As crenças financeiras são convicções profundas que moldam nossa maneira de pensar e agir em relação ao dinheiro. Essas crenças não são meramente opiniões; são percepções enraizadas que orientam nosso comportamento financeiro e, por consequência, impactam significativamente nossas finanças pessoais e riqueza. Definição de Crenças Financeiras Crenças financeiras são ideias que temos sobre o dinheiro e como ele deve ser gerido. Elas podem ser tanto positivas quanto negativas e influenciam diretamente nossas decisões financeiras. Por exemplo, uma crença positiva pode ser "Eu sou capaz de criar riqueza" enquanto uma crença limitante pode ser "O dinheiro é a raiz de todo o mal". Essas crenças moldam nossa abordagem ao dinheiro, desde como gastamos até como investimos e economizamos. Crenças Limitantes vs. Crenças Capacitadoras Crenças Limitantes são pensamentos negativos ou autossabotadores que restringem nosso potencial de alcançar sucesso financeiro. Exemplos incluem "Eu nunca vou ser rico" ou "Dinheiro é difícil de ganhar". Essas crenças muitas vezes surgem de experiências passadas, influências familiares ou sociais, e podem criar barreiras significativas para o sucesso financeiro. Crenças Capacitadoras, por outro lado, são crenças positivas que ajudam a promover a prosperidade e a realização de objetivos financeiros. Exemplos incluem "Eu posso aprender a gerenciar meu dinheiro de forma eficaz" ou "Há oportunidades de crescimento financeiro ao meu alcance". Essas crenças fomentam uma mentalidade de crescimento e abertura para novas possibilidades. Aprenda Muito Mais...

Examines numerous controversies related to the history of slavery, including slavery and the American Revolution, the Constitution and Bible as pro- or antislavery documents, the transatlantic slave trade, colonization of free blacks, abolition, slave resistance and uprisings, slavery and western expansion, and whether escaping slaves should be accepted by Union forces during the Civil War.

Popular and Visual Culture: Design, Circulation and Consumption is a transnational project that fosters a dialogue with multiple origins, both in geographical and academic terms. From the onset, this book questions the concepts of visual and popular culture, terms which are currently applied both to describe scientific fields, as operative concepts in theoretical discourse, and to characterize specific cultural contexts. The book’s analysis and categorization of visual and popular culture pursues discourses and practices which mark different historical eras and shape social orders. Because popular iconic and written productions are the outcome of a network of political, economic, ideological and social circumstances that are often hardly detectable and too taken for granted to be critically recognized, even by those who draw, paint or write (and live) under their influence. That is why visual figurations of popular culture should be studied as the support of a deeply motivated symbolic discourse on the values shared by a community. This book deals, in a way or another, with how popular and visual artefacts and sceneries are socially built, preserved and/or contested. The volume brings together, not only different disciplinary perspectives, but also diverse empirical phenomena, while approaching the wide subject of visuality and popular culture.

In addition to sharing the Caribbean island of Hispaniola, Haiti and the Dominican Republic share a complicated and at times painful history. Yet Transnational Hispaniola shows that there is much more to the two nations’ relationship than their perceived antagonism. Rejecting dominant narratives that reinforce opposition between the two sides of the island, contributors to this volume highlight the connections and commonalities that extend across the border, mapping new directions in Haitianist and Dominicanist scholarship. Exploring a variety of topics including European colonialism, migration, citizenship, sex tourism, music, literature, political economy, and art, contributors demonstrate that alternate views of Haitian and Dominican history and identity have existed long before the present day. From a moving section on passport petitions that reveals the familial, friendship, and communal networks across Hispaniola in the nineteenth century to a discussion of the shared music traditions that unite the island today, this volume speaks of an island and people bound together in a myriad of ways. Complete with reflections and advice on teaching a transnational approach to Haitian and Dominican studies, this agenda-setting volume argues that the island of Hispaniola and its inhabitants should be studied in a way that contextualizes differences, historicizes borders, and recognizes cross-island links. Contributors: Paul Austerlitz | Nathalie Bragadir | Raj Chetty | Anne Eller | Kaiama L. Glover | Maja Horn | Regine Jean-Charles | Kiran C. Jayaram | Elizabeth Manley | April Mayes | Elizabeth Russ | Fidel J. Tavárez | Elena Valdez Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities. Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

From Here to Diversity: Globalization and Intercultural Dialogues sees interculturalism as movement, transit, travel, and the dynamics between cultures. Contemporary intercultural travel is a global journey, a circumnavigation at the speed of light that underwrites all the comings and goings, the departures and arrivals, the transmissions and receptions that are implicit in this title. Hence, From Here to Diversity examines the motivations, characteristics and implications of cultural interactions in their perpetual movement, devoid of spatial or temporal borders, in a dangerous but stimulating indefinition of limits. In the contemporary intercultural dialogue, new voices are making themselves heard, as valuable sources of study: the voices of women; non-occidentals; the non-powerful; forgotten narratives of a past that was as intercultural as the present (after all, what is colonialism other than a perverse form of interculturality?); global entertainment; tourism; oral literature; diaries; mythical narratives; the cinema; ethnography; and new teachings, among so many others. Because this project is also intercultural at its source and subject, From Here to Diversity: Globalization and Intercultural Dialogues adds to the coherence of the project by including contributions from the most wide-ranging backgrounds and nationalities, without fear of the alterity that, after all, we propose to study.

In Permanent Transit: Discourses and Maps of the Intercultural Experience builds interdisciplinary approaches to the study of migrations, traffics, globalisation, communication, regulations, arts, literature, and other intercultural processes, in the context of past and present times. The book offers a convergence of perspectives, combining conceptual and empirical work by sociologists, anthropologists, historians, linguists, educators, lawyers, media specialists, and literary studies writers, in their shared attempt to understand the many routes of the intercultural experience. This Permanent Transit generates an overlapping of cultures, characteristic of a site of cultural translation. In their incessant creation of uncertainties, these pages also produce new hypotheses, theories and explanations, while pushing limits, bringing about epistemological changes, and opening new spaces for independent discussion and research. The potential for change is located at peripheries marked by hybridity, where the ‘new arrivals’ and the ‘excluded’ – like this book and many of its contributors – are able to use subversion to undermine the strategies of the powerful, regardless of who they are. Cultural translation – both as Judith Butler’s ‘return of the excluded’ and as Homi Bhabha’s hybridity – is a major force of contemporary democracy, also in the academic field.

Women in the Portuguese Colonial Empire: The Theatre of Shadows compiles an extensive collection of essays on the status of women throughout the vast Portuguese colonial space, from Brazil to the Far East, crossing Europe, Africa and India, between the 16th and the 20th century. Absent or mystified, silenced or victimized, women in the History of Portugal and its colonial venture are the living example of the part historiographical discourse, ideology and popular memory have played in the construction of identities, their practices and representations. The production and critical consumption of History have long revealed countless gaps and silences within its own discourse. This book questions the reason for such gaps and silences and wonders about the real role of all those who do not or have never had access to power and to the perpetuating word, those whose voices have been systematically erased from sources and documents because of past or present attending interests. Women in the Portuguese Colonial Empire: The Theatre of Shadows congregates a wide assortment of disciplines so as to provide multiple independent viewpoints, sources and methodologies. By bringing authors from around the world together, this work ensures that the various cultures and memories that are part of the global saga, as well as the various versions of the history of the Portuguese colonial empire, may be heard.