In dieser Dissertation wird eine Messung von Beauty-Produktion im Bereich der Photoproduktion in ep Kollisionen am HERA-Speicherring. Die Auflösung des ZEUS Silizium-Mikrovertex-Detektor (MVD) ermöglicht Präzisions-Messungen mit denen sich neue Methoden zur Identifikation der Beauty-Quark entwickeln lassen. Zwei Ziele werden in dieser Arbeit verfolgt: erstens die Entwicklung eines zuverlässigen Verfahrens (Sekundärvertex-Tagging-Methode) zur Identifikation von Jets die aus b-Quarks stammen unter Ausnutzung der MVD-Information und Eigenschaften der Beauty-Quarks, und zweitens die Bestätigung der Anwendbarkeit dieser Methode. Beide Ziele wurden erreicht. Die Messung verwendet einen vom ZEUS-Detektor aufgenommenen Datensatz. Der Anteil der Ereignisse die Beauty-Quarks enthalten wurde mit Hilfe der charakteristischen Verteilung der Zerfallslänge und der invarianten Masse der Zerfallsvertex bestimmt. Dies ist die erste solche Analyse in ZEUS. Totale und differentielle Wirkungsquerschnitte als Funktion des Tranversalimpulses und der Pseudorapidität der Jets wurden gemessen. Weiterhin wurden die Ergebnisse extrapoliert um eine Messung auf b-Quark-Niveau zu erhalten. Alle Ergebnisse werden mit der vorher publizierten Messung verglichen als auch die theoretischen Vorhersagen. Aufgrund der vielversprechenden Ergebnisse dieser ersten Analyse und der mittlerweile erzielten Verbesserungen der Ereignis-Rekonstruktion, wurde eine zweite präzisere Messung möglich.Die noch laufende Analyse profitiert von grösserer Statistik sowie einer verbesserten Kalibrierung des Detektors und hinzugewonnenen Kenntnisse über Spur- und Vertexrekonstruktionsverfahren. Es sind zwar noch weitere Verbesserungen möglich,jedoch ist die bisher erreichte höhere Präzision bereits aus den im zweiten Teil dieser Arbeit vorgestellten vorläufigen Ergebnissen ersichtlich. Zudem konnten die Messungen dank erhöhter Statistik und höherer Effizienz auch auf grössere Transversalimpulse Werte ausgedehnt werden. / This thesis presents a measurement of beauty photoproduction (PHP) in ep interactions at the HERA collider. The implementation of the silicon Micro Vertex Detector (MVD)in 2000/2001, provides high precision measurements that allow new identification techniques of the beauty quarks. Two goals are followed in this thesis: first the development of a reliable algorithm (secondary vertex b-tagging) to identify jets originating from b quarks by exploiting exclusively the full MVD potential and the properties of the b quark, and second the determination of its performance by obtaining first measurements of inclusive beauty dijet PHP. The main result presented here is based on the 2004 data set. The fraction of b-events is extracted using the characteristic distributions of reconstructed decay length and invariant mass of the secondary vertex, keeping the analysis inclusive. This is the first such measurement in ZEUS. Total and differential cross sections as a function of transverse momentum and pseudorapidity of the b-jet are measured. The obtained results are compared with a previous published measurement carried out using a completely independent method. Furthermore, the results were extrapolated to obtain a measurement at the b-quark level. This measurement is compared with all previous ZEUS and H1 results as well as with theoretical predictions. Good agreement is found within errors. Motivated by these results a more precise measurement became possible. The new analysis, still ongoing, is based on the 2005 data set and profits of higher statistics as well as of an improved detector alignment and calibration and a better understanding of the tracking/vertexing procedures. The higher precision achieved so far can be already seen in the first preliminary results presented in the second part of this work. Moreover the measurement could be extended to larger values of the transverse momentum, not reached before by other analyses.

