Submitted by Felipe Lapenda (felipe.lapenda@ufpe.br) on 2015-03-04T11:46:49Z No. of bitstreams: 2 Dissertação Natália Rodrigues.Versãofinalpdf.pdf: 1078600 bytes, checksum: b569e2b1138d70da0166f410691b2d1c (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-04T11:46:49Z (GMT). No. of bitstreams: 2 Dissertação Natália Rodrigues.Versãofinalpdf.pdf: 1078600 bytes, checksum: b569e2b1138d70da0166f410691b2d1c (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2013 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa se insere na área de conhecimento dos estudos em Psicologia Social sobre Juventude e Gênero, partimos de uma perspectiva feminista, consideramos a pluralidade de vivências juvenis e discutimos a vivência de jovens mulheres rappers. Nosso objetivo foi analisar os significados das vivências de juventude e gênero de jovens mulheres no contexto do Movimento Hip Hop. Para tanto, nossa abordagem teórico-metodológica norteadora foi a Análise Crítica do Discurso, essa tem focado sua atenção nas relações de poder conforme se presentificam nos discursos sociais. A revisão da literatura debateu como o Movimento hip hop tem possibilitado aos jovens, principalmente àqueles de periferia, significativas mudanças políticas, culturais e subjetivas, sendo uma alternativa aos cenários de violência e marginalidade. Movimento predominantemente masculino, a participação e visibilidade das mulheres não tem sido fácil. Ainda que denunciador de muitos problemas sociais, o Movimento Hip Hop parece continuar a reproduzir relações de poder baseadas nas desigualdades de gênero, e isso tem causado dificuldades para a participação de mulheres no Movimento. Assim, a nossa revisão também inclui a discussão do conceito de gênero e do Movimento Feminista, em suas diferentes perspectivas, no sentido de refletir sobre como as desigualdades de gênero foram sendo construídas em nossa sociedade e como a produção científica tem pensado essas questões. A partir dessas discussões, utilizamos a abordagem qualitativa e realizamos observações registradas em diário de campo de eventos do Movimento Hip Hop de Recife, entrevistas semi-estruturadas com quatro jovens mulheres rappers com idades entre 22 e 30 anos, e analise de dez letras de rap produzidos por mulheres. Para a sistematização das informações coletadas, realizamos: transcrição das entrevistas e das letras de rap; leituras flutuantes e identificação dos eixos norteadores a partir dos objetivos de pesquisa. Destacaram-se os seguintes eixos: os marcadores sociais de classe, raça e gênero na circunscrição de suas vivências; as repercussões da entrada no movimento Hip Hop para jovens mulheres; e o conteúdo expresso na produção musical (Rap) das jovens mulheres. A análise crítica dos discursos contribuiu para refletirmos sobre as marcas de poder que norteiam ora atividades de adesão, ora enfrentamentos aos discursos hegemônicos no âmbito do movimento Hip Hop com relação à participação das mulheres. Ainda que positivado e valorizado por muitas questões, o Movimento continua reproduzindo discursos hegemônicos de opressão e subordinação, principalmente àqueles ligados as desigualdades de gênero. As mulheres presentes no Movimento têm, em algumas situações, desafiado esses discursos, e em outras acabam aderindo ao discurso do opressor devido ao modo enraizado que o machismo tem estado presente, não só no movimento, mas na nossa sociedade. A presença das mulheres no movimento tem contribuído para desestabilizar a dicotomia público/privado, que comumente perpassa as questões de desigualdade de gênero entre os participantes do Movimento. Com relação a música rap, essa tem se apresentado como um instrumento de denúncias sociais e visibilidade para as mulheres. Através das suas músicas, essas mulheres alcançam espaços de visibilidade e de poder, podem desafiar os discursos hegemônicos, propor novas formas de pensar, e ter voz e vez em uma sociedade tão marcada por valores machistas.

