Submitted by (edna.saturno@ufrpe.br) on 2016-10-07T12:01:22Z No. of bitstreams: 1 Felipe Purcell de Araujo.pdf: 325615 bytes, checksum: f76fe3c6a6bf560b5b75ba1dafcecf94 (MD5) / Made available in DSpace on 2016-10-07T12:01:22Z (GMT). No. of bitstreams: 1 Felipe Purcell de Araujo.pdf: 325615 bytes, checksum: f76fe3c6a6bf560b5b75ba1dafcecf94 (MD5) Previous issue date: 2010-07-05 / The nervous system, unlike other body, is divided into parts that have unique anatomical and functional characteristics. Therefore, locating a lesion within the different areas of this system can be a challenge for the clinician. However, this task is simplified by applying the method of neurological syndromes. Using this method, aimed at evaluating the results of the implementation and effectiveness of the location of the lesions and the etiologic diagnosis of diseases of the nervous system of dogs and cats presenting neurological symptoms. Furthermore, we aimed at verifying the occurrence of such syndromes as well as generate a database of epidemiological period of performance of this work This work was conducted at the Veterinary Hospital of UFRPE, between March and October 2008, where 405 were selected cases (dogs and cats), at the time of consultation showed the chief complaint or clinical findings of neurological disease. It was noted the great demand for neurological care in the HVUFRPE and a high incidence of the syndromes in animals breed (SRD), where theyconstituted about 45% of animals treated. Thoracolumbar syndrome was more frequent in dogs, followed by multifocal and cats lumbosacral syndrome followed by thoracolumbar. The large number of cases in multifocal syndrome is associated with lack of vaccination, socio-geographic location (low education) and low-income population served. Over 90% of the animals were treated medically and there was little improvement, it took the fact that the animals arrive with chronic injuries and in an advanced state and not return for reassessment. There were 40 deaths, but only autopsy was performed in seven animals and of these only two concluded the diagnosis. Finally we have that 100% of animals where it was applied the method of neurological syndromes, it was possible the location of nerve injury, however, only 288 animals, 254 dogs (71.14%) and 34 cats (70.83%) it was the final diagnosis of the disease. The data obtained showed the effectiveness of the method in the anatomical location of lesions ofthe nervous system and that was difficult to achieve for diagnosis of disease. / O sistema nervoso, diferente de outros do corpo, é dividido em partes que possuem características anatômicas e funcionais únicas. Portanto, localizar uma lesão dentro das diferentes áreas deste sistema pode ser um desafio para o clínico. Porém, esta tarefa é simplificada aplicando-se o método das síndromes neurológicas. Utilizando-se este método, objetivou-se avaliar os resultados da aplicação e eficácia do mesmo na localização das lesões e no diagnóstico etiológico das enfermidades do sistema nervoso de cães e gatos apresentando sintomatologia neurológica. Além disso, objetivou-se verificar a ocorrência de cada síndrome, bem como gerar um banco de dados epidemiológicos do período de atuação deste trabalho Este trabalho foi realizado no Hospital Veterinário da UFRPE, no período entre março e outubro de 2008, onde foram selecionados 405 casos (cães e gatos), que no momento da consulta apresentaram queixa principal ou achados clínicos de doença neurológica. Constatou-se a grande demanda de atendimento neurológico no HV-UFRPE e uma alta incidência das síndromes em animais sem raça definida (SRD), onde estes constituíram cerca de 45% dos animais atendidos. A síndrome toracolombar, foi a mais freqüente nos cães, seguida da multifocal e nos gatos a síndrome lombossacral seguida da toracolombar. O grande número de casos da síndrome multifocal está associado à falta de vacinação, localização sociogeográfica (baixo nível de instrução) e baixa renda da população atendida. Mais de 90% dos animais foram tratados clinicamente e em poucos verificou-se melhora; isto se deu ao fato dos animais chegarem com lesões crônicas e em estado avançado e ao não retorno para reavaliação. Houve 40 óbitos, porém só foi realizada necropsia em sete animais e destes apenas em dois concluiu-se o diagnóstico. Finalmente temos que em 100% dos animais onde foi aplicado o método das síndromes neurológicas, foi possívela localização da lesão nervosa, porém, só em 288 animais, sendo 254 cães (71,14%) e 34 gatos (70,83%), foi possível o diagnóstico final da enfermidade. Os dados obtidos evidenciaram a eficácia do método na localização anatômica das lesões do sistema nervoso e que houve dificuldades para se atingir o diagnóstico causal das doenças.

