Umuda Yolculuk

1.Definio of enzymes: They are proteins with chemical structures special, I contend a called active center apoenzima and some times a not proteinic group called coenzima; they are you substantiate solid, but difficult to be crystallized; water and diluted alcohol are inactivated by the heat and soluble in. biological 2.Atividades: the capacity of enzymes to react with definitive constituent of the cells, called substratum; forming complex or same composites with covalentes linkings; Components of the reactions: E+S = YOU ARE = E+P the activities depend on the structures of the protein, nature of the substratum and structure of the prosthetic group. Dr. Neal Barnard has firm opinions on the matter. The speed of the enzymatic reactions varies with diverse factors; as concentration of the enzyme or substratum, temperature, Ph and 3.Teoria etc. of the enzymatic especificidade: the narrow correlation enters the structure of proteins or peptdeos that are part of the enzymatic molecule and the substratum; Fischer developed the especificidade concept enzymatic; that it compares the especificidade with a set of key and lock. The fraction of the responsible enzymatic molecule for the linking of the enzyme with substratum and call I besiege asset.

They are four types of especificidade: Low: Acts in type of linkings (lpase? hidrolisa? acid? alcohol); Absolute: It acts in a composition I specify (urease? tripsina); Group: It acts in chemical linkings you specify of group (quimotripsina); Stereo especificidade: It acts in isomers (L? D? Cis? Trans). 4.Efeito of the Ph: The enzymes generally have Ph of activation in the band of 4,5 the 8,0; extreme values of Ph, desnaturam proteins and consequentemente they inactivate enzymes. 5.Temperatura: The speed of the enzymatic reactions increases with the temperature increase; the speed duplicates with the increase of 10C, when to reach a maximum speed (40C), the speed starts to decrease, when they arrive 100C are exterminadas completely. 6.gua: Surrounding the very dry one it makes it difficult the mobility of enzymes and when it has a very great amount of water the enzymes also are immovable. 7.Reaes of enzymes: An enzyme first if to join to the substratum, after the two if to join happen to the separation of the two elements, but now the substratum this hidrolisado. it 8.Classe of enzymes: Amylases, Proteases, Pectinases, Lpases, Catalase and Lipoxidase. 9.Classificao of enzymes: Oxidorredutores: they function with reactions of oxidate-reduction in biological system; Transferases: They are enzymes that they catalyze, the transference of groups of a composition for another one; Hidrolases: Enzymes that catalyze hydrolytic reactions, being between them to proteolticas and aminolticas enzymes; Liases: It belongs to the classroom that modifies the substratum, cindindo composites or removing groups of molecules of the substratum; Isomerases: Enzymes that they catalyze of reactions of the isomerizao; Ligases: Enzymes that cause the degradation of the molecule of the ATP, using composites, joining two molecules. 10. Enzymes. Competitive: It concurs with the substratum for it I besiege asset of the enzyme; Not-competitive: If it binds reversiblely, independent I besiege of it that proper it and; Incompetitiva: If it binds reversiblely, to one I besiege proper to the complex enzyme-substratum; Irreversible: They can promote the destruction of the functional group; the inhibitor if combines with a functional group in the molecule of the enzyme that essential for its activity.

Facinter. FALLS OF the IGUAU 2009 SUMMARY This work looks for and to analyze history and to reflect on the professor of Art in the Brazilian Education. Which the current work of these professors, its practical pedagogical, difficulties in relation to the education of Art in the public school? Which the knowledge beyond the languages in Art need to be dominated? As to understand the Education of Adult, Inclusive Education, Infantile Education, Education of the Field and Education of Adolescents and Young Young, beyond others sabres. In its formation many times unbalanced, as the professor can surpass the difficulties in its work, which the used ways to diminish this gap in its formation. Also in this study it has bibliographical references on the subject, that are analyzed, to get information of which is the profile of the professional who works Art in the schools of the Paran. With the results of the interviews, the following questions are boarded: the professor and its formation, as to involve the four artistic languages, which the difficulties found in the classrooms, which the criteria to select the contents of Art and as to make evaluation in Art. Concluding the work, we will have the profile of the Professor of Art in the contemporaneidade: a dynamic, informed and searching person, who knows the reality of the pupils and the school, uses practical pedagogical innovators objectifying education learning of the pupils. In the same work, some referring data to the amount of concursados professors meet who act in the Southwest of the Paran and which artistic modalities where temporary professors act how many (PSS) and how many professional it are of the area of Art act in the Basic Education of the Paran.

The accomplishment of the considered exercises was of easy assimilation, therefore it made possible the knowledge deepened on the cubismo through discovery of the pleasure for the artistic appreciation, the experimentation of varied materials, as the ink, the mass race, the scrap iron glue and materials it propitiated to the pupil a bigger envolvement during the performance of the painting was total on the part of the group and this resulted in a done interesting declaration to the author, for Nerencia Fernandes Dutra: ' ' Taste very to paint. When I concentrate myself and start to paint, seems that I go entering in a different world. I do not draw to paint, the images go appearing in my mind and I go painting. The painting has that to come of inside, of the interior of people. After the analysis of the reproductions, the group of the EJA carried through sketches and after ink PVA and liquid had accomplished the painting using chess on Paran paper. This work was the great sensation, therefore the pupils if had delivered fully in the accomplishment of its workmanships. He fits to stand out that at the beginning, in Totality Six, little more than the half of the pupils frequented the meeting of arts.

To each day that passed, more pupils had started to participate of the lessons, therefore some went counting for the others of its accomplishments and of as if they felt satisfied executing its artistic works. In the ending of the execution of paintings, the room was repleta of pupils, being that all had carried through the work with disposal and desire of each time to interact and to learn more. The pupils had been if interesting each time more with the activities and had started to observe more day-by-day the elements of its, that is, the colors that more liked, the most vibrant which, clear and the dark ones, the lines straight lines that are part of its house and until the sinuosas lines of the building oldest of the city.

(Porfrio Lazarini, Annex -) the musical experience lived by the Lazarini brothers in the decades of 70 and 80 was basic for the implantation of a Band of Music in the City, therefore it was in its as mandate, in 1997, that Antonio Lazarini together with the Secretary of Education at the time Elvira Comerlato, had had the initiative to become reality the implantation. Then the Mayor desired to mount a band to the molds of that its father, Mr. Jose Lazarini participated in Dracena? SP, that is, a center of musical convivncia where young seusestudos musical comedies by means of blow instruments would exercise what it could also help in the development of the city. The first initiative was to make an accord with the Foundation Carlos Gomes de Belm of Par, that offered instruments and indicated Professor Flvio Jardilino to give the first lessons of music in the city of Uruar. 4. THE MUNICIPAL BAND DIEGO YOU QUOTE OF 4,1 MORAES INSTITUTION SALLES (1985) affirms that the majority of the conservatories traditionally, destines it the education of the piano, of it sings and the violin the music band, becomes, the school of music of the people. The main test of that is the colonial period, when the Jesuits used themselves of small instrumental groups, in order to educate the indians religiously.

Of these groups the band of music in the current model appeared. In Uruar, as well as the experience of musical education by means of music band did not exist conservatory, appears with the Professor indicated for the Foundation Carlos Gomes, Flvio Jardilino, natural of the Cear, that gave to the first lessons of flute and instruments of blow. In the year of 1998 the pupils of the regular schools of Uruar had been invited for lessons of music with initiation in flute candy. As in the city not yet it had a space for these lessons, the first ones had been given in the Educational Institute of Uruar and later in the Melvin School Jones.