The “two-hit” schizophrenia hypothesis suggests genetic and environmental abnormalities interrupt early CNS function. This increases vulnerability of a “second hit” and schizophrenia onset. Chronic stress and decreased Reelin signaling are reportedly associated with schizophrenia. Heterozygous Reeler Mice (HRM) show a 50% reduction in Reelin and display major schizophrenia phenotypes. Receptor-Associated Protein (RAP) blocks ligand-association to Reelin receptor Apolipoprotein E receptor 2 (ApoER2). In this study, we sought to replicate major heterozygous reeler mouse (HRM) phenotypes using in vivo RAP studies to establish an experimental in vitro model. Using an in vitro model, we investigated the effects of chronic stress and decreased Reelin signaling on AMPAR subunit expression. Implantable Alzet osmotic pumps allowed bilateral ventricular 7nM RAP perfusion in 12-14 week-old mice. An assay revealed significant Dab-1 phosphorylation reduction in RAP-perfused animals. These results correspond with learning and memory and associative-fear conditioning abnormalities. Overall activity, sensory perception, and nociception remained unaltered. RAP-perfused mice displayed deficits in pre-pulse inhibition to acoustic startle, and therefore sensory-gating deficits. A significant decrease in Glur1 and Glur2/3 expression was observed in primary hippocampal/cortical neurons following chronic RAP and CORT exposure. Collectively, our results show postnatal Reelin signaling disruption produces physiological, biochemical, and behavioral phenotypes similar to the HRM model. The exact mechanism of Reelin-dependent AMPAR insertion remains unclear. Glur1 and Glur2/3 appear to be inserted by differing mechanisms. Glur1 is reported to be inserted with Reelin activation of phosphoinositol-3-kinase (PI3K) signaling. Glur2/3, whose mechanism of insertion is unknown, has not been shown to be inserted via PI3K. Our findings also demonstrate the usefulness of in vitro RAP use, in which apolipoprotein E receptor 2 (ApoER2) expression is predominant compared to other lipoprotein receptors that may be affected with RAP application.

Tesis para optar al grado de magíster en artes, mención musicología / Adentrarme en el estudio del comportamiento de quienes se reúnen alrededor de la música hip hop en Chile me exigía la utilización de un concepto que diera cuenta del grupo social que investigo, es decir, a los hiphoperos chilenos. Reconozco en el concepto de escena musical un referente para caracterizar a mi objeto de estudio, porque hace mención a una territorialidad en donde confluyen diferentes participantes por el agrado hacia un determinado género musical, en este caso el hip hop. No obstante, el término no es satisfactorio del todo a mis propósitos porque básicamente infiero una cierta jerarquización entre los involucrados. Tanto la industria como los músicos se encontrarían en un estadio superior en referencia a por ejemplo los seguidores, quienes incluso algunos no necesariamente se inmiscuyen en la práctica de este género. Ante esto, en el presente trabajo, prefiero utilizar el de comunidad musical, porque aun cuando los propios hiphoperos chilenos incurren en una jerarquización del tipo informal, en un primer momento todos se posicionaron desde un mismo escalafón, especialmente cuando la industria cultural aún no se relacionaba con el hip hop nacional. Esta circunstancia provocó que el sentido “comunitario y de hermandad” se convierta en la marca identitaria de este género en sus primeros años en Chile (los ’80). De este modo, puedo construir un relato en que evidencio cómo las relaciones sociales de los exponentes locales se complejizaron y se abandonó este enfoque de comunidad, facilitando así el paso a una escena musical. Una que, por cierto, hizo que este tipo de música pudiese llegar a oídos de una mayor cantidad de personas en el país.