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No. of bitstreams: 2 Tese - Ricardo Sena Coutinho - 2016.pdf: 2430482 bytes, checksum: 76541f57b81b0c35d9a29be085a1d77c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-15 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Television series, especially those which involve the mythical figure of zombies, have reached high rates of acceptance and audience nowadays. The general objective of this research is to analyse the configuration on imagistic and linguistic signs in the representation of zombies in the British TV series In the flesh (2013). It is possible to make a symbolic and socio-historical interpretation of the living-dead from the series which suggests the need for acceptance of others and the importance of respect for differences, demonstrating how zombies can function as a rich source of signification to explain and/or represent the world. The research is justified by the very small number of studies which associates Barthes to televisual productions, by the attempt to take the studies on horror genre away from the academic periphery, by the emergency of discussing interpersonal relations which are set up nowadays and, furthermore, by the opportunity to study and analyse our own culture and understand the human being. Although the research relies on the field of cross-disciplinary studies, once it involves film analysis and Cultural Studies, the basis of the research lies in Semiology, proposed by Roland Barthes. Barthes Semiology reveals to be important in the sense of legitimating the existence of duality which makes up the sign, be it linguistic or imagistic, which is denotative and connotative at the same time, the said and the unsaid. For this purpose, we have made use of a few Barthes’s notions, such as the myth, until entering the kitchen of meaning, where Semiology finds the job of studying the mysterious operation through each any message is impregnated with a second meaning, ideological in general, to which Barthes nominates connoted sense. The methodological procedures we have used include document and film analysis and the semiologic project methodology by the French author and aim at demonstrating how the significance of zombies does not consume only the denoting materiality, but affords to wear numerous and changing senses, including metaphorising intolerance, as concluded by the end of the research. / As séries televisuais, especialmente aquelas envolvendo a figura mítica dos zumbis, têm alcançado enormes índices de aceitação e audiência na atualidade. O objetivo geral da presente pesquisa é analisar a configuração dos signos linguísticos e imagéticos na representação dos zumbis na série inglesa In the flesh (2013). É possível realizar uma interpretação simbólica e sócio-histórica dos mortos-vivos da série, que sugerem a necessidade de aceitação do outro e do respeito à diferença, demonstrando como os zumbis podem funcionar como um rico manancial de significação para explicar e/ou representar o mundo. A pesquisa se justifica pela ínfima quantidade de estudos que associam Barthes a produções televisuais, pela tentativa de retirar da margem acadêmica estudos sobre o gênero terror, pela emergência de uma discussão sobre as relações interpessoais que se estabelecem na contemporaneidade e, mais ainda, pela oportunidade de estudar e analisar a própria cultura, para, assim, compreender o humano. Embora se situe no campo dos estudos transdisciplinares, por envolver a análise fílmica e os Estudos Culturais, a base da pesquisa é a Semiologia proposta por Roland Barthes. A Semiologia barthesiana revela-se importante no sentido de legitimar a existência de uma dualidade que perfaz o signo, seja ele linguístico ou imagético, que é ao mesmo tempo denotativo e conotativo, dito e não-dito. Para isso recorremos a algumas noções de Barthes, como aquela do mito, até adentrar na cozinha dos sentidos, onde a Semiologia encontra a tarefa de estudar a operação misteriosa pela qual uma mensagem qualquer se impregna de um sentido segundo, em geral ideológico, a que Barthes chama sentido conotado. Os procedimentos metodológicos aqui utilizados incluem a análise documental e fílmica e a metodologia do projeto semiológico do autor francês e tem o intuito de demonstrar como o significado dos zumbis não se esgota apenas na materialidade denotativa e se permite revestir de inúmeros e cambiantes sentidos, inclusive metaforizando a intolerância, como concluímos ao final da pesquisa.

