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------=_NextPart_01CBDEAC.E6A5D540
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------=_NextPart_01CBDEAC.E6A5D540
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<table border=3D0 cellpadding=3D0 cellspacing=3D0 width=3D1247 style=3D'bor=
der-collapse:
 collapse;table-layout:fixed;width:936pt'>
 <col class=3Dxl82 width=3D284 style=3D'mso-width-source:userset;mso-width-=
alt:10386;
 width:213pt'>
 <col class=3Dxl83 width=3D148 style=3D'mso-width-source:userset;mso-width-=
alt:5412;
 width:111pt'>
 <col class=3Dxl83 width=3D153 style=3D'mso-width-source:userset;mso-width-=
alt:5595;
 width:115pt'>
 <col class=3Dxl84 width=3D662 style=3D'mso-width-source:userset;mso-width-=
alt:24210;
 width:497pt'>
 <tr class=3Dxl87 height=3D36 style=3D'mso-height-source:userset;height:27.=
0pt'>
  <td height=3D36 class=3Dxl85 width=3D284 style=3D'height:27.0pt;width:213=
pt'>T&Iacute;TULO</td>
  <td class=3Dxl85 width=3D148 style=3D'width:111pt'>AUTOR</td>
  <td class=3Dxl85 width=3D153 style=3D'width:115pt'>EDITORA</td>
  <td class=3Dxl86 width=3D662 style=3D'width:497pt'>RESUMO</td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl65 width=3D284 style=3D'height:120.0pt;width:2=
13pt'><span
  style=3D'mso-spacerun:yes'>&nbsp;</span>ESCRAVID&Atilde;O NA &Aacute;FRIC=
A-UMA
  HIST&Oacute;RIA DE SUAS TRANSFORMA&Ccedil;&Otilde;ES</td>
  <td class=3Dxl66 width=3D148 style=3D'border-left:none;width:111pt'>PAUL =
LOVEJOY</td>
  <td class=3Dxl66 width=3D153 style=3D'border-left:none;width:115pt'>XXXXX=
XX</td>
  <td class=3Dxl67 width=3D662 style=3D'border-left:none;width:497pt'>ESCRA=
VIDAO NA
  AFRICA<br>
    UMA HISTORIA DE SUAS TRANSFORMA&Ccedil;&Otilde;ES<br>
    <span style=3D'mso-spacerun:yes'>&nbsp;&nbsp; </span>Este livro,
  lan&ccedil;ado primeiramente em 1983, sintetiza os motivos que ampliaram o
  quadro da escravid&atilde;o na &Aacute;frica no s&eacute;culo XIX,
  estabelecendo uma conex&atilde;o com o per&iacute;odo de escravatura nas
  Am&eacute;ricas. &Eacute; um livro de s&iacute;ntese, e ao mesmo tempo, u=
ma
  instigante interpreta&ccedil;&atilde;o dos motivos que levaram &agrave;
  amplia&ccedil;&atilde;o da escravid&atilde;o no continente africano. Ao
  adotar o ponto de vista das transforma&ccedil;&otilde;es que levaram ao
  quadro da escravid&atilde;o africana no s&eacute;culo XIX, sua leitura at=
ende
  tanto aos especialistas no tema quanto a um p&uacute;blico mais amplo,
  interessado no conhecimento da Hist&oacute;ria da &Aacute;frica. O Globo<=
span
  style=3D'mso-spacerun:yes'>&nbsp; </span>/<span style=3D'mso-spacerun:yes=
'>&nbsp;
  </span>Data:24/8/2002<br>
    <span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
  </span><br>
    <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span></td>
 </tr>
 <tr height=3D36 style=3D'mso-height-source:userset;height:27.0pt'>
  <td height=3D36 class=3Dxl65 width=3D284 style=3D'height:27.0pt;border-to=
p:none;
  width:213pt'><span style=3D'mso-spacerun:yes'>&nbsp;</span>FUTURO DO
  CAPITALISMO, O</td>
  <td class=3Dxl68 width=3D148 style=3D'border-top:none;width:111pt'>LESTER=
 THUROW</td>
  <td class=3Dxl68 width=3D153 style=3D'border-top:none;width:115pt'>MELHOR=
AMENTOS</td>
  <td class=3Dxl69 style=3D'border-top:none;border-left:none'>&nbsp;</td>
 </tr>
 <tr height=3D178 style=3D'mso-height-source:userset;height:133.5pt'>
  <td height=3D178 class=3Dxl70 width=3D284 style=3D'height:133.5pt;width:2=
13pt'>A CASA
  DO POETA TR&Aacute;GICO</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>C.H.CONY</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  segundo romance do escritor e jornalista carioca depois de duas
  d&eacute;cadas de crise criativa. Tendo como fundo o cen&aacute;rio de
  N&aacute;poles e Itaipava, no interior do estado do Rio de Janeiro, um ca=
sal
  experimenta a m&aacute;gica do tempo.Que destino pode esperar um casal cu=
ja
  primeira noite de amor se cumpre nas ru&iacute;nas de Pomp&eacute;ia, ent=
re
  cad&aacute;veres soterrados pelas cinzas e perto de uma casa cujo
  p&oacute;rtico traz engastado, &agrave; maneira de uma advert&ecirc;ncia,=
 o mosaico
  negro de um c&atilde;o montando guarda? Depois do sucesso de Quase
  mem&oacute;ria (1995) e O piano e a orquestra (1996), com A casa do poeta
  tr&aacute;gico Carlos Heitor Cony usa como cen&aacute;rio ora as paisagens
  cl&aacute;ssicas do Mediterr&acirc;neo, ora os verdes arvoredos de Itaipa=
va,
  e retoma um tema que sempre lhe foi caro: o dos relacionamentos amorosos
  intrincados, em que a paix&atilde;o incendi&aacute;ria leva os amantes a =
um
  passo da destrui&ccedil;&atilde;o.</td>
 </tr>
 <tr height=3D32 style=3D'mso-height-source:userset;height:24.0pt'>
  <td height=3D32 class=3Dxl70 width=3D284 style=3D'height:24.0pt;width:213=
pt'>A
  CONSTITUI&Ccedil;&Atilde;O NA HIST&Oacute;RIA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>MARCELLO CERQUEIRA</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>REVAN-021/293-4495</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D52 style=3D'mso-height-source:userset;height:39.0pt'>
  <td height=3D52 class=3Dxl70 width=3D284 style=3D'height:39.0pt;width:213=
pt'>A CRISE
  DO CAPITALISMO</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>GEORGE SOROS</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CAMPUS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>No
  contexto das crises financeiras e econ&ocirc;micas da
  globaliza&ccedil;&atilde;o, o autor discute a sociedade aberta e a nova e=
tapa
  de mais uma crise do capitalismo.</td>
 </tr>
 <tr height=3D36 style=3D'mso-height-source:userset;height:27.0pt'>
  <td height=3D36 class=3Dxl70 width=3D284 style=3D'height:27.0pt;width:213=
pt'>A
  CULTURA DO NARCISISMO</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>CRISTOPHER LASCH</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>IMAGO</td>
  <td class=3Dxl69 style=3D'border-top:none;border-left:none'>&nbsp;</td>
 </tr>
 <tr height=3D114 style=3D'mso-height-source:userset;height:85.5pt'>
  <td height=3D114 class=3Dxl70 width=3D284 style=3D'height:85.5pt;width:21=
3pt'>A
  DAN&Ccedil;A DO UNIVERSO</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>MARCELO GLEISER</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;width:497pt'>A dan&=
ccedil;a
  do Universo' mostra ao leitor leigo de que maneira a F&iacute;sica
  contempor&acirc;nea v&ecirc; o mundo e que caminhos ela teve de percorrer
  antes de v&ecirc;-lo assim. Gleiser une didatismo e profundidade para pas=
sar
  em revista uma serie de mitos de cria&ccedil;&atilde;o e chegar a teoria =
da
  relatividade e a F&iacute;sica Qu&acirc;ntica. O leitor descobrir&aacute;
  que, por tr&aacute;s de express&otilde;es como 'estado padr&atilde;o',
  'geometria fechada', '&aacute;tomo primordial' e 'v&aacute;cuo
  qu&acirc;ntico' est&aacute; uma hist&oacute;ria fascinante e perfeitamente
  acess&iacute;vel.<br>
    </td>
 </tr>
 <tr height=3D48 style=3D'mso-height-source:userset;height:36.0pt'>
  <td height=3D48 class=3Dxl70 width=3D284 style=3D'height:36.0pt;width:213=
pt'>A FERRO
  E A FOGO-HIST&Oacute;RIA E DEVASTA&Ccedil;&Atilde;O DA MATA ATL&Acirc;NTI=
CA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>WARREN DEAN</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl69 style=3D'border-top:none'>&nbsp;</td>
 </tr>
 <tr height=3D46 style=3D'mso-height-source:userset;height:34.5pt'>
  <td height=3D46 class=3Dxl70 width=3D284 style=3D'height:34.5pt;width:213=
pt'>A
  HIST&Oacute;RIA DA INTELIG&Ecirc;NCIA BRASILEIRA(7VOL.)</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>WILSON MARTINS</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>T.A TAVARES(SP)</td>
  <td class=3Dxl69 style=3D'border-top:none;border-left:none'>&nbsp;</td>
 </tr>
 <tr height=3D40 style=3D'mso-height-source:userset;height:30.0pt'>
  <td height=3D40 class=3Dxl70 width=3D284 style=3D'height:30.0pt;width:213=
pt'>A
  HIST&Oacute;RIA DA VIDA PRIVADA NO BRASIL</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>LUIZ FERNANDO DE
  ALENCASTRO(ORG.)</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl69 style=3D'border-top:none'>&nbsp;</td>
 </tr>
 <tr height=3D50 style=3D'mso-height-source:userset;height:37.5pt'>
  <td height=3D50 class=3Dxl70 width=3D284 style=3D'height:37.5pt;width:213=
pt'>A
  M&Atilde;O DO ARTISTA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>W.H.AUDEN</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>SICILIANO</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;width:497pt'>Conjun=
to de
  ensaios sobre literatura e m&uacute;sica dos maiores poetas deste
  s&eacute;culo. Auden escreve utilizando uma vis&atilde;o cr&iacute;tica do
  mundo contempor&acirc;neo, analisando seus meandros.</td>
 </tr>
 <tr height=3D52 style=3D'mso-height-source:userset;height:39.0pt'>
  <td height=3D52 class=3Dxl70 width=3D284 style=3D'height:39.0pt;width:213=
pt'>A
  NATUREZA DO ESPA&Ccedil;O-T&Eacute;CNICA E TEMPO, RAZ&Atilde;O E
  EMO&Ccedil;&Atilde;O</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>MILTON SANTOS</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>HUCITEC</td>
  <td class=3Dxl69 style=3D'border-top:none;border-left:none'>&nbsp;</td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>A
  NEGOCIA&Ccedil;&Atilde;O DA IDENTIDADE NACIONAL - IMIGRANTES, MINORIAS E A
  LUTA PELA ETNICIDADE NO BRASIL<span style=3D'mso-spacerun:yes'>&nbsp;</sp=
an></td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>JEFFREY LESSER<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>UNESP<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  historiador norte-americano Jeffrey Lesser busca compreender as formas
  utilizadas pelos imigrantes n&atilde;o-europeus para definir seu lugar de=
ntro
  da identidade nacional brasileira e as rea&ccedil;&otilde;es a essas
  tentativas. Estuda o discurso das elites sobre a etnicidade
  n&atilde;o-europ&eacute;ia no s&eacute;culo XIX, sugerindo que os debates
  sobre a m&atilde;o-de-obra chinesa imigrante criaram o paradigma abrangen=
te
  contra o qual teriam que lutar todos os demais grupos n&atilde;o-europeus.
