A China desenvolveu um discurso externo, marcado por uma comunicação internacional dos valores que defende para as relações internacionais, em que muitos autores veem a proposta de uma nova ordem mundial. A China preconiza parte dessa ação através dos fóruns regionais, criando um ambiente internacional favorável aos seus projetos políticos e económicos. Macau tem a função de ligação aos países de língua portuguesa. Para tal, foi criado o Fórum Macau. Neste artigo exploramos a possibilidade de existência de um discurso chinês para os países africanos de língua portuguesa ou se se trata apenas da adaptação do discurso do modelo de cooperação Sul-Sul.

China developed an international discourse-based by an international communication defending Chinese international values for international relations. Some authors see in such discourse the proposal for new world order. China advocates part of this action throughout regional forums, creating a favourable environment for the reception of her political and economic projects. Macau has the function to connect to the African Portuguese speaking countries. In order to achieve that mission, China created the Forum Macau. In this article, we explore the possibility of the existence of a Chinese discourse for the African Portuguese speaking countries or if there is only an adaptation of South/South cooperation discourse.

Resumo Este artigo apresenta os resultados de um estudo centrado no significado que a dor assume no discurso de um grupo de bailarinas de dança clássica. Para tal acedemos às suas experiências e vivências através de uma entrevista semiestruturada de forma a entender a dor que faz parte suas rotinas antes, durante e após estarem a dançar. O estudo sustenta-se nos discursos que emergiram num grupo de dez bailarinas, com mais de seis anos de formação, e o método para aceder aos significados providenciados pelas suas vozes foi a “Grounded Analysis” ou Análise Sustentada nos Dados. A análise dos discursos recolhidos revelou que o evoluir no percurso da dança implica dificuldades que aumentam as exigências experienciadas pelas bailarinas, paralelamente ao desejo de querer permanecer no mundo do espetáculo. Assim são os treinos excessivos e os movimentos repetitivos que fazem surgir a dor e as lesões, que são ocultadas, negadas, de modo a poder continuar no foco de querer alcançar a perfeição. Em geral, os resultados obtidos salientam a paixão pela dança que configura a dor como aliada desta prática, e obriga as bailarinas a várias estratégias de confronto. Paralelamente, a dor liga-se ao medo da lesão, ao fim do percurso como bailarina e ao abdicar de um sonho.

Abstract This article presents the results of a study focused on the meaning that pain assumes in the discourse of a group of classical dance ballerinas. To achieve this, we accessed their experiences and perceptions through a semi-structured interview, to better understand the pain that is an integral part of their routines before, during and after a performance. This study is based on the discourses which emerged from a group of ten ballerinas with six or more years of training, and the method chosen to tap into the underlying meanings was Grounded Analysis or Sustained Data Analysis. The analysis of the discourses collected revealed that pursuing a dancing career involves obstacles that increase the demands felt by the ballerinas, in parallel with their desire to remain in the world of performance. Thus, it is the excessive practicing and repetitive movements which give rise to pain and injuries, which are concealed and denied so as not to impede the focus of attaining perfection. In general, the results obtained emphasize the passion for dance that involves pain as an ally to this career and force the ballerinas to varied confrontation strategies. In tandem, pain is linked to fear of injury, to the end of a career as a ballerina and the relinquishment of a dream.

Resumo Este artigo apresenta os resultados de um estudo centrado no significado que a dor assume no discurso de um grupo de bailarinas de dança clássica. Para tal acedemos às suas experiências e vivências através de uma entrevista semiestruturada de forma a entender a dor que faz parte suas rotinas antes, durante e após estarem a dançar. O estudo sustenta-se nos discursos que emergiram num grupo de dez bailarinas, com mais de seis anos de formação, e o método para aceder aos significados providenciados pelas suas vozes foi a “Grounded Analysis” ou Análise Sustentada nos Dados. A análise dos discursos recolhidos revelou que o evoluir no percurso da dança implica dificuldades que aumentam as exigências experienciadas pelas bailarinas, paralelamente ao desejo de querer permanecer no mundo do espetáculo. Assim são os treinos excessivos e os movimentos repetitivos que fazem surgir a dor e as lesões, que são ocultadas, negadas, de modo a poder continuar no foco de querer alcançar a perfeição. Em geral, os resultados obtidos salientam a paixão pela dança que configura a dor como aliada desta prática, e obriga as bailarinas a várias estratégias de confronto. Paralelamente, a dor liga-se ao medo da lesão, ao fim do percurso como bailarina e ao abdicar de um sonho.

Abstract This article presents the results of a study focused on the meaning that pain assumes in the discourse of a group of classical dance ballerinas. To achieve this, we accessed their experiences and perceptions through a semi-structured interview, to better understand the pain that is an integral part of their routines before, during and after a performance. This study is based on the discourses which emerged from a group of ten ballerinas with six or more years of training, and the method chosen to tap into the underlying meanings was Grounded Analysis or Sustained Data Analysis. The analysis of the discourses collected revealed that pursuing a dancing career involves obstacles that increase the demands felt by the ballerinas, in parallel with their desire to remain in the world of performance. Thus, it is the excessive practicing and repetitive movements which give rise to pain and injuries, which are concealed and denied so as not to impede the focus of attaining perfection. In general, the results obtained emphasize the passion for dance that involves pain as an ally to this career and force the ballerinas to varied confrontation strategies. In tandem, pain is linked to fear of injury, to the end of a career as a ballerina and the relinquishment of a dream.

Anaplasma marginale is an important vector-borne rickettsia of ruminants in tropical and subtropical regions of the world. Immunization with purified outer membranes of this organism induces protection against acute anaplasmosis. Previous studies, with proteomic and genomic approach identified 21 proteins within the outer membrane immunogen in addition to previously characterized major surface protein1a-5 (MSP1a-5). Among the newly described proteins were VirB9, VirB10, and elongation factor-Tu (EF-Tu). VirB9, VirB10 are considered part of the type IV secretion system (TFSS), which mediates secretion or cell-to-cell transfer of macromolecules, proteins, or DNA-protein complexes in Gram-negative bacteria. EF-Tu can be located in the bacterial surface, mediating bacterial attachment to host cells, or in the bacterial cytoplasm for protein synthesis. However, the roles of VirB9, VirB10, and TFSS in A. marginale have not been defined. VirB9, VirB10, and EF-Tu have not been explored as vaccine antigens. In this study, we demonstrate that sera of cattle infected with A. marginale, with homologous or heterologous isolates recognize recombinant VirB9, VirB10, and EF-Tu. IgG2 from naturally infected cattle also reacts with these proteins. Recognition of epitopes by total IgG and by IgG2 from infected cattle with A. marginale support the inclusion of these proteins in recombinant vaccines against this rickettsia.