Between 1939 and 1940 the United States Government conducted a study of the measurements of women’s bodies to establish a standardized system of garment and pattern sizes. The central theme of my research is to analyze the female figure in the context of a technology-driven global contemporary society. My thesis exhibition includes a body of work that echoes the pressures that Western Society employs by standardizing women’s appearances. The focus of the work is to confront the viewer with a visual examination, which illustrates the preconceived notion that Western Society portrays the female body as a commodity and exports those views to different cultures and societies. This calls to question: “who makes those standards endorsed by society and why women follow them?”. From the standardized measurements conducted by the United States Government, I generated a 2-D computer model of an outline of the generic female figure. Based on the 2-D representation, I constructed a series of ten 27”x36” inkjet prints and a 3-Dimensional prototype of the figurative form. The project consist on the manufacture of 14,698 molds base on the 3- Dimensional prototype -- 10% reduction of the size of the average female. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

The main aim of this dissertation is to discuss the way women negotiate the cultural meaning of hair loss, alopecia, as a result of undergoing chemotherapy, and to understand, accordingly, how cancer's cultural effects regarding women can be deeply different from those of men. Very few studies have been done about the cultural impact and resonance of alopecia. It is often regarded as "secondary" to other effects of chemotherapy. Because, in many cultures, head hair for women expresses or manifests attractiveness and power, to be bald is to be deprived of the ability to fit into society, whether in the public or private sphere. The study examines the representation of such women in the media, audience/subject responses to these representations, and interrogates women's identities and representations in terms of Laura Mulvey's theory of the male gaze. Women who have experienced chemotherapy-induced alopec ia were interviewed in this regard. Other contributive feminist, cultural and/or media studies works, such as those by Suzanna Walters, Susan Bordo, Naomi Wolf, Donna Haraway, Stuart Hall, Kimberle Crenshaw, and Judith Butler, help facilitate the analysis. From these perspectives, a historical analysis takes into consideration the symbolic dimension of hair, especially women's head hair, within Western cultural history, particularly in France and a multicultural America. In addition, a textual analysis looks at women, cancer, and hair loss as represented in popular culture characters and personalities. The study insists on the necessity for women to resist to the culture industries and deconstruct the male gaze, as well as the female gaze, which can both contribute to, and perpetuate women's objectification. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Ce travail herméneutique interdisciplinaire où littérature et philosophie intimement s’entremêlent et dialoguent avec les sciences dites dures, s’est tout d’abord employé à définir la notion de mythe comme type de récit littéraire illustrant une prise de position quant à une question métaphysique et a révélé le récit ovidien de Pygmalion comme un mythe génésiaque au cœur duquel se trouve l’homme. Cheminant du XVIIIe au XXe siècle au fil de l’histoire des idées européennes, il s’est ensuite arrêté sur les différentes productions littéraires allemandes, françaises et italiennes réinvestissant le mythe à la lumière de la problématique dégagée du texte mère : celle de l’ampleur du pouvoir créateur de l’homme, afin d’en extraire les caractéristiques communes. Dans leur traitement de l’eros et de l’art, ces dernières posent un rapport à autrui et au monde orienté vers une dynamique de création se réalisant à travers un processus analogue, reposant sur les représentations ainsi que l’implication et les dispositions mentales et personnelles du sujet, l’extase, la volonté et la foi. Forts de leurs enseignements et de ce constat, il s’est à son tour emparé de cette question à travers l’élaboration d’un mythologisme anthroposophique convoquant des découvertes ayant eu lieu au XXIe siècle dans le domaine des neurosciences, de la physiologie, de la sémiostylistique, de l’éthique et de l’esthétique. Ce système de pensée, dans une quête de compréhension de ce processus créatif, a mené à la redéfinition d’un Homme alors compris comme essentiellement mû par un instinct représentationnel, un mouvement plasmateur, évoluant entre Créativité, Plaisir et Beauté, à travers l’exercice duquel il réalise sa Liberté. / This hermeneutic interdisciplinary work, where literature and philosophy are tightly intertwined and converse with the so-called hard sciences, first proceeds to define the notion of myth as a literary type of story that illustrates a stance on a metaphysical question. It reveals Ovid’s story of Pygmalion as a genesiac myth in which mankind is at the heart. Progressing from the XVIIIe to the XXe century along the history of European ideas, it then halts at the French, German and Italian literary works that revisit the myth, in light of the question drawn from the source text – that of the extent of Man’s creative power – in order to extract the common characteristics. In their study of Art and Eros, they present a relationship to the world and to the others that is directed toward a dynamic of creation that is realized through a similar process based on the representations along with the mental and personal implication and dispositions of the subject, ecstasy, will and faith. In turn, drawing on their lessons and this observation, this work eventually answers this question by elaborating an anthroposophical mythologism that call upon XXIe century discoveries in neurosciences, physiology, semiostylistic, esthetic and ethic. This system, in its quest of understanding this creative process, has led to the redefinition of a Man essentially led by a representational instinct, a creative gesture, moving from Creativity, to Pleasure and Beauty, by which he achieves his Freedom.

