the downfall of the dictatorial regime in Chile. Given a milieu saturated by disinformation and cover-ups of all kinds and restricted by repression and censorship, how does one demand and make visible the truth about the (denied) crime of forced disappearances under Pinochet’s Chilean dictatorship? At a moment when resistance was gaining more prevalence on the streets and in the independent media, how could one ensure the safety of independent photographers and challenge censorship? How does one convey denunciation when images are prohibited? The objects studied in this book emerged as answers to these pressing questions. Different documentary practices of photography were devised to make visible the crime of forced disappearances in the public space (chapter one), to produce a credible visual record of forensic evidence in a paramount legal case (chapter two), to denounce and resist precarity and protect the work of independent photographers and reporters (chapter three), and to challenge—and ridicule—censorship and the limitations imposed on freedom of the press (chapter four). These practices not only changed the depth of field, which the dictatorship attempted to control by all necessary means, but also, and perhaps more importantly, strengthened the ideology and the public space of the opposition while expanding the photographic field.
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37

Ilan, Jonathan y Gregory J. Snyder. Graffiti. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935383.013.144.

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Graffiti writing is often intensely policed despite being a relatively low-harm crime. Graffiti can be read by members of the public as a visual indicator of lawlessness and thus induce a certain amount of alarm. While there are a range of different kinds of graffiti, the most ubiquitous is that practiced by subcultural “writers.” Research indicates that there is an order and logic to writing. Writers often cultivate skills, experiences, and dispositions that imbue them with particular value in the postindustrial economy, offering them heightened career prospects. Graffiti and street art are increasingly featured as part of mainstream commercial aesthetics, even as unsanctioned writing continues to be met with zero-tolerance policing and tough situational crime prevention measures. Ultimately, writing can be managed in a more subculturally sensitive manner that better balances the needs and visions of different kinds of urban residents in local contexts.
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38

Miklitsch, Robert. The Glass Web. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0010.

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Since 3-D was originally developed, like CinemaScope, in response to the catastrophic decline of the movie audience, studios were eager to exploit three-dimension and apply it to genres such as the “meller” or “thriller.” Set in the “exotic” world of live TV, featuring a three-dimensional femme fatale, and revolving around the production of a true-crime television show called “Crime of the Week,” The GlassWeb appeared in 1953, the annus mirabilis of 3-D movies. However, despite certain spectacular 3-D passages, the visual style of The Glass Web tends toward the “zero degree,” reflecting the dominant postwar trend toward television and neo-realism. In just this sense, The Glass Web represents an uncommon mixture of classical Hollywood cinema and TV, a witch’s brew of the “silver” and “small screen,” classic expressionist noir and Dragnet, that reads, in retrospect, as both “retro” and prescient.
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39

Berliner, Todd. Crime Films during the Period of the Production Code Administration. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0008.

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Chapter 8 demonstrates the ways in which ideological constraints in studio-era Hollywood shaped the aesthetic properties of an entire body of crime films, now commonly known as film noir. The ideological restrictions of the Production Code Administration posed creative problems that noir filmmakers solved through visual and narrative contortion. The contortions created challenges for audiences, who had to decode and make sense of films that may not show complete clarity or coherence in their storytelling. Film noir remains aesthetically engaging because it operates near the boundaries of classicism without sacrificing classical Hollywood’s accessibility and formal unity.
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40

Rafter, Nicole y Michelle Brown, eds. The Oxford Encyclopedia of Crime, Media, and Popular Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/acref/9780190494674.001.0001.

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Over 120 scholarly articlesCrime and punishment fascinate. Overwhelming in their media dominance, they present us with our most popular television programs, films, novels, art works, video games, podcasts, social media streams and hashtags. This encyclopedia, a massive and unprecedented undertaking, offers a foundational space for understanding the cultural life and imaginative force and power of crime and punishment. Across five areas foundational to the study of crime and media, leading scholars from five continents engage cutting edge scholarship in order to provide definitive overviews of over 120 topics. In the context of an unprecedented global proliferation in the production of images, they take up the perennial and emergent problems of crime's celebrity and fascination; stereotypes and innovations in portrayals of crime and criminals; and the logics of representation that follow police, courts, capital punishment, prisons, and legal systems across the world. They also engage new, timely, and historically overlooked categories of offense and their representations, including child sexual abuse, violence against women, and human trafficking. A series of entries on mediums and methods provide a much needed set of critical approaches at a historical moment when doing media and visual research is a daunting, formidable undertaking. This is also a project that stretches our understanding of conventional categories of crime representation. One example of this is homicide, where entries include work on the ever-popular serial killer but also extend to filicide, infanticide, school shootings, aboriginal deaths in custody, lynchings, terrorism and genocide. Readers will be will be hard-pressed to find a convention, trope, or genre of crime representation that is not, in some way, both present and enlarged. From film noir to police procedurals, courtroom dramas and comedies to comic books, crime news to true crime and reality tv, gaming to sexting, it is covered in this encyclopedia.
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41

Llano, Samuel. Discordant Notes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199392469.001.0001.