  Investiga as maneiras pelas quais os imigrantes s&iacute;rios e libaneses
  manipularam os discursos da elite sobre a etnicidade, visando criar para =
si
  um espa&ccedil;o hifenizado e, como, em resposta, o Estado e a imprensa
  tentaram redefinir como 'mu&ccedil;ulmanos' e 'fan&aacute;ticas' um grupo=
 de
  crist&atilde;os &aacute;rabes que tentava imigrar para o Brasil, a fim de
  proibir sua entrada.</td>
 </tr>
 <tr height=3D36 style=3D'mso-height-source:userset;height:27.0pt'>
  <td height=3D36 class=3Dxl70 width=3D284 style=3D'height:27.0pt;width:213=
pt'>A
  SA&Uacute;DE PERFEITA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>LUCIEN SFEZ</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>LOYOLA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Cr&iacute;tica
  de uma nova utopia. <br>
    </td>
 </tr>
 <tr height=3D60 style=3D'mso-height-source:userset;height:45.0pt'>
  <td height=3D60 class=3Dxl70 width=3D284 style=3D'height:45.0pt;width:213=
pt'>A
  VINGAN&Ccedil;A DA HIST&Oacute;RIA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ALEX CALLINICOS</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>JORGE ZAHAR</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;width:497pt'>A Dest=
ruicao dos
  Regimes Stalinistas e o Colapso do Partido Comunista Sovietico e da Propr=
ia
  Urss Incluem-se Entre as Grandes Reviravoltas da era Moderna. a Vinganca =
da
  Historia e uma das Primeiras Tentativas de Profunda Compreensao do Fenome=
no.<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
 </tr>
 <tr height=3D64 style=3D'mso-height-source:userset;height:48.0pt'>
  <td height=3D64 class=3Dxl70 width=3D284 style=3D'height:48.0pt;width:213=
pt'>AN&Aacute;LISE
  ESTRUTURADA MODERNA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>EDWARD YOURDON</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>CAMPUS(836PGS.)</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;width:497pt'>Edward=
 Yourdon
  descreve essa tecnologia, atualizando a abordagem cl&aacute;ssica para a
  modelagem de um sistema f&iacute;sico atual e apresentando os diagramas de
  transi&ccedil;&otilde;es de estado. Inclui cerca de mil exerc&iacute;cios=
 e
  estudos de casos nos ap&ecirc;ndices que ilustram as ferramentas e
  t&eacute;cnicas discutidas.<br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>ANJO
  PORNOGR&Aacute;FICO</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>RUY CASTRO</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;width:497pt'>A vida=
 de Nelson
  Rodrigues (1912-1980) foi mais espantosa do que qualquer uma de suas
  hist&oacute;rias. E olhe que ele escreveu pe&ccedil;as como Vestido de no=
iva
  e Boca de ouro, romances como Asfalto selvagem e O casamento e os milhare=
s de
  contos de A vida como ela &eacute;.... Mas foi de sua vida, e da vida de =
sua
  tr&aacute;gica fam&iacute;lia, que Nelson Rodrigues extraiu a obsess&atil=
de;o
  pelo sexo e pela morte.G&ecirc;nio ou louco? Tarado ou santo?
  Reacion&aacute;rio ou revolucion&aacute;rio? Nenhum outro escritor brasil=
eiro
  foi t&atilde;o pol&ecirc;mico em seu tempo. Para escrever 'O anjo
  pornogr&aacute;fico', Ruy Castro, realizou centenas de entrevistas com 125
  pessoas que conheceram intimamente Nelson Rodrigues e sua fam&iacute;lia.
  Elas o ajudaram a reconstituir essa assombrosa hist&oacute;ria, capaz de
  arrancar risos e l&aacute;grimas.<br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>ARMAS,
  GERMES E A&Ccedil;O</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>JARED DIAMOND</td>
  <td class=3Dxl73 width=3D153 style=3D'width:115pt'>RECORD</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;width:497pt'>Neste =
livro,
  Jared re&uacute;ne um cruzamento de descobertas conjugando arqueologia e
  epidemiologia com hist&oacute;ria e geografia. Para o autor, &eacute;
  &oacute;bvio que fatores ambientais e geogr&aacute;ficos moldaram o mundo
  moderno Com isso esclarece como e porque as sociedades humanas dos difere=
ntes
  continentes seguiram caminhos de desenvolvimento diversos e explora as
  raz&otilde;es da domina&ccedil;&atilde;o e submiss&atilde;o. 'Armas, Germ=
es e
  A&ccedil;o' derruba teorias racistas e mostra que a superioridade da Euro=
pa e
  da &Aacute;sia se deve &agrave;s suas respectivas geografias, mais
  prop&iacute;cias ao cultivo da terra, &agrave; domestica&ccedil;&atilde;o=
 de
  animais e ao tr&acirc;nsito de informa&ccedil;&otilde;es. O livro mostra,
  ainda, como a hist&oacute;ria e a biologia podem dar suporte uma &agrave;
  outra para produzir um profundo entendimento da condi&ccedil;&atilde;o
  humana.</td>
 </tr>
 <tr height=3D118 style=3D'mso-height-source:userset;height:88.5pt'>
  <td height=3D118 class=3Dxl70 width=3D284 style=3D'height:88.5pt;width:21=
3pt'>AVALIA&Ccedil;&Atilde;O
  DE INVESTIMENTOS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ASWATH DAMODARAN</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>QUALITYMARK</td>
  <td class=3Dxl88>Neste livro, a renomada autoridade em avalia&ccedil;&ati=
lde;o
  e aclamado professor da NYU (New York University) Aswath Damodaran, forne=
ce
  instru&ccedil;&otilde;es especializadas sobre como avaliar virtualmente
  qualquer tipo de ativo - empresas privadas, bonus, a&ccedil;&otilde;es,
  imoveis e derivativos. Atraves de exemplos do mundo real, ele guia o leit=
or
  atraves da teoria e aplica&ccedil;&atilde;o de modelos de
  avalia&ccedil;&atilde;o, destacando seus pontos fortes e fracos. Examina
  casos em que a aplica&ccedil;&atilde;o direta dos modelos tradicionais
  frequentemente n&atilde;o funciona, incluindo empresas de alto cresciment=
o,
  empresas em dificuldades e empresas privadas.</td>
 </tr>
 <tr height=3D46 style=3D'mso-height-source:userset;height:34.5pt'>
  <td height=3D46 class=3Dxl70 width=3D284 style=3D'height:34.5pt;width:213=
pt'>AVENTURA
  DAS L&Iacute;NGUAS NO OCIDENTE, A</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>HENRIETTE WALTER</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>MANDARIM</td>
  <td class=3Dxl69 style=3D'border-left:none'>&nbsp;</td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>CARISMA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>CHARLES LINDHOLM</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>JORGE ZAHAR</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Este
  livro se divide em duas grandes partes, a da teoria e a da pr&aacute;tica=
. Na
  primeira, o autor aborda os elementos da atra&ccedil;&atilde;o passional,
  revendo o sensualismo idealista de Hume, os utilitaristas, Nietzsche depo=
is
  Weber e Durkheim, a psicologia das massas, a contribui&ccedil;&atilde;o de
  Freud e id&eacute;ias posteriores. Para a pr&aacute;tica, escolheu
  v&aacute;rios modelos, entre os quais o do nazismo, o das seitas
  fan&aacute;ticas (casos Charles Manson e Jim Jones), as sociedades xamani=
stas.
  Em tudo, uma reflex&atilde;o s&eacute;ria e exaustiva, que oferece ao lei=
tor
  os instrumentos necess&aacute;rios a uma vis&atilde;o realmente
  cr&iacute;tica das verdades e fal&aacute;cias do apelo carism&aacute;tico.
  ISBN 8571101957 <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>CINCO
  DIAS EM LONDRES</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>JOHN LUKACS</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>JORGE ZAHAR</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Por
  que Hitler n&atilde;o venceu a II Guerra Mundial? A resposta pode ser
  resumida em um s&oacute; nome - Churchill. N&atilde;o fosse a feroz
  resist&ecirc;ncia do primeiro-ministro ingl&ecirc;s, a atual
  constitui&ccedil;&atilde;o pol&iacute;tica do mundo poderia ser bem
  diferente. O embate travado entre os dois l&iacute;deres e as acaloradas
  discuss&otilde;es que Churchill teve de enfrentar em cinco dias decisivos=
 no
  Gabinete de Guerra s&atilde;o narrados neste livro de Lukacs. ISBN 857110=
6126
  <br>
    </td>
 </tr>
 <tr height=3D106 style=3D'mso-height-source:userset;height:79.5pt'>
  <td height=3D106 class=3Dxl70 width=3D284 style=3D'height:79.5pt;width:21=
3pt'>COMO
  N&Atilde;O COMER FUNGOS, BACT&Eacute;RIAS E OUTROS BICHOS QUE FAZEM MAL<s=
pan
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ROBERTO MARTINS FIGUEI=
REDO</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>S&Eacute;CULO XXI</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>No
  mundo existem 3 pessoas - as que j&aacute; tiveram uma doen&ccedil;a
  veiculada por alimentos, as que est&atilde;o tendo e as que ir&atilde;o t=
er.
  Tornar esta afirma&ccedil;&atilde;o falsa &eacute; mais f&aacute;cil do q=
ue
  voc&ecirc; imagina. Este livro apresenta uma s&eacute;rie de dicas e regr=
as
  simples de como evitar as DVAs (Doen&ccedil;as Veiculadas por Alimentos).
