In this direction, it is considered that the livened up drawings, through the dialogue that its personages exert with the small spectators, directly influence in the valuation and maintenance of the commercialized ideal of beauty, standing out bitipo lean, strong and high as being more privileged in detriment of the other corporal possibilities. The above-mentioned author detaches, still, that the esteretipos wide are contemplated by the cultural industry because they take care of I appeal to it economic required for the capitalist ideology. Thus, while communication elements the esteretipos are economic, therefore they allow to process social information quickly, as any another social representation, to transform the evaluations into descriptions and the descriptions in explanations. Esteretipo can exactly be defined as a species of percipient project associated the certain categories of people or objectos, crystallized around a word assigns that them, automatically intervined the representation and characterization of especmenes of these categories (Maisonneuve, J., 1971:110) In such a way, the proper language signals and carries the esteretipos, influencing decisively the processes of communication between individuals and groups (BAPTISTA, 1996, P. 9).
Grifos of the author. On the other hand, the children do not consist in ‘ ‘ empty vases of vidro’ ‘ or in ‘ ‘ blank sheets of paper ‘ ‘ , where if they can inscribe ideologies, gostos, practical social, fancies and criatividades: programming of the television supplies an ample repertoire of information that are assimilated by the children, but that also they are reproduced and ressignificadas through its behavior, either during the tricks, either in the conviviality with the other people. this taking of the Real, that is, of what he is proper and characteristic of the child, is tried to compensate with the symbolic one? role immediately assumed by the livened up drawings.
The Centers of Ateno Psicossocial (CAPS) are units intensive and daily deatendimento to the carriers of serious psychic suffering, constituting an alternative to the model centered in the psychiatric hospital, characterized for internments of long permanence and regimen to put in a home. The Centrosde Attention, in contrast, allows that the users remain next to the suasfamlias and communities. The first CAPS of the country appears in March of 1987, with ainaugurao of the CAPS Luis of the Cerqueira Rock, in the City of So Paulo, serious erepresenta the effective implementation of a new model of attention in health mentalpara expressive fraction of the mental sick people (psychotic and neurotics) taken care of in the public net, being its constituted iderio of proposals dirigidas overcoming of the limitations evidenced for the binomial clinic-hospitalpsiquitrico in the treatment and whitewashing of its clientele (ONOCKO-CAMPOS, 2006). Inserted in the context politician of redemocratizao of the country enas fights for the revision of conceptual landmarks, of the forms of attention and definanciamento of the actions of mental health that if had fortified from finalda decade of 1980 in Latin America and Brazil, the CAPS Luis of the Cerqueira Rock (or CAPS Itapeva), together with the Nuclei of Ateno Psicossocial (NAPS), inaugurated from 1989, in Saints, will go to consist in refernciaobrigatria for the implantation of services substitutes to the lunatic asylum in nossopas (ONOCKO-CAMPOS, 2006). However, they will be the santistas NAPS that, through funcionamentoterritorializado, the 24 hours/day, with destined stream beds the patients in crisis eoperando in net with other services, that will more accomplish significativoavano in the overcoming of the model centered in the psychiatric hospitals, ambulatory and psychiatric urgencies, accomplishing true rupturaparadigmtica in relation to the previous model (ONOCKO-CAMPOS, 2006) These two initiatives will be precursory of same types nos in the State of So Paulo, but in all Brazil, a time that will subsidize oMinistrio of the Health in the formularization of Portaria N. .