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Scholarship on urban culture and the senses has traditionally focused on the study of literature and the visual arts. Recent decades have seen a surge of interest in the effects of sound on the urban space and its population. These studies analyze how sound generates identities that are often fragmentary and mutually conflicting. They have also explored the rise of campaigns against the negative effects of noise on the nerves and health of the population. However, little research has been carried out on the impact of sound and music in areas of broader social and political concern, such as social aid, hygiene, and social control. Based on a detailed study of Madrid from the 1850s to the 1930s, this book argues that sound and music have played a key role in structuring the transition to modernity by helping to negotiate social attitudes and legal responses to problems such as poverty, insalubrity, and crime. Attempts to control the social groups that own unwanted musical practices such as organ-grinding and flamenco performances in taverns raised awareness about public hygiene, alcoholism, and crime and triggered legal reform in these areas. In addition to marginalizing and persecuting these musical practices, the authorities and the media used workhouse bands as instruments of social control to spread “aural hygiene” across the city and wipe out unwanted musical practices.
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42

Marczak, Nikki y Kirril Shields, eds. Genocide Perspectives VI: The Process and the Personal Cost of Genocide. University of Technology, Sydney, 2020. http://dx.doi.org/10.5130/aaf.

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Genocide Perspectives VI grapples with two core themes: the personal toll of genocide, and processes that facilitate the crime. From political choices governments and leaders make, through to denialism and impunity, the crime of genocide recurs again and again, across the globe. At what cost to individuals and communities? What might the legacy of this criminality be? This collection of essays examines the personal sacrifice genocide takes from those who live through the trauma, and the generations that follow. Contributors speak to the way visual art and literature attempt to represent genocide, hoping to make sense of problematic histories while also offering a means of reflection after years of “slow violence” or silenced memories. Some authors generously allow us into their own histories, or contemplate how they may have experienced genocide had they been born in another time or place. What facets contribute to the processes that lead to, or enable the crime of genocide? This collection explores those processes through a variety of case studies and lenses. How do nurses, whose role is inherently linked to care and compassion, become mass killers? How do restrictions on religious freedom play a role in advancing genocidal policies, and why do perpetrators of genocide often target religious leaders? Why is it so important for Australia and other nations with histories of colonial genocide to acknowledge their past? Among the essays published in this volume, we have the privilege and the sorrow of publishing the very last essay Professor Colin Tatz wrote before his passing in 2019. His contribution reveals, yet again, the enormous influence of both his research and his original ideas on genocide. He reflects on continuing legacies for Indigenous Australian communities, with whom he worked for many decades, and adds nuance to contemporary understanding of the Armenian Genocide and the Holocaust, two other cases to which he was deeply committed.
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Pereira, Reina Marisol. Eratóstenes. Constelações do Zodíaco. Imprensa da Universidade de Coimbra, 2020. http://dx.doi.org/10.14195/978-989-26-1948-4.

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Este escrito pseudoeratosténico que se traduz nesta publicação retrata um grupo de episódios que não se limita a 12 constelações. Tampouco discorre acerca de influências/condicionalismos deterministas sobre eventualidades e comportamentos diários, mensais ou anuais das criaturas terrenas da Época Alexandrinista. Embora não se trate de um tratado astronómico e o estilo prime por um carácter simples e sucinto, muito há para descodificar nos pouco mais de quarenta episódios. De conotações astronómicas, apresenta-se como um exercício de aproximação, ao proporcionar ao recetor explicações de algo visível, mas não atingível - as constelações, através de imagens do saber comum, radicadas em cenas e aspetos mitológicos. Ademais, são vastos os topoi desenvolvidos, como philia, traição, cólera, justiça, crime e castigo, reverência, eponímia, etiologia, metamorfose, mitologia.
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44

Cooper, L. Andrew. Dario Argento. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037092.003.0001.