  &Eacute; um guia pr&aacute;tico indispens&aacute;vel para empres&aacute;r=
ios
  do ramo aliment&iacute;cio e pessoas que querem uma vida mais
  saud&aacute;vel.</td>
 </tr>
 <tr height=3D84 style=3D'mso-height-source:userset;height:63.0pt'>
  <td height=3D84 class=3Dxl74 width=3D284 style=3D'height:63.0pt;width:213=
pt'>COZINHA
  CONFIDENCIAL</td>
  <td class=3Dxl75 width=3D148 style=3D'width:111pt'>ANTHONY BOURDAIN</td>
  <td class=3Dxl76 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Anthony
  Bourdain, chef do badalado restaurante &quot;Les Halles&quot;, em Nova Yo=
rk,
  conta todos os segredos (e podres) da profiss&atilde;o em uma escrita
  deliciosamente bem-humorada. Desde a lavagem de dinheiro feita pela
  m&aacute;fia italiana at&eacute; como utilizar alimentos perto da data de
  vencimento, faz um passeio pelas cozinhas de restaurantes de todo o
  mundo.(Submarino). <br>
    <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>CRASH</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>JAMES G.BALLARD</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>JORGE ZAHAR</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Alguns
  se excitam assistindo a v&iacute;deos er&oacute;ticos. Outros n&atilde;o
  precisam mais do que a vis&atilde;o de corpos esculturais nas praias. Mas
  h&aacute; quem tenha a libido despertada de forma bem mais bizarra. Vaugh=
an,
  por exemplo, fica em 'ponto de bala' quando v&ecirc; uma mulher sendo
  retirada das ferragens depois de um acidente automobil&iacute;stico. E
  &eacute; bom que os guardas rodovi&aacute;rios fiquem alerta; ele n&atild=
e;o
  &eacute; o &uacute;nico com esse estranho prazer. Cl&aacute;ssico da
  literatura 'underground', Crash foi adaptado para o cinema numa
  produ&ccedil;&atilde;o dirigida por David Cronenberg e estrelada por Holly
  Hunter, James Spader e outros. Aplaudido pelos cr&iacute;ticos, o filme f=
oi o
  grande vencedor do pr&ecirc;mio especial do j&uacute;ri no Festival de
  Cannes. O escritor J.G. Ballard tamb&eacute;m &eacute; autor de 'O
  imp&eacute;rio do sol', que Steven Spielberg transformou em filme no fim =
da
  d&eacute;cada de 80, e 'Sombras do imp&eacute;rio'.<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>DEPOIS
  DA QUEDA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ROBIN BLACKBURN(ED.)</=
td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>RECORD-021/585-2047</t=
d>
  <td class=3Dxl77 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Sem
  sin&oacute;pse</td>
 </tr>
 <tr height=3D48 style=3D'mso-height-source:userset;height:36.0pt'>
  <td height=3D48 class=3Dxl70 width=3D284 style=3D'height:36.0pt;width:213=
pt'>DI&Aacute;LOGO
  SOBRE ECOLOGIA, CI&Ecirc;NCIA E POL&Iacute;TICA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>C&Eacute;SAR BENJAMIN(=
EDIT.)</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>PAZ E TERRA</td>
  <td class=3Dxl77 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Sem
  sin&oacute;pse</td>
 </tr>
 <tr height=3D74 style=3D'mso-height-source:userset;height:55.5pt'>
  <td height=3D74 class=3Dxl70 width=3D284 style=3D'height:55.5pt;width:213=
pt'>DI&Aacute;LOGOS
  DOS MORTOS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>LUCIANO</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>HUCITEC/EDUSP</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Esta
  &eacute; a primeira tradu&ccedil;&atilde;o completa dos Di&aacute;logos d=
os
  Mortos, de Luciano de Sam&oacute;sata, diretamente do Grego cl&aacute;ssi=
co
  para a nossa l&iacute;ngua. Foram vertidos os 30 di&aacute;logos conhecid=
os,
  agora publicados nesta preciosa edi&ccedil;&atilde;o
  bil&iacute;ng&uuml;e(EDUSP), com os cuidados e a sensibilidade que uma tal
  empreitada exige.</td>
 </tr>
 <tr height=3D98 style=3D'mso-height-source:userset;height:73.5pt'>
  <td height=3D98 class=3Dxl70 width=3D284 style=3D'height:73.5pt;width:213=
pt'>DICION&Aacute;RIO
  DE EXPRESS&Otilde;ES LATINAS USUAIS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ROBERTO DE S. NEVES</t=
d>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIVILIZA&Ccedil;AO BRA=
SILEI RA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>No
  nosso idioma, assim como nas demais l&iacute;nguas neolatinas e tamb&eacu=
te;m
  nas anglo-germ&acirc;nicas, as locu&ccedil;&otilde;es, frases, aforismos,
  refr&otilde;es, verbetes, etc., escritos em latim, s&atilde;o de uso
  corrente, como se fossem express&otilde;es vern&aacute;culas e se apresen=
tam,
  com frequ&ecirc;ncia, em trabalhos jur&iacute;dicos, jornal&iacute;sticos,
  pol&iacute;ticos, filos&oacute;ficos, cient&iacute;ficos e liter&aacute;r=
ios
  mais aprimorados. Este dicion&aacute;rio apresenta cerca de 15.000 dessas
  express&otilde;es selecionadas em obras relacionadas na bibliografia pres=
ente
  na obra.<span style=3D'mso-spacerun:yes'>&nbsp;</span></td>
 </tr>
 <tr height=3D46 style=3D'mso-height-source:userset;height:34.5pt'>
  <td height=3D46 class=3Dxl70 width=3D284 style=3D'height:34.5pt;width:213=
pt'>DICION&Aacute;RIO
  DOS MITOS LITER&Aacute;RIOS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>BRUNEL, PIERRE<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>UnB/JOS&Eacute; OLYMPI=
O</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Os
  verbetes deste dicionario oferecem uma ideia da singularidade de cada um =
dos
  mitos literarios, desembara&ccedil;ado de seu contexto e encarado por si
  mesmo.</td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>DICION&Aacute;RIO
  OXFORD DE FILOSOFIA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>SIMON BLACKBURN</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>JORGE ZAHAR</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Com
  cerca de 2.600 verbetes, a obra trata da filosofia do ocidente e do orien=
te,
  alem de ciencias afins, como linguisitica e matematica(Submarino).Contend=
o um
  arsenal de informa&ccedil;&otilde;es e an&aacute;lises que cobrem desde os
  'Vedas' hindus (1.500 a.C.) at&eacute; a terminologia filos&oacute;fica m=
ais
  recente, este 'Dicion&aacute;rio Oxford de Filosofia' coloca &agrave;
  disposi&ccedil;&atilde;o do leitor: um universo de quase 3.000 verbetes;
  cerca de 500 verbetes biogr&aacute;ficos, desde os pr&eacute;-socr&aacute=
;ticos
  at&eacute; pensadores contempor&acirc;neos como Carnap, Derrida, Foucault,
  Frege, Heidegger, Rorty, Russell, Simone de Beauvoir e Wittgenstein, entre
  outros; os mais variados temas de import&acirc;ncia para a filosofia, inc=
luindo
  o sexo, a apatia, o riso e o sentido da vida; aspectos da filosofia india=
na,
  chinesa, isl&acirc;mica e judaica(Cultura).
  http://www.submarino.com.br/books_productdetails.asp?Query=3DProductPage&=
amp;ProdTypeId=3D1&amp;ProdId=3D22285&amp;franq=3D122462&lt;a
  href=3D&quot;http://www.livcultura.com.br/scripts/cultura/externo/index.a=
sp?id_link=3D2354&amp;tipo=3D2&amp;isbn=3D8571104026&quot;&gt;<br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    </td>
 </tr>
 <tr height=3D36 style=3D'mso-height-source:userset;height:27.0pt'>
  <td height=3D36 class=3Dxl70 width=3D284 style=3D'height:27.0pt;width:213=
pt'>DID&Aacute;TICA,
  O DISCURSO CIENT&Iacute;FICO DO DISCIPLINAMENTO</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>IREC&Ecirc; REGO BELTR=
&Atilde;O</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIVIL.BRASILEIRA</td>
  <td class=3Dxl77 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'><br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>DOS
  RITMOS AO CAOS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>P.BERGER,Y.POMEAU,DOMI=
NI-QUE
  DUBOIS</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>UNESP</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>A
  Partir da Nocao de Tempo,os Autores Deste Trabalho,oferecem Respostas Cla=
ras
  a Diversas Questoes e Expoem de Maneira Acessivel os Conhecimentos Hoje
  Disponiveis Sobre Esses Assuntos em Todas as &aacute;reas do
  conhecimento(Submarino) At&eacute; os sistemas din&acirc;micos mais simpl=
es
  podem ser impredit&iacute;veis e apresentar uma evolu&ccedil;&atilde;o
  ca&oacute;tica. Qual &eacute; a raz&atilde;o desse caos? Ele tem
  interfer&ecirc;ncia no nosso cotidiano? Quais s&atilde;o as suas
  consequ&ecirc;ncias? Compreendemos melhor hoje a natureza do acaso? O
  determinismo est&aacute; definitivamente enterrado? Os autores deste livro
  oferecem uma resposta clara a essas quest&otilde;es e exp&otilde;em de fo=
rma
  acess&iacute;vel os conhecimentos que hoje se disp&otilde;em em todas as
  &aacute;reas do conhecimento(cultura).</td>
 </tr>
 <tr height=3D204 style=3D'mso-height-source:userset;height:153.0pt'>
  <td height=3D204 class=3Dxl70 width=3D284 style=3D'height:153.0pt;width:2=
13pt'>DUAS
  MENINAS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ROBERTO SCHWARTZ</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>MARTINS FONTES</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Livro
  provocativo, busca demonstrar poss&iacute;veis rela&ccedil;&otilde;es ent=
re
  um dos nossos mais refinados romances, &quot;Dom Casmurro&quot;, e o
  di&aacute;rio de uma adolescente de Diamantina, do final do s&eacute;culo
  XIX(Submarino). <br>
    A certa altura deste livro, que re&uacute;ne um ensaio sobre Dom Casmur=
ro,
  de Machado de Assis, e outro sobre Minha vida de menina, de Helena Morley,
  Roberto Schwarz, pergunta-se - 'qual &eacute; o prop&oacute;sito da
  aproxima&ccedil;&atilde;o entre os apontamentos soltos da garota de
  Diamantina e o romance possivelmente mais refinado e composto da literatu=
ra
  brasileira, ou ainda, entre uma escrita 'sem inten&ccedil;&atilde;o de ar=
te'
  e outra em que o c&aacute;lculo estil&iacute;stico e a aposta na efic&aac=
ute;cia
  da forma alcan&ccedil;aram altura excepcional?'. A resposta est&aacute; n=
uma
  no&ccedil;&atilde;o de forma extremamente rica e abrangente desenvolvida =
pelo
  autor, capaz de dar conta da especificidade de cada livro e de resgatar as
  afinidades do bruxo do Cosme Velho com a pequena herdeira das Luzes da Mi=
nas
  finissecular(Cultura).<br>
    </td>
 </tr>
 <tr height=3D102 style=3D'mso-height-source:userset;height:76.5pt'>
  <td height=3D102 class=3Dxl70 width=3D284 style=3D'height:76.5pt;width:21=
3pt'>ECOLOGY,
  LIBERTY AND PROPERTY<span style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl78 width=3D148 style=3D'width:111pt'>JONATHAN H. ADLER(ORG.=
)</td>
  <td class=3Dxl76 width=3D153 style=3D'width:115pt'>COMPETITIVE ENTERPRISE=
<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
  </span>INSTITUTE, NEW YORK</td>
  <td class=3Dxl79 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Regra
  geral, o tema<span style=3D'mso-spacerun:yes'>&nbsp;
  </span>prote&ccedil;&atilde;o do meio ambiente<span
  style=3D'mso-spacerun:yes'>&nbsp; </span>possui uma dimens&atilde;o
  t&eacute;cnica e outra pol&iacute;tica. A pol&iacute;tica tem prevalecido
  sobre a t&eacute;cnica. Em decorr&ecirc;ncia, os debates t&ecirc;m sido de
  pouca utilidade pr&aacute;tica para a sociedade.<br>
    O livro organizado por Jonathan H. Adler, &quot;Ecology, Liberty and
  Property&quot;, publicado pelo Competitive Enterprise Institute, New York,
  2000, &eacute; uma obra de grande densidade de dados, id&eacute;ias e
  propostas.<br>
    <br>
    <br>
    <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>EM
  COSTAS NEGRAS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>MANOLO FLORENTINO</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Este
  livro, sobre a historia do trafico de escravos entre a &Aacute;frica e o =
Rio
  de Janeiro, traz &agrave; luz dados e formula&ccedil;&otilde;es at&eacute;
  hoje negligenciados por cl&aacute;ssicos da historiografia
  brasileira(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;
  </span>Ao desvendar os mecanismos do tr&aacute;fico de escravos entre a
  Africa e o Rio de Janeiro no per&iacute;odo de 1790 a 1830, 'Em costas
  negras' traz &agrave; luz dados e formula&ccedil;&otilde;es at&eacute; ho=
je
  negligenciadas por cl&aacute;ssicos da historiografia brasileira. Por mei=
o de
  uma leitura cuidadosa de documentos e de uma aplicada metodologia
  estat&iacute;stica, o historiador Manolo Florentino vincula, de modo
  definitivo, o com&eacute;rcio de almas &agrave; demanda crescente de
  m&atilde;o-de-obra da economia fluminense, interligando-o tamb&eacute;m
  &agrave;s forma&ccedil;&otilde;es africanas envolvidas no tr&aacute;fico e
  &agrave; comunidade mercantil do Rio de Janeiro.<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
  </span><br>
    <br>
    </td>
 </tr>
 <tr height=3D42 style=3D'mso-height-source:userset;height:31.5pt'>
  <td height=3D42 class=3Dxl70 width=3D284 style=3D'height:31.5pt;width:213=
pt'>ENCICLOP.
