Abstract This study is a comparative analysis of selected poems from Jacques Prévert’s Paroles (1946/1947). It is an application of a mainstreamed theoretical paradigm comprising deconstruction, hermeneutics and relevance. The overall aim is to show how each translator of Jacques Prévert derived latent and relatively obvious semantic possibilities from the ST. This objective is attained through a descriptive analysis of the translation process, and an attempt to interpret the findings thereby revealed, primarily according to the tenets of deconstruction, and according to the tenets of hermeneutics and relevance if possible. The theoretical model that grounds the study is a non-reductionist, non-prescriptivist and non-evaluative. That is the reason why the traditional terminology associated with some of the theoretical aspects mainstreamed in the model have been adapted to fit in with the general aim of the study. Actual reading experiences hardly entail a consecutive reading of more than one text. But this research is like a laboratory experiment; it tests the applicability of integrated [theoretical] formulae to a hypothetical case, the consecutive reading of selected poems from Paroles (1946/1947) and their English translations.

La matière que nous connaissons est composée de hadrons dont les quarks et les gluons sont les composants élémentaires. Ces derniers n'existent pas libres dans la matière ordinaire et sont donc en permanence confinés dans les hadrons. Cependant, d'après les prédictions théoriques, quelques microsecondes après le Big Bang, la température était suffisamment élevée pour que les quarks et les gluons ne soient pas contenus dans les hadrons. Il s'agit d'une phase déconfinée de la matière hadronique appelée Plasma de Quarks et Gluons (QGP). Le Large Hadron Collider (LHC) au CERN (Genève) est un accélérateur de particules permettant d'accélérer, entre autres, des ions et de produire des collisions à des énergies dans le centre de masse par nucléons allant jusqu'à plusieurs TeraélectronVolts. Il est ainsi possible d'atteindre des températures permettant de recréer cette phase de QGP pour en étudier les propriétés. C'est dans ce cadre que se place l'expérience ALICE (A Large Ion Collider Experiement) qui est dédiée à l'étude des collisions d'ions lourds ultra-relativistes. Le temps de vie du QGP étant trop faible, il n'est pas possible de l'étudier directement. Il est alors nécessaire d'utiliser des observables indirectes. Ce travail de thèse s'inscrit directement dans ce programme de physique par le biais de l'étude des collisions d'ions lourds à 2.76 TeV. Deux observables sont abordées : la densité de particules chargées par unité de pseudorapidité et les mésons vecteurs de basse masse (rho, omega et phi) dans le canal dimuons. La première observable permet d'accéder à des informations sur les conditions initiales et la dynamique sous-jacente des mécanismes de production de particules. La mesure est réalisée sur la gamme en pseudo-rapidité la plus large jamais atteinte au LHC (10 unités) grâce au développement d'une méthode d'analyse originale dite " méthode des vertex déplacés ". La technique employée et les résultats obtenus sont décrits dans le chapitre 3. L'étude des mésons vecteurs de basse masse permet d'accéder à la production d'étrangeté via le méson phi et à la symétrie chirale à travers la modification de la fonction spectrale du rho. L'analyse a été menée à l'aide du spectromètre à muons d'ALICE et les résultats obtenus sur le taux de production du méson phi par rapport au mésons rho et omega sont présentés dans le chapitre 4. Dans ce chapitre, une étude sur la sensibilité du détecteur aux effets liés à la restauration de la symétrie chirale est aussi menée / The matter is composed of hadrons of which quarks and gluons are the elementary components. These do not exist in a free state in ordinary matter and are therefore permanently confined in hadrons. However, according to theoretical predictions, a few microseconds after the Big Bang, the temperature was high enough to create a deconfined state of quarks and hadrons : the Quark and Gluon Plasma (QGP). The Large Hadron Collider (LHC) at CERN (Geneva) is a particle accelerator which accelerates, among others, ions and produces collisions with energies per nucleons in the center of