O presente estudo busca apontar os principais preceitos da principal metodologia desenvolvida por Moacy Cirne para o estudo das histórias em quadrinhos, a Semiologia Materialista. Para tal, observamos o contexto acadêmico em que suas obras se inserem, de modo a apontar suas principais influências e explorar seus conceitos mais relevantes. / The present research intends to point out the main precepts of Moacy Cirne\'s most important methodology developed for the study of comics, the Materialist Semiology. To this end, we observe the academic context in which his works are inserted, in order to point out his main influences and to explore his most relevant concepts.

Esta pesquisa focaliza a relação entre rito e arquitetura considerando o rito como o fluxo semiológico e está embasada em estudos de semiologia e semiótica aplicadas à arquitetura e às teorias da linguagem. O conceito de rito semiológico está desenvolvido a partir das transformações dos elementos significantes tanto em aspectos diacrônicos quanto em aspectos sincrônicos, determinando as noções de fluxo e mutação. A arquitetura é compreendida como uma relação entre duas formas: a forma de expressão e a de conteúdo, conceitos retirados dos estudos de linguagem. Associa-se a este fato ser também entendida como um produto cultural, pertencente a um determinado diagrama histórico, principalmente o contemporâneo e suas alterações diagramáticas. As bases teóricas partem das leituras de Michel Foucault, Gilles Deleuze, Ferdinand de Saussure e Louis Trolle Hjelmslev e das comparações possíveis com textos sobre arquitetura e projetos. Os fundamentos da história da arquitetura são trabalhados no decorrer do texto conforme os autores, pela cronologia das idéias e não das publicações. A pesquisa procura demonstrar uma arquitetura em movimento através do conceito de rito, sua pertinência na história da arquitetura como uma forma de linguagem. Averigua, também, a pertinência deste conceito quanto a quatro categorias estabelecidas como base para a arquitetura, sendo estas: significação, poética, materialidade e técnica, e por elas, se verifica a relação entre rito e arquitetura. / This research focuses the relationship between rite and architecture considering the rite as a semiological flow and it is based on semiology studies and semiotics applied to the architecture and the theories of the language. The concept of semiological rite is developed starting from the transformations of the significant elements as much in diachronic aspects as in synchronous aspects, determining the flow and mutation notions. The architecture is understood as a relationship among two forms: the expression and content, extracted concepts of the language studies. It associates to this fact to also be understood as a cultural product, belonging to a certain historical diagram, mainly the contemporary and its diagrammatic alterations. The theoretical bases leave from Michel Foucault, Gilles Deleuze, Ferdinand de Saussure and Louis Trolle Hjelmslev readings and from the possible comparisons with texts on architecture and projects. The foundations of the history of the architecture are worked on elapsing of the text according to the authors, from the chronology of the ideas and not from the publications one. This research search to demonstrate an architecture in movement through the rite concept, its pertinence in the history of the architecture as a language form. It discovers, also, the pertinence of this concept as four established categories as a base for the architecture, being these: significance, poetic, materiality and technique, and for them, the relationship is verified between rite and architecture.