  DA PINTURA MODERNISTA BRASILEIRA DE 1901 A 1953(CD-ROM)</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>LORENA CAL&Aacute;BRIA=
(APRES.)</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>SARAIVA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D34 style=3D'mso-height-source:userset;height:25.5pt'>
  <td height=3D34 class=3Dxl70 width=3D284 style=3D'height:25.5pt;width:213=
pt'>ESCOLHA
  A CAT&Aacute;STROFE</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ISAAC ASIMOV</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>UNIV.BRAS&Iacute;LIA</=
td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D60 style=3D'mso-height-source:userset;height:45.0pt'>
  <td height=3D60 class=3Dxl70 width=3D284 style=3D'height:45.0pt;width:213=
pt'>FORMA&Ccedil;&Atilde;O
  DA LITERATURA BRASILEIRA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ANTONIO CANDIDO</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>ITATIAIA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Publicada
  pela primeira vez em 1959, por sugest&atilde;o de um editor em busca de u=
ma
  hist&oacute;ria da literatura brasileira entre &quot;a
  divulga&ccedil;&atilde;o s&eacute;ria e o comp&ecirc;ndio&quot;, esta obra
  tornou-se decisiva para a compreens&atilde;o do fen&ocirc;meno
  liter&aacute;rio no Brasil.(Submarino). <br>
    <br>
    </td>
 </tr>
 <tr height=3D68 style=3D'mso-height-source:userset;height:51.0pt'>
  <td height=3D68 class=3Dxl70 width=3D284 style=3D'height:51.0pt;width:213=
pt'>FORMA&Ccedil;&Atilde;O
  ECON&Ocirc;MICA DO BRASIL</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>CELSO FURTADO</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>-----</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  livro retrata toda a economia brasileira, desde a &eacute;poca em que a
  agricultura era o nosso forte at&eacute; a depend&ecirc;ncia do Brasil de
  componentes eletro-eletr&ocirc;nicos l&aacute; de fora, passando por
  Juscelino Kubitschek e CEPAL. O conhecimento deste economista &eacute;
  indiscut&iacute;vel.(Submarino). <br>
    <br>
    </td>
 </tr>
 <tr height=3D38 style=3D'mso-height-source:userset;height:28.5pt'>
  <td height=3D38 class=3Dxl70 width=3D284 style=3D'height:28.5pt;width:213=
pt'>FRACTAIS
  PARA WINDOWS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ED.BERKELEY -SP</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>GRUPO SICILIANO</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D114 style=3D'mso-height-source:userset;height:85.5pt'>
  <td height=3D114 class=3Dxl70 width=3D284 style=3D'height:85.5pt;width:21=
3pt'>G&Ouml;DEL,
  ESCHER, BACH. UM ENTRELA&Ccedil;AMENTO DE G&Ecirc;NIOS BRILHANTES<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>DOUGLAS R. HOFSTADTER
  TRADU&Ccedil;&Atilde;O: JOS&Eacute; VIEGAS FILHO<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'><span
  style=3D'mso-spacerun:yes'>&nbsp;</span>UNB (TEL. 0/XX/61/226-6874)<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Pode
  um sistema compreender-se a si mesmo? Investigar este mist&eacute;rio
  &eacute; o objetivo de Douglas R. Hofstadter, jovem e c&eacute;lebre
  cientista, que procura desvendar este enigma. Surpreendentes paralelismos
  ocultos entre os desenhos de Escher e am&uacute;sica de Bach remetem o le=
itor
  aos paradoxos cl&aacute;ssicos dos antigos gregos e a um teorema da
  l&oacute;gica matem&aacute;tica moderna que tem estremecido o pensamento =
do
  s&eacute;culo XX, o de Kurt G&ouml;del.(Cultura).<br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    </td>
 </tr>
 <tr height=3D108 style=3D'mso-height-source:userset;height:81.0pt'>
  <td height=3D108 class=3Dxl70 width=3D284 style=3D'height:81.0pt;width:21=
3pt'>GRAM&Aacute;TICA
  DE PORT-ROYAL</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ARNAULD &amp; LANCELOT=
</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>MARTINS FONTES</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Se
  os senhores de Port-Royal submetiam tudo &agrave; Gra&ccedil;a em outros
  campos, no ramo das ci&ecirc;ncias humanas eram racionais. Arnauld
  desenvolveu um ramo do cartesianismo a que o pr&oacute;prio Descartes
  n&atilde;o se havia dedicado; o estudo e a an&aacute;lise da linguagem em
  geral, partindo da hip&oacute;tese de ser ela de natureza racional. Esse =
ramo
  de estudo foi implantado e naturalizado em Port-Royal, cujo fruto &eacute=
; a
  Grammaire g&eacute;n&eacute;rale et Raisonn&eacute;e.(Cultura). <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    </td>
 </tr>
 <tr height=3D44 style=3D'mso-height-source:userset;height:33.0pt'>
  <td height=3D44 class=3Dxl70 width=3D284 style=3D'height:33.0pt;width:213=
pt'>IMPOSTURES
  INTELLECTUELLES</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ALAN SOKAL/JEAN BRICMO=
NT</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>ODILE JACOB</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D72 style=3D'mso-height-source:userset;height:54.0pt'>
  <td height=3D72 class=3Dxl70 width=3D284 style=3D'height:54.0pt;width:213=
pt'>&Iacute;NDIA,
  UM MILH&Atilde;O DE MOTINS AGORA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>V.S.NAIPAUL</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>A
  miseria das favelas e os conflitos do progresso na imensa Bombaim; a
  imprevisivel Madras, ao sul; os vestigios deixados pelos portugueses em G=
oa.