mass up to several TeraelectronVolts. It is thus possible to achieve temperatures to recreate the QGP phase to study its properties. The experiment ALICE (A Large Ion Collider Experiment) is dedicated to the study of such ultra-relativistic heavy-ion collisions. The lifetime of the QGP being too low, it is not possible to study it directly. It is then necessary to use indirect observables. This PhD work is directly related to the study of heavy-ion collisions at 2.76 TeV. Two observables are discussed : the density of charged particles per unit of pseudorapidity and low mass vector mesons (rho, omega and phi) in the dimuon channel. The first observable gives access to informations about the initial conditions and the underlying dynamics of particle production mechanisms. The measurement is performed in the largest pseudorapidity range reached at the LHC (10 units) thanks to the development of an original analysis method called " displaced vertex technique ". The technique employed and the results obtained are described in Chapter 3. The study of low mass vector mesons allows to probe the production of strangeness via the phi meson and chiral symmetry through the ! spectral function modification. The analysis was conducted using the ALICE muon spectrometer and the results obtained from the production rate of the phi with respect to rho and omega are shown in Chapter 4. In this chapter, a study on the sensitivity of the detector to the effects related to the chiral symmetry restoration is also conducted

Algumas relações entre A-invariantes de germes de aplicações de coposto 1 equidimensionais f : \'C POT. n\' , 0 \'SETA\' \"C POT.n\', 0 são descritas. O principal resultado estabelece que a soma alternada de números de Milnor dos fechos dos conjuntos Ai na fonte de f é igual a multiplicidade local de f menos n + 1. E existem fórmulas correspondentes para os s-tipos estáveis locais A(\'k IND.1\' ,...\'k IND.s\'). As relações nos garantem condiçõoes para a A-finitude de f e para a A-trivialidade topológica de deformações de f. Também classificamos os germes de aplicações A-simples f : \'C POT.2\', 0 \'SETA\' \'C POT.5\', 0, para multiplicidades 1, 2 e 3 / Some new relations between A-invariants of equidimensional corank-1 map germs f :\'C POT.n\', 0 \' \'ARROW\' \'C POT.n\', 0 are described. The main local result states that the alternating sum ofthe Milnor numbers of the closures of the Ai sets in the source of f is equal to the local multiplicity of f minus n + 1. And there are corresponding formulas for the s-local stable types A(\'k IND.1\' ,...,\'k IND.s\'). The realations provide simplified (or weaker) conditions for the A-finiteness of f and for the topological A-triviality of deformations of f. We also classify the A-simple germs f : \'C POT.2\', 0 \'ARROW\' \'C POT.5\', 0 for multiplicities 1, 2, and 3

Made available in DSpace on 2016-04-27T17:27:02Z (GMT). No. of bitstreams: 1 Jean Fabian Daud Gaspar.pdf: 902833 bytes, checksum: 30e4c49dcc255afdaa66a315c1e751af (MD5) Previous issue date: 2012-09-21 / In this dissertation, we will analyze the work of Luigi Pirandello and his involvement with the masks problematic having as horizon possible similarities and differences with the writings of philosopher Friedrich Nietzsche. Being this objective of the present work, we will try to draw a parallel, initially between the ancient tragedy and modern, reflecting the disharmony with Pirandello on the subject and, with Nietzsche in certain specific criticisms of the alleged unity of the subject. Along the way, will emerge, differentially, the themes of the suffering of the individual, the "I" multiple and misfit of the subject that will support, along with the "conscience" of multiplicity, for a finding of coherence waving to the masks / Nesta dissertação, analisaremos a obra de Luigi Pirandello e seu envolvimento com a problemática das máscaras, tendo no horizonte possíveis aproximações e diferenças com os escritos do filósofo Friedrich Nietzsche. Sendo este o objetivo do presente trabalho, procuraremos traçar um paralelo, inicialmente, entre a tragédia antiga e a moderna, refletindo com Pirandello sobre a desarmonia do sujeito, e, com Nietzsche, em determinadas críticas pontuais à sua pretensa unidade. Nesse percurso, irão emergir, diferencialmente, as temáticas do sofrimento do indivíduo, do eu múltiplo e do desajuste do sujeito que, servirão de apoio, juntamente com a consciência da multiplicidade, para a constatação de uma coerência que acena para as máscaras

