Made available in DSpace on 2015-09-17T15:26:31Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-05-29. Added 1 bitstream(s) on 2015-09-17T15:45:32Z : No. of bitstreams: 1 000846794.pdf: 1139257 bytes, checksum: dff39adb81b093c9588d202be0043a6c (MD5) / A pesquisa reflete sobre a inserção de Alexei Bueno na literatura contemporânea brasileira e o objetivo é demonstrar, através de análises de poemas e de algumas passagens críticas do autor, que o eu poético de Alexei Bueno busca uma experiência expandida, total do humano: subjetiva e simultaneamente objetivada na História. A estratégia principal para adentrar a poesia de Alexei Bueno é deslocar a noção de anacronismo que ainda permanece em voga em boa parte da tradição da mentalidade crítica na atualidade, que é a de passadismo, de obsolescência e de inutilidade para o presente. A outra estratégia é agambeniana: a partir do texto O que é o Contemporâneo?, é possível compreender que o anacronismo não é uma temporalidade negativa, mas fundamental para toda contemporaneidade. Para Agamben, o presente (misto de proximidade e distância) tem seu fundamento na origem (arké) que nele profundamente pulsa. Tais direções apontam para um deslocamento da noção de anacronismo e permitem adentrar a poética de Alexei Bueno com o intuito de buscar o homem em seu caráter histórico (contingente) e essencial, isto é, buscar o homem em seu aspecto integral / The research reflects on the inclusion of Alexei Bueno in contemporary Brazilian literature and the objective is to demonstrate through poems analysis and some criticism of the author that the lyric self of Alexei Bueno seeks a total human experience, subjective and simultaneously objectified in history. The main strategy to enter the poetry of Alexei Bueno is to shift the notion of anachronism that still remains in vogue in much of the critical mentality tradition today, which is to obsolescence and uselessness to the present. The other strategy is agambeniana: from the text O que é o Contemporâneo?, you can understand that the anachronism is not a negative temporality, but central to all contemporary. For Agamben, this (mixture of closeness and distance) has its foundation in source (arké) that it deeply pulses. These directions indicate a displacement of the notion of anachronism and allow entering the Alexei Bueno's poetic in order to get the man in his historical character (contingent) and in his essential character, that is, seek man in his integral aspect

One of the most intriguing aspects of Tozer’s ministry is the extent to which he drew from the writings of medieval Catholic mystics. In fact, twenty-eight of the thirty-five books on his recommended reading list were written by Catholics who lived either during or soon after medieval times. Needless to say, this is not something people would normally expect from a pastor in the Christian and Missionary Alliance. Nevertheless, Tozer appears to have been profoundly influenced by these writers and developed a deep appreciation for them. This dissertation argues that while A. W. Tozer had a number of notable mystical tendencies, his spiritual insights are demonstrably within confessional evangelical boundaries. In other words, he drew deeply from the well of medieval Catholic mysticism but was, in the end, successful in maintaining his confessional evangelical identity and values. He was nourished by what he viewed as true and carefully discarded the rest. Furthermore, in demonstrating Tozer’s confessional evangelical identity, this dissertation also describes the distinct contours of his thoughts about various matters central to evangelicalism. And to conclude, the dissertation considers how Tozer is a model of how Christians can be uncompromising in their doctrinal convictions and yet benefit from a wide variety of spiritual writers, even those of other traditions.

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

Shunij Iwai is a significant director of the Japanese New Independent cinema, who is best known for the fascinating visual style he adopted from the 1990s onwards. Rejecting the obsession with Japaneseness in Japanese cinema, Iwai developed a unique style of aestheticism through the use of backlighting, a technique he refined in partnership with cinematographer Noboru Shinoda. In existing academic studies on backlighting, cinematic lighting has generally been understood as a representational element that works to fulfill the needs of narration. Examples of such studies include Sharon A. Russell's (1981) semiotic study on the lighting style of French cinema, Patrick Keating's (2010) discussion of lighting convention in classical Hollywood cinema, and Lara Thompson's (2015) analysis on the use of light as a narrative tool in narrative cinema. By contrast, lighting in Shunji Iwai's films works in a different way. This difference prompts me to review the general conceptualization of cinematic lighting and turn to a materialist perspective, a non- representational attempt to study the sensation of lighting in cinema. By adopting Deleuze's concepts of cinema and sensation, this project provides an analytical trajectory for studying lighting in cinema. I argue that lighting as an aesthetic materiality renders a new understanding of the film world of Shunji Iwai as something derived from the Deleuzian poetics of sensation. This argument can be a starting point for critically rethinking lighting as a means for producing a circulation of cinematic affects.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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The paraglider wing consists of leading-edge booms and a keel boom joined together at the nose and a flexible sail whose surface carries the aerodynamic pressure loading. The payload is suspended beneath the wing by cables which are used to control the wing. Adjusting the length of these cables controls the glide path of the wing by shifting the position of the payload with respect to the wing. The deflected shape of the sail depends on the pressure distribution over the sail; the pressure distribution in turn depends aerodynamically on the deflected shape of the sail. It is the purpose of this thesis to derive the equilibrium equations for the sail and to integrate these equations to find expressions for the stress resultants in terms of the pressure on the sail and the deflected shape of the sail. By integration of these expressions for stress resultants, along the edges of the sail, the resultant forces applied by the sail to the leading-edge booms and keel boom are found. Then, by considering the streamwise components and the components normal to the stream of the boom forces, the drag and lift forces are obtained. These expressions for the lift and drag forces, and for the boom forces, are given in terms of the boundary value of the stress resultants and can be applied for any aerodynamic theory appropriate to the speed range being considered. When the appropriate aerodynamic relationship, between pressure and deflected shape, is substituted into the boundary, conditions for stress resultant at the trailing edge of the sai1, the criterion for determining the deflected shape is obtained. Once the deflected shape is known all the other quantities can be determined. In order to show an application of the analysis, the equations were specialized for Newtonian impact theory. This theory yields a simple pressure-deflected relationship. This aerodynamic theory, which has found applications for hypersonic speeds, has been employed since it shows the application of the method in a simple manner. In addition, it has been previously for a rigid idealization of a paraglider wing and thus provides a ready means for comparison. Hence numerical results can be used to test the accuracy of the rigid idealization. These results showed that the deflected shape of the flexible paraglider wing differed considerable from the conical shape of the rigid wing over the complete range of angle of attack. The differences in shape result in different pressure distributions over the surface of the wing and as a result the lift and drag coefficients, and especially the lift-to-drag ratio, for the flexible wing were significantly different from the values for the rigid wing. The boom forces and the distribution of stress resultants over the surface of the sail were obtained. The stress resultants along radial lines were found to be proportional to the distance from the nose of the wing. The calculated stress resultants and boom forces provide a basis for design of sails, booms, shroud lines, and spreader bars for a paraglider for hypersonic flight. Effects of dihedral angle (raising or lowering of the leading-edge booms relative to the keel) were also considered. The pressure distributions, the lift and drag coefficients, and the ratio to drag were found for several dihedral angles at a given angle of attack. / Ph. D.