No description available.

Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Exatas, Departamento de Matemática, 2011. / Submitted by wiliam de oliveira aguiar (wiliam@bce.unb.br) on 2011-06-27T17:20:02Z No. of bitstreams: 1 2011_TertulianoCarneirodeSouzaNeto.pdf: 489280 bytes, checksum: c757fc5257dd8408cbf6a1d641c6cbee (MD5) / Approved for entry into archive by Repositorio Gerência(repositorio@bce.unb.br) on 2011-06-30T17:50:48Z (GMT) No. of bitstreams: 1 2011_TertulianoCarneirodeSouzaNeto.pdf: 489280 bytes, checksum: c757fc5257dd8408cbf6a1d641c6cbee (MD5) / Made available in DSpace on 2011-06-30T17:50:48Z (GMT). No. of bitstreams: 1 2011_TertulianoCarneirodeSouzaNeto.pdf: 489280 bytes, checksum: c757fc5257dd8408cbf6a1d641c6cbee (MD5) / Seja f(x1, ..., xn) = a1xk 1 + ... + anxk n g(x1, ..., xn) = b1xk 1 + ... + bnxk n (1) um par de formas aditivas de grau pΤ (p − 1). Estamos interessados em obter condições que garantam a existência de zeros p-ádicos para o par (1). Uma conhecida conjectura, devida a Emil Artin, afirma que a condição n > 2k2 é suficiente. Utilizando técnicas da Teoria Combinatória dos Números, provamos que a condição n > 2 p (p/ P – 1) k2 − 2k é suficiente se k = 2.3Τ ou 4.5Τ, e em qualquer caso se Τ≥ (p – 1)/ 2. _____________________________________________________________________________________ ABSTRACT / Let f(x1, ..., xn) = a1xk 1 + ... + anxk n g(x1, ..., xn) = b1xk 1 + ... + bnxk n (1) be a pair of additive forms of degree pΤ (p − 1). We are interested in finding conditions which guarantee the existence of p-adic zeros to the pair (2). A well-known conjecture due to Emil Artin states that the condition n > 2k2 is sufficient. By means of techniques of Combinatorial Number Theory, we prove that n > 2 p (p/ P – 1) k2 − 2k is sufficient if k = 2.3Τ ou 4.5Τ, and in any case if Τ≥ (p – 1)/ 2.

Orientador : João Manuel Cardoso de Mello / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-07-14T22:48:59Z (GMT). No. of bitstreams: 1 Maciel_MarcoCiceroNocedePaulo_M.pdf: 6860998 bytes, checksum: 16aa1b68d572387753e10a9c8966f27a (MD5) Previous issue date: 1988 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Economia

The purpose of this thesis is to discuss the importance of Go Down, Moses in the working out of Faulkner's moral vision. By and large, critics have considered this book to be a central or pivotal work in this process, seeing Ike McCaslin's renunciation as a meaningful response to the curses of slavery and miscegenation which have beset the South for so many generations. Furthermore, some of them point out that Ike's initiation into the primitive simplicity of the wilderness world of Sam Fathers represents a solution for modern man in his own troubled world: somehow to effect a reversion to a simpler world with its concomitant virtues of innocence, humility, and self-sufficiency. On the whole, these critics have concentrated mainly on "The Bear" section of Go Down, Moses, and to a lesser extent on "Delta Autumn" and "The Old People," the three stories in which Ike directly appears. Consequently, their conclusions about Faulkner's moral vision stem almost entirely from their interpretation of Ike's responses to his two legacies, the wilderness world and the plantation world, with relatively little attention being paid to the responses of the other inheritors of the McCaslin curse. Thus, Go Down, Moses as a thematically unified work has been largely neglected, and the experiences of Ike McCaslin have been emphasized at the expense of those of the other inhabitants of the plantation world. This thesis will pursue the argument that the above interpretation is misleading on several counts, and hence that it is necessary to see the centrality of Go Down, Moses in a different perspective. First of all, by examining the nature of the plantation world, we will see that what Ike really repudiated was not just a legal inheritance, but a very real world in which the constituents of a full and meaningful life were everywhere evident. Secondly, it becomes evident in the analysis of Ike’s renunciation that his decision meant in effect that he was abdicating his responsibility for developing sound moral and ethical relationships within the world he was born into, and that his obsession with the values of the wilderness world represented living in terms of ritual rather than of reality. In the third place, the responses of the other inhabitants of the plantation world reflect a far more meaningful grasp of both the past and the present than does Ike, and in the perspective of these people, he suffers a significantly reduced stature. It becomes clear, then, that Faulkner uses Ike's responses to illustrate the futility of the static idealist rather than the sacrifice of a dedicated and determined reformer. And finally, the evidence in such later novels as Intruder in the Dust, A Fable, and The Reivers, as well as in Faulkner's own public utterances in the Nobel Prize Speech, at the University of Virginia, and at Nagano, indicates clearly how far man must progress beyond the idealism of the Ike McCaslins of the world in order to make an effective contribution to the moral and ethical status of his society. This thesis does not dispute the fact that "The Bear" is the key work in Go Down, Moses, nor that Ike is a central figure, but it does maintain that their significance can be, determined only by a close examination of the work as a whole. Such an examination will clearly reveal Faulkner's larger concern: that man must respond to his world as he finds it, whether that world is the wilderness, the plantation, or the modern world, and that the decisions he makes must be based on the realities of the world he has inherited. Within this perspective, it is evident that the responses of the Edmondses, the Beauchamps, and the miscellaneous inhabitants of the McCaslin plantation world must be carefully analyzed, for only against the tangible exigencies of the day-to-day lives of these people can the actions of Ike be properly assessed. / Arts, Faculty of / English, Department of / Graduate