Made available in DSpace on 2016-04-27T18:47:05Z (GMT). No. of bitstreams: 1 Nadia Loureiro Ferreira.pdf: 527639 bytes, checksum: 8ba4090eba470040b9f7735e1b60940c (MD5) Previous issue date: 2010-10-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study is concerned with the ageing process and issues related to old age, physical beauty and outward appearance. A prospective, descriptive and qualitative analysis was used through interviews with professionals working in the beauty industry (aesthetics, cosmetics, health and media) from diverse educational backgrounds such as psychology, medicine, journalism and chemical engineering, among others, of both sexes, aged between 35 and 50 years old, from the city of São Paulo in 2010. Ten subjects responded to a questionnaire via the internet and later two of them gave a recorded interview. The qualitative analysis was conducted from the SPAD.T survey, which mapped out the contexts described by the subjects in their responses. Two analytical categories and three subcategories were defined for the qualitative discussion. The study sought to examine the fear of ageing. The responses of male and female subjects with average age of 42.5 years, with a university degree and diverse professional backgrounds showed that ageing can mean a threat to their physical, psychological, and mental integrity leading to an imminent fear of physical degeneration, decay and death, namely, the fear of the last phase of human life: old age. One can infer that the medical discourse often with a functionalist and positivist approach associated with the current media and marketing exposure are key elements that impact on the youth culture of a beautiful, healthy body under the biological and aesthetical paradigm that exists within contemporary cultural rules / O estudo preocupa-se com as questões do processo de envelhecimento e da velhice e a aparência e beleza física. O recorte define-se por ser prospectivo, descritivo e qualitativo, com profissionais que atuam na área da beleza (estética, cosmética, saúde e comunicação), de diferentes formações: psicologia, medicina, jornalismo e engenharia química, dentre outras, de ambos os sexos e idades entre 35 e 50 anos, na cidade de São Paulo, em 2010. Dez sujeitos responderam a um inquérito via internet, posteriormente, dois deles gravaram entrevistas. A análise qualitativa foi realizada a partir de levantamento do SPAD.T, que mapeou os contextos descritos pelos sujeitos em suas narrativas. Definiram-se duas (2) categorias analíticas e três subcategorias para a discussão qualitativa. O estudo objetivou retratar o medo da velhice. As narrativas dos sujeitos, homens e mulheres, com idade média de 42,5 anos, de formação superior, oriundos de profissões diferenciadas, mostraram que o envelhecimento pode significar uma ameaça a integridade física, psicológica e mental, trazendo por conseqüência o medo iminente da degradação, degeneração e morte, ou seja, medo da fase que caminha para o final da vida: a velhice. Pode-se inferir que o discurso médico, funcionalista e positivista, associado ao da mídia atual e ao assédio mercadológico, são agentes impactantes na cultura da jovialidade, do corpo belo, saudável, ou seja, sob o paradigma biológico e estético, vigente no estatuto cultural contemporâneo

Made available in DSpace on 2016-04-25T19:20:33Z (GMT). No. of bitstreams: 1 Murilo Alexandre dos Santos.pdf: 2967089 bytes, checksum: cd4c14a65655d488f358393345166e26 (MD5) Previous issue date: 2014-09-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / We have displayed the roots from which the Arautos do Evangelho originated and also their initial mission and deeds, their charisma and its presence within the spectrum of contemporary Catholicism and their processes of expansion. We continue by investigating the sense of aesthetics, beautiful and sublime, as well as the reception and practical experience of the Arautos when it comes to the concepts above stated. We want to display the mission and the evangelization inside the Catholic Church and the Arautos do Evangelho as well. We were guided by the hypothesis that the aesthetics, the beauty and the sublime constitute the core of the evangelization mission carried out by the Arautos and it, simultaneously, portrays functional sense aimed at a restorative evangelization to attract former churchgoers and to retrieve the conservative aspects of the Catholicism. The origin, the charisma and the presence of the Arautos inside the spectrum of the contemporary Catholicism were displayed; the general concepts of aesthetics, beauty and sublime and regarding the understanding of the Arautos and in their evangelizing action / Expusemos as raízes de onde surgiram os Arautos do Evangelho e a que vieram, o carisma e a presença dele no espectro do catolicismo contemporâneo e também como se expandiram. Passamos a investigar o sentido da estética, belo e sublime e a recepção e vivencia dos Arautos relativas a esses conceitos. Buscamos expor a missão e a evangelização na Igreja Católica e nos Arautos do Evangelho. Guiou-nos a hipótese de que estética, belo e sublime constituem a nervura da missão evangelizadora dos Arautos e ao mesmo tempo adquirem um sentido funcional visando a uma evangelização restauradora para atrair os fiéis que se afastaram da Igreja e para retomar os aspectos conservadores do catolicismo. Foram expostos a origem, o carisma, e a presença dos Arautos no espectro do catolicismo contemporâneo; os conceitos de estética, belo e sublime em geral e na concepção dos Arautos e na sua ação evangelizadora