  Um percurso que revela ao mesmo tempo a essencia do passado e a promessa =
do
  futuro.(Submarino). <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <br>
    </td>
 </tr>
 <tr height=3D44 style=3D'mso-height-source:userset;height:33.0pt'>
  <td height=3D44 class=3Dxl79 width=3D284 style=3D'height:33.0pt;border-to=
p:none;
  width:213pt'>INTROD. AOS MERC. FUTUROS E DE OP&Ccedil;&Otilde;ES</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>JOHN
  HULL</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>BMF-CULTURA ED.ASS.</t=
d>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D88 style=3D'mso-height-source:userset;height:66.0pt'>
  <td height=3D88 class=3Dxl70 width=3D284 style=3D'height:66.0pt;width:213=
pt'>LANGUAGE
  IN DANGER<span style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl78 width=3D148 style=3D'width:111pt'>ANDREW DALBY</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>ALLEN LANE</td>
  <td class=3Dxl79 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Em
  pleno mundo &quot;p&oacute;s-colonial&quot;, uma l&iacute;ngua morre a ca=
da
  duas semanas, por processos como o de invas&atilde;o, exterm&iacute;nio e
  coopta&ccedil;&atilde;o entre popula&ccedil;&otilde;es. A estimativa &eac=
ute;
  do linguista Andrew Dalby, que discute aqui o impacto
  &quot;catastr&oacute;fico&quot; da supress&atilde;o da diversidade
  lingu&iacute;stica para o futuro da humanidade. 352 p&aacute;gs., 18,99
  libras, ed. Allen Lane</td>
 </tr>
 <tr height=3D48 style=3D'mso-height-source:userset;height:36.0pt'>
  <td height=3D48 class=3Dxl70 width=3D284 style=3D'height:36.0pt;width:213=
pt'>LOU&Eacute;S
  SOIENT NOS SEIGNEURS</td>
  <td class=3Dxl81 width=3D148 style=3D'border-left:none;width:111pt'>REGIS=
 DEBRAY</td>
  <td class=3Dxl81 width=3D153 style=3D'border-left:none;width:115pt'>CIA. =
DAS LETRAS</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D42 style=3D'mso-height-source:userset;height:31.5pt'>
  <td height=3D42 class=3Dxl74 width=3D284 style=3D'height:31.5pt;width:213=
pt'>MANUAL
  DO BLEFADOR(29o.VOL.)-Tudo que Voc&ecirc; Precisa Saber Sobre Jazz.</td>
  <td class=3Dxl74 width=3D148 style=3D'border-left:none;width:111pt'>PETER=
 GAMMOND
  &amp; AL.</td>
  <td class=3Dxl81 width=3D153 style=3D'border-left:none;width:115pt'>2 CID=
ADES</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D64 style=3D'mso-height-source:userset;height:48.0pt'>
  <td height=3D64 class=3Dxl70 width=3D284 style=3D'height:48.0pt;width:213=
pt'>MIMESIS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ERICH AUERBACH</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>PERSPECTIVA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Obra
  classica nos estudos de literatura. Exemplo impar da possibilidade de con=
exao
  entre a analise diacronica e sincronica e da fecundidade de sua aplicacao
  para uma leitura atualizada dos grandes textos da criacao
  literaria.(Submarino).<span style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    <br>
    </td>
 </tr>
 <tr height=3D44 style=3D'mso-height-source:userset;height:33.0pt'>
  <td height=3D44 class=3Dxl70 width=3D284 style=3D'height:33.0pt;width:213=
pt'>MIND THE
  GAFFE<span style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl81 width=3D148 style=3D'border-left:none;width:111pt'>R.L. =
TRASK</td>
  <td class=3Dxl81 width=3D153 style=3D'border-left:none;width:115pt'>PENGU=
IN<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D132 style=3D'mso-height-source:userset;height:99.0pt'>
  <td height=3D132 class=3Dxl70 width=3D284 style=3D'height:99.0pt;width:21=
3pt'>MUSICA
  CLASSICA EM CD<span style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;</span><=
/td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>LUIZ PAULO HORTA</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>JORGE ZAHAR</td>
  <td class=3Dxl79 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Livro
  pioneiro no Brasil e projetado expressamente para o nosso p&uacute;blico,
  este 'M&uacute;sica cl&aacute;ssica em CD' oferece ao leitor
  indica&ccedil;&otilde;es sobre todos os g&ecirc;neros da m&uacute;sica
  cl&aacute;ssica; a apresenta&ccedil;&atilde;o de cerca de 130 compositore=
s e
  suas obras, incluindo compositores brasileiros; uma sele&ccedil;&atilde;o=
 de
  grava&ccedil;&otilde;es em CD, comentada e com refer&ecirc;ncias
  fonogr&aacute;ficas completas; e uma discoteca m&iacute;nima, com cerca de
  100 obras fundamentais do repert&oacute;rio cl&aacute;ssico. Um guia que
  orienta os primeiros passos dos iniciantes e serve de refer&ecirc;ncia pa=
ra
  os amantes da m&uacute;sica.<br>
    </td>
 </tr>
 <tr height=3D32 style=3D'mso-height-source:userset;height:24.0pt'>
  <td height=3D32 class=3Dxl70 width=3D284 style=3D'height:24.0pt;width:213=
pt'>NEVE
  SOBRE OS CEDROS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>DAVID GUTERSON</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>PERSPECTIVA</td>
  <td class=3Dxl80 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D40 style=3D'mso-height-source:userset;height:30.0pt'>
  <td height=3D40 class=3Dxl70 width=3D284 style=3D'height:30.0pt;width:213=
pt'>O AMANTE
  DA MADONNA &amp; OUTRAS HIST&Oacute;RIAS</td>
  <td class=3Dxl81 width=3D148 style=3D'border-left:none;width:111pt'>MOACY=
R<span
  style=3D'mso-spacerun:yes'>&nbsp; </span>SCLIAR</td>
  <td class=3Dxl81 width=3D153 style=3D'border-left:none;width:115pt'>RECOR=
D</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D34 style=3D'mso-height-source:userset;height:25.5pt'>
  <td height=3D34 class=3Dxl79 width=3D284 style=3D'height:25.5pt;border-to=
p:none;
  width:213pt'>O BEIJO(&quot;THE KISS&quot;)</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>KATHRYN<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp; </span>HARRISON</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>MERC.
  ABERTO</td>
  <td class=3Dxl80 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl79 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O FIM DAS CERTEZAS-TEMPO, CAOS E AS LEIS DA NATUREZA</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>ILYA
  PRIGOGINE</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>OBJETIVA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Neste
  livro, o Autor faz uma esp&eacute;cie de sagra&ccedil;&atilde;o do
  tempo.Trata-se de uma apaixonante medita&ccedil;&atilde;o sobre o nascime=
nto
  do tempo e sobre a mat&eacute;ria-energia nele decorrente.A Ci&ecirc;ncia=
 dos
  Processos Irrevers&iacute;veis, segundo Prigogine, est&aacute;, na verdad=
e,
  apenas come&ccedil;ando.(Submarino).<br>
    <br>
    As quest&otilde;es estudadas neste livro - 'O universo &eacute; regido =
por
  leis deterministas?' ; 'Qual &eacute; o papel do nosso tempo?' - foram fo=
rmuladas
  pelos pr&eacute;-socr&aacute;ticos na aurora do pensamento ocidental. Elas
  nos acompanham j&aacute; h&aacute; dois mil anos. Hoje, os desenvolviment=
os
  da F&iacute;sica e das Matem&aacute;ticas do caos e da instabilidade abre=
m um
  novo cap&iacute;tulo nessa longa hist&oacute;ria.(Cultura).<br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl79 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O FUTURO DO CAPITALISMO</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>LESTER
  THUROW</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>UNESP</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  autor discute quest&otilde;es como o fim do comunismo, a economia cada vez
  mais globalizada, o desenvolvimento de industrias de &quot;poder
  cerebral&quot;, mudan&ccedil;as demogr&aacute;ficas. mudan&ccedil;as
  significativas para o futuro do capitalismo(Submarino).<br>
    <br>
    'As verdades eternas do capitalismo - crescimento, pleno emprego,
  estabilidade financeira, sal&aacute;rios reais em ascens&atilde;o - parec=
em
  estar desaparecendo juntamente com os inimigos do capitalismo. Alguma coi=
sa
  do capitalismo mudou para estar causando resultados. Alguma coisa tem que=
 ser
  mudada para alterar esses resultados inaceit&aacute;veis, para que o
  capitalismo sobreviva. Mas o que &eacute; 'ela'? E 'como' pode ser mudada?
  para se compreender o elefante subjacente &agrave; economia, &eacute;
  necess&aacute;rio examinar as for&ccedil;as que est&atilde;o mudando a
  pr&oacute;pria estrutura do mundo econ&ocirc;mico em que vivemos. Como el=
as
  interagem umas com as outras? Onde essas for&ccedil;as ir&atilde;o apress=
ar os
  eventos? Como ir&atilde;o mudar a natureza do jogo econ&ocirc;mico e o que
  &eacute; necess&aacute;rio para se vencer? As causas podem ser encontradas
  nas intera&ccedil;&otilde;es de novas tecnologias com novas ideologias.
  S&atilde;o elas as for&ccedil;as que impulsionam o sistema econ&ocirc;mic=
o em
  novas dire&ccedil;&otilde;es. Em conjunto, elas est&atilde;o produzindo um
  novo jogo econ&ocirc;mico, com novas regras exigindo novas estrat&eacute;=
gias
  para vencer'(Cultura). <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl79 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O HOMEM QUE CALCULAVA<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>MALBA
  TAHAN(JULIO CESAR DE MELLO E SOUZA)</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>RECORD</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>O HOM=
EM QUE
  CALCULAVA<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;
  </span>O livro conta as aventuras de um s&aacute;bio que descobre que pod=
e se
  dar bem usando seus conhecimentos matem&aacute;ticos. Uma forma instigant=
e de
  ensinar os fundamentos da matem&aacute;tica(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
  </span>As proezas matem&aacute;ticas do calculista persa Beremiz Samir - o
  Homem que Calculava - tornaram-se lend&aacute;rias na antiga Ar&aacute;bi=
a,
  encantando reis, poetas, xeques e s&aacute;bios. Neste livro, Malba Tahan
  relata as incr&iacute;veis aventuras deste homem singular e suas
  solu&ccedil;&otilde;es fant&aacute;sticas para problemas aparentemente
  insol&uacute;veis(Cultura).<span style=3D'mso-spacerun:yes'>&nbsp;</span>=
</td>
 </tr>
 <tr height=3D44 style=3D'mso-height-source:userset;height:33.0pt'>
  <td height=3D44 class=3Dxl72 width=3D284 style=3D'height:33.0pt;border-to=
p:none;
  width:213pt'>O INSTINTO DA LINGUAGEM</td>
  <td class=3Dxl72 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>STEVEN
  PINKER</td>
  <td class=3Dxl72 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>MARTINS
  FONTES<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
  </span>(11/3241-3677)</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D34 style=3D'mso-height-source:userset;height:25.5pt'>
  <td height=3D34 class=3Dxl74 width=3D284 style=3D'height:25.5pt;width:213=
pt'>O LIVRO
  DAS ETIMOLOGIAS</td>
  <td class=3Dxl74 width=3D148 style=3D'border-left:none;width:111pt'>ISIDO=
RO DE
  SEVILHA</td>
  <td class=3Dxl74 width=3D153 style=3D'border-left:none;width:115pt'>X</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D36 style=3D'mso-height-source:userset;height:27.0pt'>
  <td height=3D36 class=3Dxl74 width=3D284 style=3D'height:27.0pt;width:213=
pt'>O
  M&Iacute;NIMO EU</td>
  <td class=3Dxl74 width=3D148 style=3D'border-left:none;width:111pt'>CRIST=
OPHER
  LASCH</td>
  <td class=3Dxl74 width=3D153 style=3D'border-left:none;width:115pt'>IMAGO=