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-16T16:40:02Z No. of bitstreams: 1 Juliana Calçada Monteiro.pdf: 513719 bytes, checksum: 4a9439ccaafde5dd16f0da649b78aa86 (MD5) / Made available in DSpace on 2017-01-16T16:40:02Z (GMT). No. of bitstreams: 1 Juliana Calçada Monteiro.pdf: 513719 bytes, checksum: 4a9439ccaafde5dd16f0da649b78aa86 (MD5) Previous issue date: 2016-11-25 / This paper has the purpose of analyzing the main aspects, either practical and theoretical, of solidary obligations. Despite the significant amount of already existing works on this subject, the theme is justifiable because of its vastness, which will never be exhausted, as well as because of the always current practical relevance of solidarity, which provides the parties to the obligatory relationship greater safety and convenience, and which is given new contours as the principles and guiding values of social relationships are modified, which causes this subject never to become obsolete. Based upon extensive literature research, of national and foreign doctrine, this paper will write about solidary obligations’ origins, concept and structure, as well as practical applicability of solidary obligations in our current reality / Este trabalho tem por objetivo analisar os principais aspectos, teóricos e práticos, das obrigações solidárias. Apesar da quantidade significativa de obras já existentes a tal respeito, justifica-se o tema por sua vastidão, que nunca será esgotada, e pela sempre atual importância prática da solidariedade, que confere aos sujeitos da relação obrigacional maiores segurança e comodidade, e que ganha novos contornos conforme vão se modificando os princípios e valores norteadores das relações sociais, pelo que este tema jamais se tornará obsoleto. Com amparo em ampla pesquisa bibliográfica, de doutrina nacional e estrangeira, o presente trabalho abordará as obrigações solidárias desde a sua origem, conceito e estrutura, até a sua aplicabilidade prática na realidade atual

Made available in DSpace on 2016-04-25T20:23:08Z (GMT). No. of bitstreams: 1 Luciana Gama Longobardi.pdf: 418220 bytes, checksum: 0cd0d07c2e30881bd81e5065eb971bb7 (MD5) Previous issue date: 2010-06-08 / This paper proposes a reading of the idea of anthropophagy, developed by Oswald de Andrade in the 20s, having in the central axis two of his major works: A man without profession Under mom s orders and Cannibal Manifesto. For this we used a methodological procedure developed by Guilles Deleuze and Félix Guattari, called by them as rhizome. It is, in the context of this study, a network of connections and steady flows through a discussion of multiplicities whose strength lies in devouring the other. Based on this analytical tool we focus on the narrative style from Oswald de Andrade in which he subverts the model itself, reaching the Brazilian culture under the sign of the mixture and multiplicity / Esta dissertação propõe uma leitura da ideia de antropofagia, elaborada por Oswald de Andrade na década de 1920, tendo como eixo central duas de suas principais obras: Um Homem sem Profissão Sob as ordens de mamãe e o Manifesto Antropófago. Para isso utilizamos um procedimento metodológico elaborado por Guilles Deleuze e Félix Guattari, denominado por eles de rizoma. Trata-se, no contexto desse estudo, de uma rede de conexões e de fluxos constantes através de uma reflexão de multiplicidades cuja força está na devoração do outro. Com base nesse instrumento analítico privilegiamos o estilo narrativo próprio de Oswald de Andrade no qual ele subverte o próprio modelo, alcançando a cultura brasileira sob o signo da mistura e da multiplicidade