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O objetivo desta tese é apresentar a análise da interação social como um meio de explicar a atividade de trabalho de manicure e a forma social que assume no Brasil. Por meio do relato das manicuras, examina as condições interacionais nas quais o trabalho é realizado associando-as às suas condições de contratação. A explicação se passa dividida em dois momentos: um sobre como o trabalho acontece e outro sobre como o trabalho é organizado socialmente, isto é, as relações sociais que o mantêm sem uma imagem profissional, mal remunerado e precário ante os riscos à saúde para trabalhadoras(es) e clientes. O primeiro capítulo apresenta dados socioeconômicos sobre o setor de embelezamento pessoal no Brasil e como o serviço de manicure tem sido abordado na literatura sociológica, verificando como os conceitos de trabalho emocional, trabalho estético e trabalho corporal foram formulados e aprimorados para explicar o trabalho nos serviços interpessoais, nos quais se incluem os serviços de beleza pessoal. A partir das questões presentes e ausentes dessa bibliografia, o segundo capítulo apresenta a pesquisa de campo e os pressupostos teóricos que formam a análise. O terceiro refere-se às condições do emprego de manicura encontradas na pesquisa de campo, destacando a influência do contrato de trabalho estabelecido na atividade de trabalho. Comenta-se o serviço de manicure em Montréal comparando-o em linhas gerais com o brasileiro. O quarto capítulo é dedicado a propor a interação face-a-face como um aspecto central da atividade de trabalho em serviços interpessoais, e o faz por meio da análise do relato das manicuras sobre o próprio trabalho. Por fim, o último capítulo traça algumas considerações sobre o que as interações sociais do trabalho de manicurar e as suas condições de emprego dizem da sociedade em que as manicuras trabalham e vivem / This thesis aims to present an analysis of social interaction as a way to explain the work activity of manicurists and the social form it takes in Brazil. From the accounts detailing the experiences of manicurists, this thesis examines the interactive conditions in which work is performed, by associating these to the conditions of employment of workers in this sector. The analysis is conducted on two levels: the first about how work happens; the second on how work is socially organized, discussing how social relations prevent manicurists from obtaining a professional image and good salaries, and subject them to precarious labor conditions and higher health risks than other Brazilian workers and consumers. The first chapter provides socioeconomic data about the beauty industry and beautification services in Brazil, including manicures. This includes a literature review that examines how the concepts of \"emotional labor\", \"aesthetic labor\" and \"body work\" are formulated and refined to explain the work in interpersonal services, of which personal beauty services are part. From this review, the second chapter sets out the theoretical assumptions and fieldwork that build the analysis. The third chapter examines the conditions of employment found in the field research, highlighting the influence of the labor contract on work activity. This chapter also includes an analysis of the social form of work in the manicure sector in Montreal to identify differences with Brazil. The fourth chapter examines the face-to-face interaction with clients as a central aspect of work activity in interpersonal services by analyzing the personal reports of manicurists about their work experience. Finally, the last chapter gives consideration to how the nature of service interactions and labor conditions of manicurists reflects how social relations are constructed in wider Brazilian society

Made available in DSpace on 2016-04-27T19:31:50Z (GMT). No. of bitstreams: 1 Gisele Bischoff Gellacic.pdf: 2272715 bytes, checksum: 84da67e9f2c3c5d53496a16b7db08de2 (MD5) Previous issue date: 2008-05-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research is a revision of articles from the Revista Feminina, a periodical of large circulation in Brazil between the years of 1915 and 1936. Based on the history of the body and of women, an analysis is made of the female figure based on representations of fashion and beauty, and their functions, methods and utilities. The ideal of a slender and well dressed woman is presented to the readers of the Revista as how they should present themselves to fit in with the society of that period. An analysis is made of the means used by the Revista to convince its readers to exert their femininity by presenting this image. The dialogue between modernity, medical/hygiene and urban discourses is intensively used in the articles to justify a beautiful and fashionable appearance / A dissertação Bonecas da Moda: um estudo sobre o corpo através da moda e da beleza, de Gisele Bischoff Gellacic, trabalha com artigos da Revista Feminina, periódico de grande difusão no Brasil entre 1915 e 1936. Dialogando com a história do corpo e das mulheres, é analisado o corpo feminino por meio de suas representações da moda e da beleza, e suas funções, métodos e utilidades. As imagens de mulher esbelta e bem vestida aparecem às leitoras da Revista como uma forma de se apresentarem e estarem inseridas na sociedade do período. São abordados todos os mecanismos que a Revista utilizava para convencer suas leitoras a exercerem sua feminilidade através de tais representações. O diálogo entre os discursos da modernidade, médico-higienista e urbanista aparecem fortemente entre os artigos como justificativas para uma aparência bela e na moda