</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D34 style=3D'mso-height-source:userset;height:25.5pt'>
  <td height=3D34 class=3Dxl74 width=3D284 style=3D'height:25.5pt;width:213=
pt'>O PIANO
  E A ORQUESTRA</td>
  <td class=3Dxl74 width=3D148 style=3D'border-left:none;width:111pt'>C.H.C=
ONY</td>
  <td class=3Dxl74 width=3D153 style=3D'border-left:none;width:115pt'>CIA. =
DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D34 style=3D'mso-height-source:userset;height:25.5pt'>
  <td height=3D34 class=3Dxl74 width=3D284 style=3D'height:25.5pt;width:213=
pt'>O QUE
  &Eacute; FILOSOFIA?</td>
  <td class=3Dxl74 width=3D148 style=3D'border-left:none;width:111pt'>UNIV.=
FED.OURO
  PRETO</td>
  <td class=3Dxl74 width=3D153 style=3D'border-left:none;width:115pt'>BRASI=
LIENSE</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D38 style=3D'mso-height-source:userset;height:28.5pt'>
  <td height=3D38 class=3Dxl70 width=3D284 style=3D'height:28.5pt;width:213=
pt'>O QUE
  SABEMOS SOBRE O UNIVERSO</td>
  <td class=3Dxl81 width=3D148 style=3D'border-left:none;width:111pt'>RICHA=
RD MORRIS</td>
  <td class=3Dxl81 width=3D153 style=3D'border-left:none;width:115pt'>JORGE=
 ZAHAR</td>
  <td class=3Dxl81 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D140 style=3D'mso-height-source:userset;height:105.0pt'>
  <td height=3D140 class=3Dxl79 width=3D284 style=3D'height:105.0pt;border-=
top:none;
  width:213pt'>O REI DOS JAGUN&Ccedil;OS</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>MANOEL
  BEN&Iacute;CIO</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'><span
  style=3D'mso-spacerun:yes'>&nbsp;</span>FGV</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  Rei dos jaguncos e uma das mais preciosas fontes primarias sobre a batalh=
a de
  Canudos. Relata com minucias o desenrolar da guerra, muitas vezes critica=
ndo
  as forcas legais.A obra e uma recriacao da saga de canudos em forma de
  romance-reportagem(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;
  </span><br>
    Nesta obra encontra-se a cr&ocirc;nica hist&oacute;rica de Belo Monte, =
na
  Bahia, povoado conhecido como Canudos e cen&aacute;rio da breve e
  tr&aacute;gica saga do beato Ant&ocirc;nio Conselheiro. O livro trata de =
uma
  das mais preciosas fontes prim&aacute;rias sobre a batalha, revivendo o
  epis&oacute;dio em estilo vibrante e com o m&eacute;rito da observa&ccedi=
l;&atilde;o
  participativa e do excelente texto de Ben&iacute;cio, correspondente do
  Jornal do Commercio &agrave; &eacute;poca.(Cultura).<br>
    <br>
    <br>
    <br>
    </td>
 </tr>
 <tr height=3D306 style=3D'mso-height-source:userset;height:229.5pt'>
  <td height=3D306 class=3Dxl79 width=3D284 style=3D'height:229.5pt;border-=
top:none;
  width:213pt'>O REINO E O PODER: UMA HIST&Oacute;RIA DO NEW YORK TIMES</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>GAY
  TALESE</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>CIA.DAS
  LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>A
  hist&oacute;ria do mais poderoso jornal americano do s&eacute;culo XX,
  contada por Gay Tales, editor e ensa&iacute;sta. As brigas pelo poder e os
  choques de interesses escritos em uma narrativa envolvente, mostrando os
  meandros da imprensa americana(Submarino). <br>
    The New York Times, o jornal mais influente do mundo, foi fundado por um
  filho de imigrantes que, antes de iniciar uma dinastia de editores, traba=
lhou
  como servente, jornaleiro, office-boy e tip&oacute;grafo. Porta-voz do
  establishment, durante boa parte do s&eacute;culo XX exerceu efetivamente=
 o
  'quarto poder' nos Estados Unidos. Como toda grande
  institui&ccedil;&atilde;o, abrigou lutas e batalhas pelo poder, numa guer=
ra
  traduzida em conflitos de personalidade, manipula&ccedil;&otilde;es, choq=
ues
  de interesses, alian&ccedil;as t&aacute;ticas, vit&oacute;rias exultantes=
 e
  decep&ccedil;&otilde;es profundas. A hist&oacute;ria desse grande jornal
  &eacute; apresentada aqui pelo editor e ensa&iacute;sta Gay Talese, um dos
  expoentes do 'novo jornalismo'- g&ecirc;nero que combina as t&eacute;cnic=
as
  descritivas do romance com o realismo da n&atilde;o-fic&ccedil;&atilde;o.
  Talese exp&otilde;e a filosofia e os princ&iacute;pios editoriais do Time=
s,
  descreve as mudan&ccedil;as que o jornal sofreu ao longo de mais de um
  s&eacute;culo de exist&ecirc;ncia, identifica suas
  contradi&ccedil;&otilde;es, analisa a atua&ccedil;&atilde;o de suas
  figuras-chave e destaca suas rela&ccedil;&otilde;es (&agrave;s vezes
  incestuosas) com o poder pol&iacute;tico. Tamb&eacute;m reconstitui
  reportagens de impacto, como os primeiros relatos do bombardeio americano
  sobre a popula&ccedil;&atilde;o civil do Vietn&atilde; do Norte, decisivos
  para a mudan&ccedil;a da opini&atilde;o p&uacute;blica sobre a guerra(Cul=
tura).
  <br>
    <br>
    <br>
    <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl79 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O RELOJOEIRO CEGO</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>RICHARD
  DAWKINS</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>CIA.DAS
  LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Marco
  na biologia moderna, o livro analisa a vis&atilde;o darwinista e as
  pol&ecirc;micas do criacionismo. O autor, Richard Dawkins, &eacute;
  considerado um dos mais importantes zo&oacute;logos da
  atualidade.(Submarino).<span style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    'O relojoeiro cego' se tornou um marco da biologia moderna t&atilde;o l=
ogo
  foi lan&ccedil;ado, em 1986. Empenhado em conquistar novos adeptos para o
  evolucionismo e para o pensamento cient&iacute;fico, Richard Dawkins faz =
uma
  defesa vigorosa da vis&atilde;o darwinista e p&otilde;e a nu as
  fal&aacute;cias pol&ecirc;micas do criacionismo. Para o zo&oacute;logo, a
  s&iacute;ntese moderna entre as descobertas da gen&eacute;tica e a
  id&eacute;ia de sele&ccedil;&atilde;o natural &eacute; capaz de fornecer
  respostas verific&aacute;veis e elegantes para o enigma das origens da vi=
da e
  das esp&eacute;cies. Dawkins descobre exemplos criativos para explicar qu=
e,
  ao contr&aacute;rio do que tantas vezes se imagina, a sele&ccedil;&atilde=
;o
  natural n&atilde;o ocorre por meio de combina&ccedil;&otilde;es
  aleat&oacute;rias: a sobreviv&ecirc;ncia &eacute; um jogo &aacute;rduo, de
  regras estritas e definidas.(Cultura). <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span>Ficha T&eacute;cnica: <br>
    ISBN 8535901612 <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl79 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O SIL&Ecirc;NCIO DOS VENCEDORES-GENEALOGIA, CLASSE DOMINANTE=
 E
  ESTADO NO PARAN&Aacute;.</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>RICARDO
  COSTA DE OLIVEIRA</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>X</td>
  <td class=3Dxl80 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl72 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O S&Iacute;TIO DA MENTE</td>
  <td class=3Dxl72 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>HENRIQUE
  S.DEL NERO</td>
  <td class=3Dxl72 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>COLLEGIUM
  COGNITIO (031)559-1728</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>SITIO
  DA MENTE, O <br>
    PENSAMENTO,EMO&Ccedil;AO E VONTADE NO CEREBRO HUMANO <br>
    Autor:<span style=3D'mso-spacerun:yes'>&nbsp; </span>NERO, HENRIQUE SCH=
UTZER
  DEL <br>
    Editora: COLLEGIUM COGNITIO<br>
    Assunto: CIENCIAS COGNITIVAS<br>
    <br>
    O c&eacute;rebro &eacute; uma m&aacute;quina digital como o computador?
  M&aacute;quinas podem ter consci&ecirc;ncia? For&ccedil;a de vontade basta
  para curar dist&uacute;rbios mentais? H&aacute; uma base biol&oacute;gica
  para o comportamento &eacute;tico? A mente deve servir para o sucesso
  individual ou para a reuni&atilde;o coletiva e solid&aacute;ria? Este liv=
ro
  esbo&ccedil;a uma teoria cient&iacute;fica da mente e de seus desvios,
  complexa e completa como seu objeto, por&eacute;m acess&iacute;vel ao lei=
tor
  leigo. Do neur&ocirc;nio &agrave; sociedade, da consci&ecirc;ncia individ=
ual
  &agrave; coletiva, procura fornecer elementos para uma vis&atilde;o integ=
rada
  da vida mental, de seu s&iacute;tio cerebral e de sua ocorr&ecirc;ncia em
  todo e qualquer fen&ocirc;meno social, pol&iacute;tico e
  econ&ocirc;mico.(Cultura). <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span>Ficha T&eacute;cnica: <br>
    ISBN 858639601X <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl72 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O TEATRO DAS ID&Eacute;IAS: PROSA CR&Iacute;TICA DE BERNARD =
SHAW</td>
  <td class=3Dxl72 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>G.B.SHAW</td>
  <td class=3Dxl72 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>COLLEGIUM
  COGNITIO</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Em
  O teatro das id&eacute;ias est&atilde;o reunidos os textos cr&iacute;ticos
  mais significativos de George Bernard Shaw, que no final do s&eacute;culo=
 XIX
  abalou o cen&aacute;rio intelectual londrino com suas resenhas e ensaios.=
 O
  livro traz ainda cartas a amigos e atrizes e dois de seus mais importantes
  pref&aacute;cios, para as pe&ccedil;as Homem e super-homem e Major Barbar=
a.
  Dotado de um poder de argumenta&ccedil;&atilde;o, de uma liberdade de est=
ilo
  e de uma musicalidade jamais vistas, Shaw chocou sistematicamente a socie=
dade
  da &eacute;poca com suas id&eacute;ias desalinhadas. Fosse defendendo a
  m&uacute;sica de Wagner e o teatro de Ibsen, fosse contestando a obra de
  Shakespeare e as &quot;ilus&otilde;es do socialismo&quot;, ele combinou
  lucidez e coragem com um agudo senso de provoca&ccedil;&atilde;o.(Submari=
no).
  <br>
    TEATRO DAS IDEIAS <br>
    PROSA CRITICA DE BERNARD SHAW <br>
    Tradutor:<span style=3D'mso-spacerun:yes'>&nbsp; </span>PIZA, DANIEL <b=
r>
    Autor:<span style=3D'mso-spacerun:yes'>&nbsp; </span>SHAW, GEORGE
  BERNARD<span style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    Editora: COMPANHIA DAS LETRAS<br>
    Assunto: LITERATURA BRASILEIRA-TEORIA E CR&Iacute;TICA
  LITER&Aacute;RIA<br>
    <br>
    Teatro das Id&eacute;ias re&uacute;ne os textos cr&iacute;ticos mais
  importantes do dramaturgo e jornalista irland&ecirc;s George Bernard Shaw,
  que marcaram diversas gera&ccedil;&otilde;es de leitores e deram a Shaw f=
ama
  e recursos liter&aacute;rios para erguer sua inconfund&iacute;vel obra de
  dramaturgo. Defendendo a m&uacute;sica de Wagner e o teatro de Ibsen ou
  contestando a obra de Shakespeare e as 'ilus&otilde;es do socialismo', Sh=
aw
  sempre combina lucidez e coragem a um senso de provoca&ccedil;&atilde;o a=
gudo
  estabelecendo um modelo de cr&iacute;tica jornal&iacute;stica ao qual
  fatalmente se volta.(Cultura). <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span>Ficha T&eacute;cnica: <br>
    ISBN 8571646198 <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl72 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>O UNIVERSO ELEGANTE<span style=3D'mso-spacerun:yes'>&nbsp;</=
span></td>
  <td class=3Dxl72 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>BRIAN
  GREENE TRADU&Ccedil;&Atilde;O: JOS&Eacute; VIEGAS FILHO<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl72 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>CIA.