Red Magic is a play in three acts by Michel de Ghelderode. As part of this thesis, it was directed by Michael Irwin and produced on November 2-5, 1966, at the Frederic Wood Studio Theatre on the campus of the University of British Columbia. This written thesis is an analysis of the play in preparation for, and a record of that production. It is divided into three sections. The first section is a discussion in essay form of the author, the play, and the production. Pertinent biographical information about the author is followed by a discussion of the characteristics of his plays as they appear in Red Magic. The play itself is analysed as to plot, theme, dialogue, character, relevence to our time, playwright's intent, type of universe depicted, and forces at work behind the action. Because there are available no published interpretations of Red Magic, this part is limited to the director's interpretation. A specific approach to the style of production and to the solution of problems follows. A bibliography completes the essay section. The second section is the specific analysis of the script. Opposite the pages of script appear analytical notes for each French scene under the following headings: Purpose, Actions, Dominant Emotions, Character Dominance, Mood, Rhythmic Image, Shape, Staging, Difficulties, Mechanical Problems and Beats. In the text on the facing pages are shown the scene divisions, cuts, blocking, beat divisions, lighting and sound cues, and some stage directions. The script is preceded by important facts and acknowledgements about the production, a cost breakdown, a box office report, and keys to understanding the analytical information and the symbols used in the text . Complete lighting, sound, property and costume plots follow the script. The third and final section consists of the material record of the production. Costume sketches are followed by a rendering of the set and photographs in colour of the actual production. Following these are samples of the program and newspaper reviews. Lastly, the blueprints of the ground plan and construction drawings are included as foldouts. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Water is not a single use resource. It can be used for completely unrelated purposes. There are four general uses for water: household, industrial, agricultural, and recreational. Since water is an economic good it must be properly allocated among the four uses to maximize the returns to society. Also, There must be proper allocation among competing units within each major use.

Demian has the characteristics of a Bildungsroman and an allegory, and may be put into either classification. However, rather than squeeze the work into some literary mould and end up with an “ugly duckling,” one can look upon Demian as the 40-year-old Hesse’s world view presented in literary form, which in fact is the development of a life-formula, “amor fati.” Demian then becomes a “beautiful swan.” The thesis is constructed in three main sections, looking at Demian from different perspectives: Demian as a Bildungsroman: Demian as an allegory; Demian as a life-formula. The work contains the qualifications of a Bildungsroman in so far as it deals with someones leaving the carefree and innocent world of childhood, experiencing years of wandering, trial and error, and finally entering into a paradise-state of existence because of knowledge he has gleaned from life. In Demian these standards of a Bildungsroman are generally fulfilled. The hero goes through these three stages, however, in a period of only about ten years, rather than the normal life-span of a person. That the work is also limited in both plot and action helps to account for its being not an excellent model of a Bildungsroman. Demian abounds in allegoric characteristics. Frau Eva, Pistorius, Demian and even Knauer all fulfill the common role of being a guide to Sinclair, who is himself the personification of a searching soul. Franz Kromer and Alfonse Beck, on the other hand, personify the tempter. The two worlds, the mark of Cain and Abraxas are symbolic elements in Hesse’s philosophy and are not to be read only literally That Demian can be viewed both as Bildungsroman and allegory is supported from findings in the secondary literature. What is not brought into focus through these sources, however, is the fact that Demian consists of many passages which present a philosophical view toward life. This view becomes clearer after studying Hesse’s other works together with Demian – especially those written shortly before and after its publication, because it is mainly this period of the author’s life which illuminates the subject of the thesis. After examining the ways in which Hesse repeatedly uses abstractions such as fate, self, soul and will, one begins to discern a pattern which can be traced to his philosophy of life. That philosophy is very amply expressed by the life-formula phrase of Nietzsche—“amor fati.”

No description available.

No description available.

No description available.