Made available in DSpace on 2016-04-26T14:58:05Z (GMT). No. of bitstreams: 1 Luciana Gama Longobardi.pdf: 418220 bytes, checksum: 0cd0d07c2e30881bd81e5065eb971bb7 (MD5) Previous issue date: 2010-06-08 / This paper proposes a reading of the idea of anthropophagy, developed by Oswald de Andrade in the 20s, having in the central axis two of his major works: A man without profession Under mom s orders and Cannibal Manifesto. For this we used a methodological procedure developed by Guilles Deleuze and Félix Guattari, called by them as rhizome. It is, in the context of this study, a network of connections and steady flows through a discussion of multiplicities whose strength lies in devouring the other. Based on this analytical tool we focus on the narrative style from Oswald de Andrade in which he subverts the model itself, reaching the Brazilian culture under the sign of the mixture and multiplicity / Esta dissertação propõe uma leitura da ideia de antropofagia, elaborada por Oswald de Andrade na década de 1920, tendo como eixo central duas de suas principais obras: Um Homem sem Profissão Sob as ordens de mamãe e o Manifesto Antropófago. Para isso utilizamos um procedimento metodológico elaborado por Guilles Deleuze e Félix Guattari, denominado por eles de rizoma. Trata-se, no contexto desse estudo, de uma rede de conexões e de fluxos constantes através de uma reflexão de multiplicidades cuja força está na devoração do outro. Com base nesse instrumento analítico privilegiamos o estilo narrativo próprio de Oswald de Andrade no qual ele subverte o próprio modelo, alcançando a cultura brasileira sob o signo da mistura e da multiplicidade

Made available in DSpace on 2016-04-26T18:10:25Z (GMT). No. of bitstreams: 1 Eduardo Cunha Bonini.pdf: 2104355 bytes, checksum: 67322b414b45e6ef2f107499eb3bcd02 (MD5) Previous issue date: 2010-10-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this research is to study the creative processes manipulated by filmmaker Peter Greenaway in the construction of the project The Tulse Luper Suitcases. In this, one can find, in a full relational dialogue, movies, sites, live cinema performances, exhibitions, on line games, books, etc, posing as a complete potential system, a work in progress, whose limits between Medias that forge it are diluted. Our main goal is to understand how the project is structured and organized in a way that has made possible building a cross-media work closer to contemporary expressive forms. In this end, we have utilized the author s interviews and texts, from which we have removed the clues of his creative process. In order to achieve this goal, we have sought theoretical and methodological support in the theory of critical processes proposed by Cecilia Salles, which understands the creation process as a network construction. We have also established a dialogue on these arguments with some film expertises (DELEUZE, DUBBOIS, AUMONT, XAVIER), digital-medias theorists (MANOVICH, MACHADO) as well as some reviewers that have analyzed the work of this filmmaker. The concepts of encyclopedia and database-aesthetics, the later as it was proposed by Lev Manovich, have been used as drivers for the reflections over Peter Greenaway s creative procedures / A pesquisa tem por objeto de estudo os processos de criação operados pelo cineasta Peter Greenaway na construção do projeto The Tulse Luper Suitcases. Neste se encontram, em pleno diálogo relacional, filmes, sites, performances de live cinema (VJing), exposições, jogos on-line, livros, etc, que se apresentam como um sistema em plena potência, um work in progress, cujos limites entre as mídias que o constituem se encontram diluídos. O objetivo é compreender como este projeto é estruturado e organizado, de modo a formar uma obra cross-media que se aproxima das formas expressivas da contemporaneidade, a partir das entrevistas realizadas com autor e nos textos produzidos por ele, de onde retiramos as pistas acerca de seu processo criativo. Para tanto, buscamos sustentação teórico-metodológica na crítica de processos proposta por Cecília Salles, que parte do conceito de criação como rede em construção. Foi também estabelecido o diálogo destas discussões com alguns teóricos do cinema (DELEUZE, DUBBOIS, AUMONT, XAVIER), das mídias digitais (MANOVICH, MACHADO), assim como críticos que analisaram a obra deste cineasta. Os conceitos de enciclopédia e de estética de banco de dados, este último, da forma como propõe Lev Manovich, serão utilizados como direcionadores das reflexões sobre os procedimentos de criação de Peter Greenaway