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-04-19T11:54:17Z No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-19T12:28:39Z (GMT) No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-19T12:28:39Z (GMT). No. of bitstreams: 2 Dissertação - Fernando Ferreira da Silva - 2018.pdf: 1654717 bytes, checksum: 74fc34f20a97fdb6cf5ee975cc6b9c3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present thesis proposes to investigate the aesthetic-philosophical programme developed by Walter Benjamin for the critique of art as outlined in his writings as a youth. The first part of this itinerary consists of the philosopher's doctoral dissertation entitled The Concept of Art Criticism in German Romanticism (Der Begriff der Kunstkritik in der deutschen Romantik). In this work, written between the years 1917 and 1919 and published in 1920, Benjamin reconstructs the concept of art criticism in the German first-romanticism [Frühromantik], according to the art theory of Friedrich Schlegel and Novalis. Although conceived as an analysis of romantic theory, the philosopher’s understanding in the context of his doctoral dissertation approximates the romantic assumptions of his own theoretical positioning, especially with regard to the requirement of objectivity in the task of artwork’s interpretation. At a later point in the essay Goethe's Elective Affinities [Goethes Wahlverwandtschaften], written during 1921 and 1922 and published in two parts in the years 1924 and 1925, Benjamin presents his own conceptual apparatus for the determination of that task, delineating more fully his conception of criticism. This essay is even defined as a philosophical critique of Goethe's novel The Elective Affinities, and thus his theory of art criticism is developed in parallel with the examination of the novel’s elements. Finally, his postdoctoral major academic work (Habilitation), Origin of the German Tragic Drama (Ursprung des deutschen Trauerspiels), written between 1916 and 1925 and published in 1928, presents in its preface a methodology of philosophical investigation directed to the representation (Darstellung) of the truth. As we shall try to show throughout this thesis, Benjamin's procedure for art criticism is characterized by a dialectical movement in which the interpreter delves deeper into the artistic object’s materiality, oscillating between its apparent beauty and its essential truth. Thus, Benjamin's conception of art criticism articulates, on a metaphysical plane, the ideas of truth and beauty, as well as determining the understanding of works of art through their historicity. / A presente dissertação propõe investigar o programa estético-filosófico desenvolvido por Walter Benjamin para a crítica de arte, conforme delineado em seus escritos de juventude. O primeiro momento deste percurso consiste na dissertação de doutoramento do filósofo, intitulada O conceito de crítica de arte no romantismo alemão [Der Begriff der Kunstkritik in der deutschen Romantik]. Nesta obra, escrita entre os anos de 1917 e 1919 e publicada em 1920, Benjamin reconstrói o conceito de crítica de arte do primeiro-romantismo [Frühromantik] alemão, segundo a teoria da arte de Friedrich Schlegel e Novalis. Embora concebido como uma análise da teoria romântica, a leitura efetuada pelo filósofo em sua dissertação de doutoramento aproxima os pressupostos românticos de seu próprio posicionamento teórico, especialmente no que se refere à exigência de objetividade no ofício de interpretação das obras de arte. Num momento posterior, no ensaio As afinidades eletivas de Goethe [Goethes Wahlverwandtschaften], escrito entre 1921 e 1922 e publicado em duas partes nos anos de 1924 e 1925, Benjamin apresenta seu próprio aparato conceitual para a determinação da tarefa de interpretação das obras de arte, delineando de modo mais completo sua concepção de crítica. Este ensaio define-se, inclusive, como uma crítica filosófica ao romance de Goethe, As afinidades eletivas, de modo que sua teoria da crítica de arte é desenvolvida em paralelo com o exame dos elementos do romance. Por fim, a tese de livredocência Origem do drama barroco alemão [Ursprung des deutschen Trauerspiels], elaborada entre 1916 e 1925 e publicada em 1928, traz em seu prefácio uma metodologia de investigação filosófica voltada para a apresentação da verdade. Como procuraremos mostrar ao longo deste trabalho, o procedimento atribuído por Benjamin à crítica de arte caracteriza-se por um movimento dialético, no qual o intérprete aprofunda-se na materialidade do objeto artístico, oscilando entre sua beleza aparente e sua verdade essencial. Desse modo, a concepção de crítica de arte do jovem Benjamin articula, num plano metafísico, as ideias de verdade e beleza, bem como determina a compreensão das obras de arte através de sua historicidade.