  DAS LETRAS (TEL. 0/XX/11/3846-0801)<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  astrof&iacute;sico Brian Greene aborda, de forma compreens&iacute;vel para
  leigos, a teoria das supercordas, levando o leitor a olhar o universo
  atrav&eacute;s da l&oacute;gica matem&aacute;tica e perceber o quanto ele
  pode ser belo e infinitamente interessante.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    UNIVERSO ELEGANTE, O <br>
    SUPERCORDAS, DIMENSOES OCULTAS E A BUSCA <br>
    Autor:<span style=3D'mso-spacerun:yes'>&nbsp; </span>GREENE, BRIAN<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    Editora: COMPANHIA DAS LETRAS<br>
    Assunto: CIENCIAS EXATAS-ASTRONOMIA<br>
    <br>
    Traduzindo o pensamento f&iacute;sico-matem&aacute;tico para o plano da
  l&oacute;gica visual, Greene mostra como a teoria das supercordas pode
  compatibilizar os dois pilares antag&ocirc;nicos da f&iacute;sica moderna=
 - a
  relatividade geral e a mec&acirc;nica qu&acirc;ntica - e levar a uma
  compreens&atilde;o final sobre a estrutura e o funcionamento do
  universo.(Cultura). <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span>Ficha T&eacute;cnica: <br>
    ISBN 8535900985 <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl72 width=3D284 style=3D'height:120.0pt;border-=
top:none;
  width:213pt'>OP&Ccedil;&Otilde;ES-DOTRADICIONAL AO EX&Oacute;TICO</td>
  <td class=3Dxl72 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>LAURO
  A . S. NETO/M&Aacute;SSIMO TAGLIAVINI</td>
  <td class=3Dxl72 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>ATLAS-
  1994</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>OP&Ccedil;OES
  <br>
    DO TRADICIONAL AO EXOTICO <br>
    Autor:<span style=3D'mso-spacerun:yes'>&nbsp; </span>SILVA NETO, LAURO =
DE
  ARAUJO <br>
    Editora: ATLAS<br>
    Assunto: <br>
    Ficha T&eacute;cnica: <br>
    ISBN 8522415536 <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span>(Cultura).<br>
    </td>
 </tr>
 <tr height=3D204 style=3D'mso-height-source:userset;height:153.0pt'>
  <td height=3D204 class=3Dxl72 width=3D284 style=3D'height:153.0pt;border-=
top:none;
  width:213pt'>PAI<span style=3D'mso-spacerun:yes'>&nbsp; </span>RICO, PAI<=
span
  style=3D'mso-spacerun:yes'>&nbsp; </span>POBRE</td>
  <td class=3Dxl72 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>SHARON
  L. LECHTER E ROBERT T. KIYOSAKI</td>
  <td class=3Dxl77 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'><span
  style=3D'mso-spacerun:yes'>&nbsp;</span>CAMPUS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Segundo
  os autores, a educa&ccedil;&atilde;o formal n&atilde;o prepara as
  crian&ccedil;as para a vida real, e boas notas e forma&ccedil;&atilde;o
  n&atilde;o bastam para garantir o sucesso de algu&eacute;m. A
  diferen&ccedil;a est&aacute; entre ter o controle do pr&oacute;prio desti=
no
  ou n&atilde;o. O livro traz li&ccedil;&otilde;es para controlar o destino=
 e
  tornar-se bem-sucedido.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
  </span>O objetivo deste livro &eacute; o de partilhar
  percep&ccedil;&otilde;es quanto &agrave; maneira como uma maior
  intelig&ecirc;ncia financeira pode ser empregada para resolver muitos dos
  problemas comuns da vida. Sem treinamento financeiro, freq&uuml;entemente
  recorremos a f&oacute;rmulas padronizadas para levar a vida, como trabalh=
ar
  com afinco, poupar, fazer empr&eacute;stimos e pagar impostos demais. Seg=
undo
  o autor, cada indiv&iacute;duo tem o poder de determinar o destino do
  dinheiro que chega &agrave;s m&atilde;os. A escolha &eacute; de cada um. A
  cada dia, a cada nota, decidimos ser rico, pobre ou classe m&eacute;dia.
  Dividir este conhecimento com os filhos &eacute; a melhor maneira de
  prepar&aacute;-los para o mundo que os aguarda.(Cultura).<br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;</span></td>
 </tr>
 <tr height=3D34 style=3D'mso-height-source:userset;height:25.5pt'>
  <td height=3D34 class=3Dxl74 width=3D284 style=3D'height:25.5pt;width:213=
pt'>PALAVRAS
  E ORIGENS</td>
  <td class=3Dxl76 width=3D148 style=3D'width:111pt'>GABRIEL PERISS&Eacute;=
</td>
  <td class=3Dxl76 width=3D153 style=3D'width:115pt'>X</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D42 style=3D'mso-height-source:userset;height:31.5pt'>
  <td height=3D42 class=3Dxl74 width=3D284 style=3D'height:31.5pt;width:213=
pt'>PARLAMENTARISMO
  E PRESIDENCIALISMO-A TEORIA E A SITUA&Ccedil;&Atilde;O BRASILEIRA</td>
  <td class=3Dxl76 width=3D148 style=3D'width:111pt'>ARMANDO BOITO(ORG.)</t=
d>
  <td class=3Dxl76 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Este
  Livro Reune um Conjunto de Analises dos Sistemas de Governo Parlamentaris=
ta e
  Presidencialista.(Submarino).<br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <br>
    </td>
 </tr>
 <tr height=3D64 style=3D'mso-height-source:userset;height:48.0pt'>
  <td height=3D64 class=3Dxl74 width=3D284 style=3D'height:48.0pt;width:213=
pt'>POEMAS
  DA CARNE E DO EX&Iacute;LIO-TRADU&Ccedil;&Atilde;O</td>
  <td class=3Dxl76 width=3D148 style=3D'width:111pt'>OV&Iacute;DIO/JOS&Eacu=
te; P.
  PAES</td>
  <td class=3Dxl76 width=3D153 style=3D'width:115pt'>PAZ E TERRA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Mestre
  Paes traz ao portugu&ecirc;s dois extremos do grande poeta latino: a eleg=
ia
  er&oacute;tica de sua primeira obra, Amores, e o lamento solit&aacute;rio=
 das
  duas ultimas, Triste e Po&eacute;ticas, escritas no desterro, nas quais
  desponta uma nova subjetividade l&iacute;rica.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    </td>
 </tr>
 <tr height=3D82 style=3D'mso-height-source:userset;height:61.5pt'>
  <td height=3D82 class=3Dxl74 width=3D284 style=3D'height:61.5pt;width:213=
pt'>POR QUE
  LER OS CL&Aacute;SSICOS</td>
  <td class=3Dxl76 width=3D148 style=3D'width:111pt'>&Iacute;TALO CALVINO</=
td>
  <td class=3Dxl76 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Colet&acirc;nea
  de ensaios e cr&iacute;ticas que percorrem um longo per&iacute;odo da
  hist&oacute;ria da literatura: dos gregos a autores modernos como Jorge L=
uis
  Borges e Raymond Queneau. No texto de abertura, que d&aacute; t&iacute;tu=
lo
  ao volume, Italo Calvino reflete sobre a sobreviv&ecirc;ncia de certas ob=
ras
  e a import&acirc;ncia de conhec&ecirc;-las.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    </td>
 </tr>
 <tr height=3D128 style=3D'mso-height-source:userset;height:96.0pt'>
  <td height=3D128 class=3Dxl70 width=3D284 style=3D'height:96.0pt;width:21=
3pt'>REMINISC&Ecirc;NCIAS
  DE VIAGENS E PERMAN&Ecirc;NCIA NO BRASIL<span
  style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>DANIEL PARISH KIDDER. =
TRAD.
  MOACIR VASCONCELOS</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>ED. DO SENADO FEDERAL =
(CONGRESSO
  NACIONAL, PRA&Ccedil;A DOS TR&Ecirc;S PODERES, S/ N&ordm;, CEP 70168-970,
  BRAS&Iacute;LIA, DF).<span style=3D'mso-spacerun:yes'>&nbsp;</span></td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D66 style=3D'mso-height-source:userset;height:49.5pt'>
  <td height=3D66 class=3Dxl79 width=3D284 style=3D'height:49.5pt;border-to=
p:none;
  width:213pt'>RETRATO DO BRASIL</td>
  <td class=3Dxl80 width=3D148 style=3D'border-top:none;border-left:none;wi=
dth:111pt'>PAULO
  PRADO</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>CIA.
  DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  modernismo brasileiro muito deve &agrave; atua&ccedil;&atilde;o francamen=
te
  anticonformista de Paulo Prado. Esquecido por mais de vinte anos, &quot;O
  Retrato do Brasil &quot; sobressai ainda hoje pela alta qualidade
  liter&aacute;ria do texto e pelo apelo veemente &agrave;
  moderniza&ccedil;&atilde;o do pa&iacute;s.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    </td>
 </tr>
 <tr height=3D322 style=3D'mso-height-source:userset;height:241.5pt'>
  <td height=3D322 class=3Dxl70 width=3D284 style=3D'height:241.5pt;width:2=
13pt'>ROMANCE
  SEM PALAVRAS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>CARLOS H. CONY</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Beto,
  Iracema e Marcos formavam, nos fins dos anos 1960, ao mesmo tempo um trio
  militante contra o regime militar e um tri&acirc;ngulo amoroso. Trinta an=
os
  depois, nada mais o une, a n&atilde;o ser a cama. O narrador de Romance s=
em
  palavras n&atilde;o &eacute; um homem contemplativo. Tem uma
  impaci&ecirc;ncia - ou um sentimento de urg&ecirc;ncia - que o empurra pa=
ra a
  a&ccedil;&atilde;o de narrar, e por isso seu relato parece estar sempre
  mirando um alvo. Carlos Heitor Cony nos fala sobre hist&oacute;rias de vi=
da
  forjadas no passado recente do Brasil, nos anos de ditadura, tema que
  mant&eacute;m armada uma carga emotiva com capacidade de lan&ccedil;ar
  estilha&ccedil;os a longa dist&acirc;ncia. Seus tr&ecirc;s personagens
  compartilharam per&iacute;odos hist&oacute;ricos antag&ocirc;nicos: num
  extremo, quiseram transformar a justi&ccedil;a social em moeda corrente; =
no
  outro, aceitaram que enriquecer pode ser l&iacute;cito e desej&aacute;vel.