BACKGROUND: Bone decortication is essential to activate bone based on the Regional Acceleratory Phenomenon (RAP), a post-injury transient bone remodeling phenomenon. The Piezoelectric knife with low ultrasonic frequency has been shown to cut bone with minimal invasive effect on soft tissues, less inflammatory response compared to conventional Bur that causes trauma leading to excessive inflammation. Previous studies have shown that using graft materials for Guided Bone Regeneration (GBR) had a significant beneficial effect on the healing process and the thickness of new bone formation. This study hypothesized that the piezoelectric knife would create a better tissue response to different graft materials compared to conventional carbide bur with grafts or the graft alone. MATERIAL & METHOD: Eighteen 9-10 week male Sprague-Dawley rats (300-350g) were purchased from Charles River Laboratories. This study was approved by Boston Medical Center Institutional Animal Care and Use Committee. The piezoelectric knife (BS1 insert) of the Piezotome 2 (Acteon) was used for deep decortication and compared to a conventional carbide osteotomy bur (#1/2) with Mucograft (Geistlich) or OsteoGen (Impladent, Ltd) graft materials, Onlay graft material alone served as a control. Digital dentistry using Cone Beam Computed Tomography (CBCT) located and allowed precise cut of the area of interest without detached the surrounding soft tissue. Tissues collected from day 7 and day 28 were sectioned and stained with Hematoxylin/Eosin or Masson trichome stains. RESULTS: The Cone Beam Computed Tomography (CBCT) scans significantly increased the success rate in locating and cutting the area of interest. Hematoxylin & Eosin staining showed on day 7 that piezoelectric knife activated a broad bone response and less inflammatory response. While recruiting and enlarging chondrocytes to the Mucograft area which will turn to new bone. The use of OsteoGen combined with a piezoelectric knife resulted in thickening in the cortical bone around and above the defect area. CONCLUSION: Piezoelectric knife with Mucograft healed faster compared to bur or graft alone. The piezoelectric knife resulted in significantly increased bone thickness when combined with OsteoGen.

<p>The term Reclaimed Asphalt Pavement (RAP) is used to designate a material obtained from the removal of pavement materials. RAP is used across the US in multiple applications, largely on asphalt pavement layers. RAP can be described as a uniform granular non-plastic material, with a very low percentage of fines. It is formed by aggregate coated with a thin layer of asphalt. It is often used mixed with other granular materials. The addition of RAP to aggregates decreases the maximum dry unit weight of the mixture and decreases the optimum water content. It also increases the Resilient Modulus of the blend, but decreases permeability. RAP can be used safely, as it does not pose any environmental concerns. The most important disadvantage of RAP is that it displays significant creep. It seems that this is caused by the presence of the asphaltic layer coating the aggregate. Creep increases with pressure and with temperature, and decreases with the degree of compaction. Creep can be mitigated by either blending RAP with aggregate or by stabilization with chemical compounds. Fly ash and cement have shown to decrease, albeit not eliminate, the amount of creep. Mechanical stabilizing agents such as geotextiles may also be used.</p><p><br></p><p><br></p>

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The aim of this thesis is to analyze and interpret the hypermasculine elements of African American performance in rap music. It shall examine the ways in which the performance works as well as its possible influence on the public; therefore, it shall also react to the widespread criticism of the genre. In order to understand the complexity of the issue, it sketches the history of African American men struggling to attain their manhood and it points out the damage done to African American masculinity during the era of slavery and the following period of Reconstruction. Moreover, it is necessary to trace back the inspiration that helped to constitute the hypermasculine images. To do that, we shall look into the folkloric tradition of figures such as the "bad nigger" and "badman" or "bad nigga;" and we shall see how these personas transformed into the modern figures of "gangstas," pimps and hip hop revolutionaries. In the next two chapters, the thesis discusses the relation of rap music authenticity and the performativity of gender, which is based on Judith Butler's gender theory as described in her book Gender Trouble. Regarding authenticity, we shall dissect the term itself and its potential meaning for a work of art. In the last few chapters, the thesis attempts to categorize hip hop masculinity...