Ces travaux se proposent d'interroger l'articulation au cinéma de la narrativité et du sensible de son image. Cette réflexion prendra appui sur la notion de chiasme de la phénoménologie de Merleau-Ponty, comme tentative de résorption du principe de dualité d'un monde de l'expression, renvoyant dans sa radicalité aux significations, et d'un monde du sensible, renvoyant dans sa radicalité au monde réel lui-même.Dans un premier temps, sont reprises les similitudes opérées par Merleau-Ponty entre la phénoménologie de la perception et l'expérience de la vision au cinéma.Dans un second temps, les figures essentielles de la narrativité cinématographique (récit, personnage,diégèse, montage) seront à leur tour envisagées dans leur enracinement dans le phénoménologique.Des mesures d'apories et de révélations émergeront de ce parcours cinématographique en pays merleau-pontien ; tensions pugnaces au sein de la notion même de chiasme, d'une préoccupation sémiologique, parfois occultée, et d'une ambition ontologique, à l'inachevé souvent stigmatisé. Il s'agira d'en penser, si ce n'est la réconciliation, tout du moins la cohabitation.En cette occasion, le cinéma pourra se révéler opérant par là-même où il semblait pécher, par l'expressivité de son image et le sensible de son expression. / This work proposes to examine the articulation of narrative cinema and sensible picture. Thisdiscussion will be based on the notion of chiasm of the Merleau-Ponty's phenomenology, asattempted reversal of the principle of duality to a world of expression, referring to meanings, and aworld of sensible, referring to the real world itself.At first, we will study the similarities between the phenomenology of perception and the experienceof cinematic vision .In a second time, the essential figures of narrative cinema (story, character, diegesis, editing) will beconsidered in their phenomenological roots.Aporias and revelations emerge from this cinematic trip of Merleau-Ponty's philosophy. Tensionsremain within the chiasm between a semiotic concern, sometimes hidden, and ontological ambition,often considered unfinished.On this occasion, the film will be effective where it seemed faulty, by the expressiveness of itspicture and the sensitivity of its expression.

La visualisation d'information est une discipline récente en pleine expansion et qui a pour objet l'étude des méthodes de représentation visuelle de données abstraites, c'est-à-dire non géolocalisées. La sémiotique est quant à elle une discipline beaucoup plus ancienne (fin du XIXième siècle) qui s'intéresse aux divers systèmes de signes nécessaires aux processusde communication. A ce jour, peu de travaux ont été réalisés pour mettre en parallèle ces deux disciplines. C'est pourquoi le premier chapitre de cette thèse est dédié à l'étude de la visualisation d'information selon les paradigmes élaborés par son ainée tout au long du XXième siècle. Nous montrons en particulier comment l'un des modèles les plus aboutis de validation de visualisations (modèle imbriqué de Tamara Munzner) correspond au processus d'étude sémiotique d'énoncés. Le second chapitre est consacré à la visualisation de graphe, outil de modélisation puissant de divers ensembles de données abstraites. Nous proposons d'une part une application permettant de visualiser et de naviguer à travers les pages Internet retournées par un moteur de recherche et d'autre part un algorithme de visualisation de hiérarchies dynamiques sous forme de "cartes géographiques". Enfin, nous évoquons dans le troisième chapitre un autre outil de modélisation de donnéesabstraites : les hypergraphes. Nous proposons des résultats théoriques concernant leur représentation et donnons une ébauche de solution permettant de les visualiser. / Information visualization aims at designing visual representations of abstract data, furthermore relying on interaction as a mean to discover knowledge. The first part of this thesis challenges Information Visualization by drawing a parallel with semiotics, a 19th century research field focusing on systems of signs required for communication. We develop a point of view on Information Visualization based on the paradigms developed by semioticians during the 20th century. In particular, we show how the visualization validation model proposed by Tamara Munzner is related to the process used by semioticians for utterance analysis. The second part of the thesis focuses on graph visualization and describes two techniques and system prototypes targeting specific application domains. The first one is an interactive technique to visualize and navigate through Web search results. The second one is an algorithm for the visualization of dynamic hierarchies exploiting the analogy with “geographical maps”. Finally, the third chapter is devoted to another model used to structure abstract data : hypergraphs. We propose theoretical results on hypergraph drawing and a preliminary technique to visualize hypergraphs.