  Mas o que os une &eacute; o fato de formarem um tri&acirc;ngulo amoroso,
  desses que existem porque ningu&eacute;m disse palavras a mais ou que pod=
em
  terminar porque n&atilde;o havia mais nada a dizer.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    <br>
    No final da d&eacute;cada de 60, a milit&acirc;ncia pol&iacute;tica
  entrela&ccedil;a as vidas de Beto, Iracema e Jorge Marcos. Quase trinta a=
nos
  depois eles continuam a se encontrar, mas seu relacionamento vai se
  caracterizando cada vez mais por ser apenas um vest&iacute;gio do passado=
. O
  que os mant&eacute;m unidos, na verdade, &eacute; o fato de ainda formare=
m um
  tri&acirc;ngulo amoroso, desses que existem por que ningu&eacute;m disse
  palavras a mais ou que podem terminar porque n&atilde;o havia mais nada a
  dizer.(Cultura). <br>
    <br>
    </td>
 </tr>
 <tr height=3D32 style=3D'mso-height-source:userset;height:24.0pt'>
  <td height=3D32 class=3Dxl70 width=3D284 style=3D'height:24.0pt;width:213=
pt'>SOCIALISMO</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>LUIS C.FRIDMAN(ORG)</t=
d>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D30 style=3D'mso-height-source:userset;height:22.5pt'>
  <td height=3D30 class=3Dxl70 width=3D284 style=3D'height:22.5pt;width:213=
pt'>SONHOS
  L&Uacute;CIDOS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>FLORINDA DONNER</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>RELUME DUMAR&Aacute;</=
td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&nbsp;</td>
 </tr>
 <tr height=3D222 style=3D'mso-height-source:userset;height:166.5pt'>
  <td height=3D222 class=3Dxl74 width=3D284 style=3D'height:166.5pt;width:2=
13pt'>TRAJET&Oacute;RIA
  POL&Iacute;TICA DO BRASIL: 1500-1964</td>
  <td class=3Dxl76 width=3D148 style=3D'width:111pt'>FRANCISCO IGL&Eacute;S=
IAS</td>
  <td class=3Dxl76 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Obra
  de Sintese da Hist&oacute;ria Pol&iacute;tica Brasileira, Escrita por um =
dos
  Nossos Mais Renomados Historiadores.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    Esta &eacute; uma Hist&oacute;ria do Brasil muito mais abrangente do qu=
e o
  seu t&iacute;tulo deixa transparecer. Ao privilegiar o &acirc;ngulo
  pol&iacute;tico em sua abordagem, Francisco Igl&eacute;sias, n&atilde;o
  descura de outros aspectos, uma vez que, como ele pr&oacute;prio afirma na
  introdu&ccedil;&atilde;o a este volume, 'a hist&oacute;ria pol&iacute;tica
  n&atilde;o pode deixar sem refer&ecirc;ncia os grupos &eacute;tnicos, cla=
sses
  sociais, religi&atilde;o, arte e ci&ecirc;ncia - em suas m&uacute;ltiplas
  manifesta&ccedil;&otilde;es -, mentalidades, formas de vida ou, para dizer
  tudo em uma palavra, as suas manifesta&ccedil;&otilde;es culturais'. O
  pr&oacute;prio autor classificou 'Trajet&oacute;ria pol&iacute;tica do
  Brasil' como uma obra de 'alta vulgariza&ccedil;&atilde;o'. Isso significa
  que ela &eacute; &uacute;til tanto ao leitor m&eacute;dio culto quanto ao
  estudante e ao especialista. Visando essa variedade de p&uacute;blicos,
  completam-no uma pequena bibliografia comentada e uma cronologia dos
  principais acontecimentos.(Cultura).<br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    <span
  style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></td>
 </tr>
 <tr height=3D224 style=3D'mso-height-source:userset;height:168.0pt'>
  <td height=3D224 class=3Dxl70 width=3D284 style=3D'height:168.0pt;width:2=
13pt'>TRATACTUS
  LOGICO-PHILOSOPHICUS</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>LUDWIG WITTGENSTEIN</t=
d>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>EDUSP/011/813-8837</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>&Uacute;nico
  livro publicado em vida pelo fil&oacute;sofo, foi editado em 1921, e traz
  aforismos que abordam temas como l&oacute;gica, epistemologia, f&iacute;s=
ica,
  &eacute;tica e m&iacute;stica.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    Editado originalmente em 1921, o Tractatus Logico-Philosophicus foi o
  &uacute;nico trabalho filos&oacute;fico de Ludwig Wittgenstein (1889-1951)
  publicado em vida. Escrito sob a forma de aforismos (numerados segundo
  agrupamentos que dissecam proposi&ccedil;&otilde;es do &acirc;mbito da
  l&oacute;gica, da epistemologia, da f&iacute;sica, da &eacute;tica e da
  m&iacute;stica) o Tractatus &eacute; uma resposta ao projeto de buscar a
  linguagem ideal da representa&ccedil;&atilde;o, ainda que isto leve &agra=
ve;
  nega&ccedil;&atilde;o da pr&oacute;pria possibilidade de representar um m=
undo
  todo ele contido em sua express&atilde;o simb&oacute;lica. Esta nova
  tradu&ccedil;&atilde;o apresenta ao leitor brasileiro um dos textos
  seminais<span style=3D'mso-spacerun:yes'>&nbsp; </span>da filosofia moder=
na,
  que influenciou decisivamente o positivismo l&oacute;gico e toda a poster=
ior
  discuss&atilde;o sobre a filosofia da linguagem.(Cultura). <br>
    </td>
 </tr>
 <tr height=3D160 style=3D'mso-height-source:userset;height:120.0pt'>
  <td height=3D160 class=3Dxl70 width=3D284 style=3D'height:120.0pt;width:2=
13pt'>TRATADO
  DE METODOLOGIA CIENT&Iacute;FICA - PROJS. DE PESQ..,TGI,TCC,DISSERT. E TE=
SES</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>SILVIO LUIZ DE OLIVEIR=
A</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>PIONEIRA</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>O
  autor aborda as diretrizes para a apresentacao de trabalhos cientificos ou
  tecnico-profissionais, abrangendo os elementos de pre-texto, texto e
  pos-texto. O livro traz ainda, em ingles, as normas ISO para publicacao de
  abstracts e documentos.(Submarino).<span style=3D'mso-spacerun:yes'>&nbsp;
  </span><br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    TRATADO DE METODOLOGIA CIENTIFICA <br>
    Autor:<span style=3D'mso-spacerun:yes'>&nbsp; </span>OLIVEIRA, SILVIO L=
UIZ DE
  <br>
    Editora: PIONEIRA<br>
    Assunto: METODOLOGIA DE PESQUISA<br>
    <br>
    Ficha T&eacute;cnica: <br>
    ISBN 8522100705 <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    </td>
 </tr>
 <tr height=3D70 style=3D'mso-height-source:userset;height:52.5pt'>
  <td height=3D70 class=3Dxl70 width=3D284 style=3D'height:52.5pt;width:213=
pt'>UMA
  HIST&Oacute;RIA DA LEITURA</td>
  <td class=3Dxl71 width=3D148 style=3D'width:111pt'>ALBERTO MANGUEL</td>
  <td class=3Dxl71 width=3D153 style=3D'width:115pt'>CIA. DAS LETRAS</td>
  <td class=3Dxl72 width=3D662 style=3D'border-top:none;border-left:none;wi=
dth:497pt'>Livro
  que conta epis&oacute;dios fascinantes sobre a paix&atilde;o pela leitura.
  Como a de um gr&atilde;o-vizir persa que carregava sua biblioteca em came=
los
  quando viajava, ou a de oper&aacute;rios cubanos que pagavam uma pessoa p=
ara
  ler romances em voz alta enquanto trabalhavam.(Submarino).<span
  style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    <br>
    </td>
 </tr>
 <tr height=3D66 style=3D'mso-height-source:userset;height:49.5pt'>
  <td height=3D66 class=3Dxl70 width=3D284 style=3D'height:49.5pt;width:213=
pt'>UMA
  MENTE INQUIETA</td>
  <td class=3Dxl81 width=3D148 style=3D'border-left:none;width:111pt'>KAY R=
EDFIELD
  JAMISON</td>
  <td class=3Dxl80 width=3D153 style=3D'border-top:none;border-left:none;wi=
dth:115pt'>MARTINS
  FONTES</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>Teste=
munho
  pessoal de Kay Redfield, autoridade internacional em doenca
  maniaco-depressiva. E a revelacao de sua propria luta, desde a adolescenc=
ia,
  com a doenca e de como a doenca moldou sua vida. <br>
    (Submarino).<span style=3D'mso-spacerun:yes'>&nbsp; </span><br>
    <br>
    </td>
 </tr>
 <tr height=3D32 style=3D'mso-height-source:userset;height:24.0pt'>
  <td height=3D32 class=3Dxl70 width=3D284 style=3D'height:24.0pt;width:213=
pt'>V&Eacute;RIFICATION</td>
  <td class=3Dxl81 width=3D148 style=3D'border-left:none;width:111pt'>GILLE=
S-G.
  GRANGER</td>
  <td class=3Dxl81 width=3D153 style=3D'border-left:none;width:115pt'>ODILE=
 JACOB</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>&nbsp=
;</td>
 </tr>
 <tr height=3D38 style=3D'mso-height-source:userset;height:28.5pt'>
  <td height=3D38 class=3Dxl70 width=3D284 style=3D'height:28.5pt;width:213=
pt'>WATCHMAN</td>
  <td class=3Dxl81 width=3D148 style=3D'border-left:none;width:111pt'>JONAT=
HAN
  LITTMAN</td>
  <td class=3Dxl81 width=3D153 style=3D'border-left:none;width:115pt'><span
  style=3D'mso-spacerun:yes'>&nbsp;</span>RECORD</td>
  <td class=3Dxl74 width=3D662 style=3D'border-left:none;width:497pt'>Escri=
to como
  um&quot;thriller noir&quot; californiano, Watchman revela a mais
  fant&aacute;stica e audaciosa s&eacute;rie de crimes na hist&oacute;ria do
  ciberespa&ccedil;o.(Submarino). <br>
    <span style=3D'mso-spacerun:yes'>&nbsp;</span><br>
    </td>
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