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This book explores the extreme violence that pervades Dario Argento's films, and particularly the ways in which they push the limits of visual and auditory experience by offending, confusing, sickening, and baffling the viewers. It looks at Argento's approach to his work over more than four decades of filmmaking, and his commitment to innovation that is evident in two closely related genres whose disturbing violence reaches previously unrecorded levels of pain, suffering, and mental anguish: crime thriller and supernatural horror. From his directorial debut, The Bird with the Crystal Plumage (1970), to Giallo (2009), Argento's films challenge a viewer's accepted ideas about film spectatorship, meaning, storytelling, and genre. This book also looks at the centrality of collaboration, particularly with family, in Argento's work by analyzing sixteen films that feature him as writer and director. Finally, it discusses how Argento's films function as rhetorical interventions against dominant views on film criticism, interpretation, narrative, and conventions through an examination of interpretive possibilities that connect the films to broader tendencies in film history.
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45

Willis, Andy. From Killer Snakes to Taxi Hunters: Hong Kong Horror in an Exploitation Context. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0004.

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From the Shaw Brothers production line to the clones of Bruce Lee, Hong Kong cinema has long been seen as driven by raw commercial concerns. Like many other commercial film industries, most notably Hollywood, production in the Hong Kong film industry has also been focused on popular cycles of production. These have included phases when family melodramas, historical swordplay and kung-fu films, screwball comedies and triad based crime films have all proved successful at the domestic and regional box-office. As with other commercially focused film industries there has also been a low budget sector within Hong Kong industry. Here producers and directors have fashioned energetic, populist films that were designed to appeal to audiences’ desire for films that contained sex and violence. The horror genre seemed the perfect vehicle to satiate these needs. This chapter explores the work of filmmakers who worked at this rougher end of Hong Kong horror in the 80s and 90s. As well as placing them into this exploitation context of production, this chapter discusses their excessive content and the visual style employed by directors such as Kuei Chih-hung (Killer Snakes, Hex) and Herman Yau (The Untold Story, Ebola Syndrome) to deliver their exploitative content.
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Casagrande, Elton Eustaquio, Guilherme Wolf Bueno, David Ferreira Lopes Santos y Levi Pompermayer Machado. Empreendedorismo na prática: conexões entre ciência, mercado e sociedade. Editora Ibero-Americana de Educação, 2022. http://dx.doi.org/10.47519/eiae.978-65-86839-10-4.

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Iniciamos a terceira década do século XXI no momento que entramos no ano de 2021. Uma época evidenciada por tópicos importantes que variam desde crises climáticas severas, até questões sociais que desempenham – com grande impacto –, o curso de nossa trajetória como indivíduo, a partir do momento em que a humanidade é posta em segundo plano. Aqui no Brasil, a contar dos últimos anos que antecedem essa terceira década e após uma agoniante crise epidemiológica, nos encontramos confusos e desorientados. Tal inflexão e confusão transparece culturalmente, politicamente, financeiramente e individualmente. Ou seja, nos paralisa em diversas áreas do desenvolvimento, sobretudo nas áreas da economia e na produção de uma nova ciência. Brasil, país rico em saberes e vivências que – através de suas particularidades –, possui um enorme potencial para ultrapassar fronteiras e abrir caminhos dentre todas as comunidades e esferas sociais que permeamos diariamente. Brasil, país este que ao explorar o que nossa sociedade apresenta de melhor, seria capaz de encantar e se tornar referência de progresso para todo mundo. Acreditamos, então, que é dever das universidades se apropriarem do legado do desenvolvimento científico e o desenvolvimento econômico, seja através de áreas privados ou públicas. Como exemplo, temos a Universidade Estadual Paulista – Júlio de Mesquita Filho (UNESP), que faz parte das agendas dos Governos Estaduais e Federais, a fim de expressar com políticas, o direcionamento de incentivo e financiamento para novas visões de empreendedorismo que se formam. Destarte, a parceria entre Governos Estaduais, Federais, Universidades e empresas, são a ponte que nos tirará da letargia coletiva, rumo novamente ao desenvolvimento científico, mercadológico e social. Logo, com alegria e esperança consolidamos e apresentamos essa obra, edificada com o propósito de integrar um produto tecnológico, com o objetivo de transmitir conhecimento, experiências e servir como uma ferramenta facilitadora nas áreas de Ciências Humanas, Sociais Aplicadas, Exatas, Tecnológicas e Biológicas. Um trabalho rico e cuidadosamente minucioso que irá nos proporcionar novos entendimentos, sapiências e horizontes para o desenvolvimento do bem coletivo.
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