" L’image est la représentation symbolique du vivant ». Il s’agit d’une notion difficile à qualifier juridiquement étant donné que le droit notamment en France ne consacre pas de manière textuelle la liberté de l’image qu’il convient de rattacher à la fois à la libre création artistique, à la liberté d’information, à la liberté de communication (dont le terme n’est pas défini par le droit) ou plus largement à la liberté d’expression garantie par la D.D.H.C de 1789 à l’article 11 mais aussi en droit européen (article 10 de la C.E.D.H). L’image comme l’écrit est un véritable moyen d’expression et de communication dont la plupart des médias se servent aujourd’hui à travers ce qu’il convient d’appeler le « siècle de l’image ». La construction d’un statut juridique de l’image passe par l’intervention des juges. Cela a lieu au niveau européen (C.E.D.H, C.J.U.E) mais aussi en droit interne français avec, par exemple, la consécration du droit à l’image confronté au droit à l’information limitant celui-ci. L’image a donc de plus en plus besoin de droit, alors que ce dernier semble la délaisser ou l’ignorer. Cela tient au fait qu’elle est fondée en partie sur l’imaginaire donc sur l’irrationnel, alors que le droit prétend être une discipline rigoureuse et objective. Pourtant, l’image est un formidable outil de communication qui a toujours fasciné l’Homme et de tout temps ce dernier a cherché à contrôler les images, à les censurer voire à les utiliser à des fins de propagande, comme outil politique mais aussi comme outil économique. En effet, le pouvoir politique a longtemps eu le contrôle des images comme en atteste la pratique de la censure administrative des films en France ou le monopole de l’Etat sur l’audiovisuel public. Les écrits ont été mieux protégés grâce à l’importante loi de 1881 sur la presse. Les juges ont joué un rôle crucial dans l’émancipation de l’image et pour promouvoir sa libre circulation dans l’ « espace public » tout en protégeant les individus des dérives que celles-ci peuvent entrainer si elles ne sont pas convenablement régulées. Par ailleurs, l’avènement des nouvelles technologies de l’information principalement l’Internet, a contribué à libérer l’image des contraintes liées aux supports permettant sa circulation : l’apparition du numérique a favorisé sa fragmentation et donc sa démocratisation dans une perspective pluraliste. L’image est désormais à la portée de tous, elle est vulgarisée et circule sans considération de frontières, ce qui soulève à la marge un problème d’harmonisation du droit et des jurisprudences. Une régulation apparait cependant nécessaire dès lors que nous passons progressivement de la logique de l’image-pouvoir (contrôle) à la logique de l’image-savoir (démocratie). L’objet est rationnalisé alors que l’idée est vulgarisée. La thèse se propose de dresser une typologie des images existantes dans l’espace public démocratique, à l’aune des différents contentieux abordés, tout en recherchant chemin faisant, les solutions qui sont raisonnablement envisageables, en vue de favoriser ce processus de démocratisation du savoir par l’image (droit aux images), quitte à s’inscrire, pour ce faire, dans le cadre d’un champ disciplinaire nouveau que nous proposons d’appeler le « droit de l’environnement multi-communicationnel ». Ces propositions ont été formulées à la fin de l’ouvrage. / “The image is the symbolic representation of the alive”. It is about a notion difficult to qualify legally given that the law in particular in France does not dedicate in a textual way the freedom of the image which it is advisable to connect at the same time with the free artistic creation, with the freedom of information, with the freedom of communication which the term is not defined by the law or more widely in the freedom of expression guaranteed by the D.D.H.C of 1789 in the article 11 but also in European law (article 10 of the C.E.D.H). The image as the paper is a real way of expression and communication which most of the media use through what today what it is advisable to call "century of the image ".The construction of a legal status of the image passes by the intervention of the judges. It takes place at the European level (C.E.D.H, C.J.U.E) but also in French internal law with, for example, the consecration of the law for the image that, competitor, of a law for the information limiting this one. The image thus has more and more need for law, while the latter seems to abandon her or to ignore it. It is due to the fact that she is partially established on the imagination thus on the irrational, while the law claims to be a rigorous and objective discipline. Nevertheless, the image is a great communications tool which always fascinated the Man, which always tries to control the images, to censor them even to use them for purposes of propaganda, as political tool but also as economic tool. Indeed, the political power was in control for a long time images as gives evidence of the practice of the administrative censorship of movies in France, for example, or of the State monopoly about the public broadcasting. The papers were protected thanks to the important law of 1881 on the press. The judges played a crucial role in the emancipation of the image its emancipation and to promote its free circulation in the "public place" while protecting the individuals of the drift that these can entrained if they are not suitably regulated. Besides, the succession of the new information technologies mainly the Internet, contributed to release the image of the constraints bound to supports favoring its traffic: the appearance of the digital technology favored its fragmentation and thus its democratization in a pluralistic prospect. The image is from now on within the reach of all, it is popularized and circulates regardless of borders, what raises marginally a problem of harmonization of the law and the jurisprudences. A regulation seems however necessary since we pass gradually of the logic of the image and power (control) in the logic of the image and knowledge (democracy). The object is rationalize while the idea is popularized. The thesis suggests raising a typology of the existing images in the democratic public place, in the alder of the various approached disputes, while looking for on the way, the solutions which are reasonably possible, to favor this process of democratization of the knowledge by the image (right collective in the image), even if it means joining, to do it, within the framework of a new disciplinary field which we suggest calling the " right of the environment multi - communicationnel ". These proposals were formulated at the end by the work.

