The 1-adrenoceptors (1-ARs) serve as an interface between the sympathetic nervous system and the cardiovascular system where they are mediators of systemic arterial blood pressure, initiators of positive inotropy, and regulators of cellular growth responses. There are three subtypes: 1A-, 1B-, and 1D-ARs. This dissertation research investigated the trafficking properties of the 1-ARs at the cellular level as well as physiological relevance of the 1-ARs at the tissue level. In vitro studies using transiently transfected 1-AR/GFP subtypes revealed distinct basal localization patterns and different agonist-mediated activation and desensitization properties. The 1A- and the 1B-AR/GFP subtypes displayed agonist-mediated receptor redistribution, in which rate and degree of redistribution differed. Additionally, redistribution of either of these two receptor subtypes required arrestin-1, a protein often associated with receptor internalization. In contrast, the 1D-AR/GFP did not require arrestin-1 for maintaining the basal receptor orientation pattern. Although these data increase our knowledge of trafficking properties of the 1-AR subtypes, it is of equal importance to determine the role(s) that each subtype contributes to cardiovascular function. The lack of subtype-selective 1-AR pharmacological agents prompted the use of genetically manipulated mouse models with a systemic overexpression of a constitutively active 1B-AR. Echocardiographic analysis of transgenic hearts indicated both an enlarged left ventricular chamber in the absence of hypertrophy and a depressed cardiac function. From isolated transgenic hearts, experimental results suggested a role for the 1B-AR in attenuating the inotropic responses. However, experiments using isolated thoracic aortae from transgenic animals suggested that the 1B-AR does not participate in vascular smooth muscle contractile responses. Additional studies investigated the role of 1D-AR in cardiovascular function by using animals systemically lacking the 1D-AR subtype. Experimental data suggested an 1D-AR participation in vascular smooth muscle function since the deficiency of the 1D-AR subtype affected vasoconstriction in the coronary arteries but not inotropy in the heart. The data presented in this dissertation research suggest subtype specific differences of 1-ARs in cellular localization, signal regulation, and trafficking. Additionally, the data provide an investigation into the physiologic significance of both the 1B- and the 1D-ARs in cardiovascular tissue.

The discussion of citation and allusion has become an important area of research in Medieval Studies. The application of postmodern intertextual theories has brought scholars to a deeper understanding of the reuse of borrowed material, shedding new light on a culture of music and literature that was once dismissed as dully repetitive. This thesis builds on this work by examining in depth the manner in which citation and allusion was deployed in the fourteenth-century motet. Motets are a particularly fertile ground for discussion of the reuse of material, drawing as they do on a range of citational techniques such as borrowed liturgical tenors, modelling of rhyme schemes on existing works, and quotation of refrains and authorities. The polyphonic and polytextual nature of the motet enabled composers to juxtapose different registers, languages and genres, and thus to create an array of competing possible interpretations. This study is situated against several strands of recent scholarship. It draws on critical theory, as well as discussions of refrain definition, memory, manuscript compilation, and notions of voice, authority and authorship. Each chapter examines a particular body of work: the interpolated Roman de Fauvel, the works of Guillaume de Machaut, the motets of the Ivrea and Chantilly manuscripts, and finally those of Manuscript Torino J.II.9. In each case, looking at the use of citation and allusion connects to other concerns. In the Roman de Fauvel, citation in the motets can be seen as functioning alongside use of the vernacular, manuscript layout and illuminations to elucidate the narrative. In the works of Guillaume de Machaut citation is linked to his ambiguous self-presentation and authorial presence, and connects individual pieces in his complete works’ manuscripts. The Ivrea and Chantilly motets, while not linked by the same strength of context, demonstrate continuing use of thirteenth-century tradition. In this case, studying compilation choices may help us to understand how scribes interpreted citational material. Finally, I argue that understanding the internal use of symmetry in MS J.II.9 and its motets, and the reuse of material between the motets and the chansons of that repertory, vindicates the view that the music and poetry was composed by a single author well versed in mainstream tradition. I have been able to propose some previously unnoted allusions in the major works, and draw out the benefits of a holistic approach to understanding these motet and manuscripts. All this points to motets both continuing the writing traditions of the thirteenth century throughout the fourteenth and early fifteenth centuries, but also shows individual writers and compilers choosing to cite in a creative and innovative manner.