This study problematizes the down play of heroic perspectives in the currently rising critical and post-heroic leadership research. It argues that compromising either the critical or the post-heroic perspectives in favour of the other would constrict or mislead our understanding of the social influence of leadership processes. This study calls for maintaining the theoretical uniqueness of both perspectives in order to enhance new understandings and broader knowledge claims. Therefore, the study adopts a reflexive-ethnographic examination of the leader-follower and group dynamics, in an International Human Rights Based Organization. The overall aim is to develop an understanding of how individuals in an International Organization like Global Peace Organization (GPO) cope with the universal scope of their organization and the diversity in their work environment. This aim is fulfilled through examining self-narratives generated by the participants in their day to day interactions. To facilitate the coherence between the two leadership perspectives in this examination, a dialectical dimension is enhanced by extending the emerging tactics of reflexivity and intertextuality to the various stages of research. The critical perspective then reveals a context-driven approach in the self-narratives where participants use their particular worldviews to interpret dilemmas and conflicts originating in their work. Conflicts between participants and their leaders also reflect power interplays based on crafting a sense of we-ness / us in self-Other encounters. However, an added perspective on interpersonal relations suggests the significance of the single factor where the less secure participants tend to mask their resistance with creative impression-management strategies. This eventually transforms their insecurities into more positive attitudes and behaviours which repositions them as informal leaders in their groups.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-10-10T17:20:57Z No. of bitstreams: 1 MARALICE SILVA BORGES.pdf: 874787 bytes, checksum: 56e7335a1f36576830308a4ffc7f98c8 (MD5) / Made available in DSpace on 2017-10-10T17:20:57Z (GMT). No. of bitstreams: 1 MARALICE SILVA BORGES.pdf: 874787 bytes, checksum: 56e7335a1f36576830308a4ffc7f98c8 (MD5) Previous issue date: 2011-08-01 / This work is an analysis of the works of Lêda Selma de Alencar, which are characterized by a recurring set of images, dispersed in a multiplicity of textual forms. The chronic and the tales are the modalities of her prose, parallel to the production of poetic texts and poems or not. This dissertation examines the dialogue established between texts from different textual forms in poetic prose's entire Leda Selma, through literary corpus: Pois é filho ... (1997); Nem te conto…! (2000); Até Deus duvida (2002); Hum... Sei não! (2005); Eu, Hem?! (2008), which are meeting as chronicles and tales. In addition to the A dor da gente (1988); Sombras e sobras (2007); A deriva (2008), which are part of poems’ books. The proposal is guided by contributions dialogical and intextual of Bakhtin (2003) and basing themselves mainly by imaginary theory of Bachelard (1957) and added to formulations of Paul Ricouer (2000). The authoress interacts with the reader and both live new experiences and demonstrate a fascination with making poetic running through existing standards between prose and poetry. / Este trabalho constitui uma análise das obras de Lêda Selma de Alencar, que caracterizam-se por um conjunto recorrente de imagens, dispersos numa multiplicidade de formas textuais. As crônicas e os contos constituem as modalidades de sua prosa, paralela à produção de textos poéticos podendo ser poesias ou não. A presente dissertação examina o diálogo estabelecido entre textos de diferentes formas textuais no todo da prosa poética de Lêda Selma, através do corpus literário: Pois é filho... (1997); Nem te conto (2000); Até Deus duvida (2002); Hum... Sei não! (2005); Eu, hem? (2008), que estão reunidos como crônicas e contos. Além de A dor da gente (1988); Sombras e Sobras (2007); À deriva (2008), que fazem parte de livros de poemas. A proposta pauta-se por contribuições dialógicas e intertextuais a partir de Bakhtin (2003) e fundamentando-se principalmente pela teoria do imaginário de Bachelard (1957) e acrescidos ainda de formulações de Paul Ricouer (2000). A autora interage com o leitor e ambos vivem novas experiências além de demonstrar um fascínio pelo fazer poético que perpassa as normas existentes entre a prosa e a poesia.