Master of Science / Department of Civil Engineering / Mustaque Hossain / Because of recent rises in asphalt binder prices, state agencies and contractors are now willing to use higher volumes of reclaimed asphalt pavement (RAP). In this project, the effects of increasing RAP percentage and using fractionated RAP (FRAP) in hot-mix asphalt (HMA) mixtures have been studied. Fractionation involved processing and separating of RAP materials into at least two sizes, typically a coarse fraction and a fine fraction. This study evaluated the effects of increasing the proportions of RAP and FRAP on moisture resistance, rutting, and fatigue cracking of Superpave mixtures. Furthermore, the effect of using different sources of RAP in the mix has been investigated. HMA mixtures with five varying RAP and FRAP contents (20, 30, and 40% RAP, and 30 and 40% FRAP) were studied. The Hamburg wheel-tracking device (HWTD) test (TEX-242-F), the Kansas standard test method no. 56 (KT-56), or modified Lottman test, and the dynamic modulus test (AASHTO TP: 62-03) were used to predict moisture damage, rutting potential, and fatigue cracking resistance of the mixes. HMA specimens were made based on Superpave HMA mix design criteria for 12.5-mm (1/2-inch) nominal maximum aggregate size (NMAS) and compacted using the Superpave gyratory compactor. For the first source of RAP, results of this study showed that although mixture performance declined as the percentage of RAP increased, mixtures with even 40% RAP met minimum performance requirements. The second source of RAP, however, almost failed to meet minimum requirements even at 20% RAP. Results proved the maximum percentage of RAP allowed in the mix is highly influenced by its source. Although some improvements have been observed, especially for the second source of RAP, when RAP is compared to FRAP, FRAP does not seem to considerably affect performance of the HMA mixture.

Orientada, sobretudo, por noções de complexidade epistemológica, esta tese desenvolve proposta de abordagem transdisciplinar integrando as quatro manifestações artísticas e o discurso da chamada \"cultura hip hop\" na cidade de São Paulo. Apesar da tendência às pesquisas mutiladoras dessa tradição compósita, este trabalho propõe uma visão integrada dos seus elementos, a saber: a dança (break), a produção de imagens (nesta tese, grafites e pichações), o canto de longos poemas (rap) sobre bases sonoras criadas por manipuladores de discos e outros recursos tecnológicos (DJs). Há ainda o \"quinto elemento\" - o \"conhecimento\" - ou os enunciados ligados aos referenciais culturais dos adeptos do hip hop. As manifestações corpóreas, pictóricas, rimadas e musicais são tomadas como narrativas e o discurso, como religioso. As narrativas, em geral, são líricas e poéticas nas imagens, épicas nas letras de rap, dramáticas na dança e paródicas nas mãos dos DJs. O conhecimento orienta a postura de praticantes e admiradores fomentando uma comunidade cultural sectária e dogmática similar às religiões de salvação. Para realizar esse percurso, o cruzamento teórico envolveu certos ramos da teoria da Literatura, da Filosofia, da Semiótica e da Sociologia. / This thesis seeks a transdisciplinary approach of the so-called \"hip hop culture\" in the city of Sao Paulo, aiming to comprise its four artistic manifestations and its discourse, chiefly based on notions of epistemological complexity. Granted, there is a mutilative proclivity on researching such a composite tradition. Nonetheless, this paper offers an integrated point of view of the said elements. That is, dance (break), imagery production (graffitti, in the context of this thesis), the chanting of long poems (rapping) over sonic bases produced by records and other technological resources manipulators (DJs). There is also a fifth element: knowledge, or the cultural statements of the hip hop suporters. Its bodily, pictorial, rhyming, and musical manifestations are taken as narratives, and its discourse, as a religious text. These narratives generally have lyrical and poetical imagery, and comprise the epic rap lyrics, the dramatic dance moves and the parodical creations of the DJs. This knowledge guides the hip hop followers\' and admirer\'s attitude, leading to a sectarian and dogmatic cultural community, much similar to those formed by the believers of salvation religious denominations. In order to achieve this goal, the author has assembled a theoretical cross-over with certain realms of Literary Theory, Philosophy, Semiotics, and Sociology.