of Diploma Thesis "Le Corbusier's architectural and urban visions in a semiological perspective The subject of this thesis is a semiological analysis of Le Corbusier's text Towards a New Architecture. It methodologically follows semiological conceptions of Ferdinand de Saussure and Roland Barthes. The main methodological source is a work of French theoretician of architecture and urbanism François Choay, The Rule and the Model (1997), in which she has stated three paradigms, which according to her, influenced forming of modern urbanism as an autonomous science: genre of architectural treatise, utopia and scientific discourse. For each of these discursive forms she has identified characteristic signs. Le Corbusier is considered as a symbol of modern movement of architecture and urbanism, who broke away from an old tradition and brought to realm of architecture and urbanism a new insight. The fundamental question of this thesis is, whether this innovative approach could be found also in his texts, in the manner how Le Corbusier wrote about architecture and urbanism, or whether Le Corbusier followed an old tradition. This question should be answered in the course of searching for the signs of mentioned paradigms postulated by F. Choay.

京都大学 / 0048 / 新制・課程博士 / 博士(教育学) / 甲第20120号 / 教博第197号 / 新制||教||164(附属図書館) / 京都大学大学院教育学研究科教育科学専攻 / (主査)教授 齊藤 智, 教授 楠見 孝, 教授 Emmanuel MANALO / 学位規則第4条第1項該当 / Doctor of Philosophy (Education) / Kyoto University / DGAM

Made available in DSpace on 2014-06-11T19:31:44Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-29Bitstream added on 2014-06-13T20:42:32Z : No. of bitstreams: 1 neres_rl_dr_mar.pdf: 1897707 bytes, checksum: 0b7db493d7ae8ca539fc167969a8e0f1 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Semiology Presentation Register, applying theory to Mathematics teaching-learning process. This paper aimed to check whether there was a better student performance after Semiology Presentation Register being applied to Mathematics, that is, with regards to solving problems, natural numbers resolutions for the 6th grade fundamental school children at COLUN – Colégio Universitário (UFMA College School). The first task consisted of a list of exercises based on Semiology Presentation Register with ten problems aiming to measure students performance level. From the analysis of the data collected, a study plan was elaborated based on the mathematics book contents adopted by the school. During the research, several meetings were held with the students teacher to detect if there was any improvement on students performance, and thus adjust the way contents would be developed in the classroom on Presentation Register Theory applied to. In observing the daily classroom, several types of evaluations were made, such as single and groups exercises, in order to secure improvement and school performance. The applying of study, approach and semiology conversions, related to evaluation and classroom activities, were made at random in order to guarantee analysis’ data impartiality. As the research result it was found out that nearly 60% of students had suitable improvement (good: 61% – 80%) and 37% had fair improvement (fair: 41% – 60%). It was also found out that about 3% of students did not show any problem solution whatsoever. Those results show that it was possible to improve school performance on Mathematics for the researched students.