Ce mémoire propose une lecture du recueil Art poétique d’Eugène Guillevic. Art poétique parait non seulement comme un livre où se développe la recherche patiente d’un principe directeur, mais aussi comme « l’autoportrait d’un poète qui continue de s’interroger et d’interroger le monde » . Le poète a résumé cette double interrogation dans l’expression suivante : « Écrire, c’est bien s’inscrire dans le monde » . Cette formule inspire notre réflexion sur le recueil et nous amène à avancer l’hypothèse suivante : la reprise du genre de l’art poétique par Guillevic s’accorde paradoxalement avec sa recherche d’une expression subjective et singulière. Au cours de ce mémoire, nous allons examiner les relations que le sujet guillevicien entretient avec l’espace et le temps. Nous allons chercher notre appui dans la théorie du discours, telle que la décrit Émile Benveniste. / This dissertation will develop an interpretation of Art poétique by Eugène Guillevic. This anthology in not only a treatise on poetry, but also a “self-portrait of a poet who continues to interrogate himself, and interrogates the world” . This issue is expressed by Guillevic himself: “Writing means making ourselves part of the world” . This sentence leads to the following hypothesis: the genre of “ars poetica” is a means that paradoxically leads Guillevic to write in an intimate manner. This dissertation is an outline of the relations that the poetical subject attempts to maintain with space and time. The theory of discourse of Emile Benveniste will constitute the primary theoretical background for this analysis.

This thesis has three main sections, the first a full-length novel entitled The Gift of Death, the third the bibliography and two appendices. The second contains variously: a preface; a critical exposition/analysis of the preceding novel with subsections, considering in conceptual fashion three central themes: death considered through symbolic, ideological and other meanings; a positioning of the academy in the ‘Campus’ novel sub-genre; and a socio-cultural analysis of fiction as a field of production and associated struggles for entry determined by class, origin and periodic cultural preferences. The Gift of Death concerns a sixty-year-old’s attempt to write a novel. Procrastinating English scholar, archetypal baby-boomer Jim Dent, revisits the thwarted ambitions of youth. Inspired by novelist Sue Townsend’s death, once a friend, Jim recalls knowing other aspirant artists—writers and film-makers— living and dying in obscurity. He reflects upon a troubled past, on unsatisfactory elements of the present and the increasingly daunting task of composition. The Gift of Death reworks the tradition of the campus or varsity novel, detailing lives tied to the rhythms of the academy. The chapters explore various eccentrics whose lives Jim traces through tentative, inadequate notes. Expanding such recollections the narrative includes: schooldays; postgraduate studies and school-teaching in Leicester; a voyage to interview Basil Bunting; and friendships with oddball alcoholics writers, Cedric and Challis, never satisfied or fully recognized creatively. Finally, overwhelmed by self-doubt, Jim abandons his Sisyphean task. Reflecting upon failure, an unexpected turn of events associated with visiting Bunting emerges in the present, offering resolution of sorts. The Gift of Death’s primary themes/contexts are: self-reflexive, multi-chronic form; death, loss and mourning; the baby-boomer generation; struggling for professional entry into the field of fiction; lost provincial and local creativity; the juxtaposition of past and present; loyalty, friendship and memory; parental conflict; and finally procrastination and disappointment.

Na poesia de Eugénio de Andrade (1923-2005), a mudança não constitui propriamente um desligamento ou uma ruptura, mas um reencontro. Sua poesia persegue, na transformação, a possibilidade de permanência, e assim constrói, por meio da continuidade de seus elementos, um movimento cuja variação desperta uma série de associações ou ressonâncias. Com vistas na dinâmica fluida dessa poesia, esta dissertação de mestrado propõe uma análise de signos e disposições imagéticas recorrentes em Poemas (1945-1965), reunião da primeira fase de sua obra, publicada em 1966. Muitas das imagens selecionadas, motivadas pelos temas do amor e do fazer poético, traçam movimentos de deslocamento e expansão, e serão lidas como alusões à palavra poética, que, ora em nascimento, ora em transformação, sublinha a existência de uma estrutura poética autônoma e autorreflexiva. Desse modo, identificamos núcleos poéticos em cada um dos sete livros da coletânea, movimentados por signos centrais, que se desenrolam, confrontam-se, e permitem uma leitura conjunta dos poemas. Por meio de prefácios e poemas de abertura, seguidos de outros poemas e trechos relevantes, pretendemos investigar a formulação de uma concepção poética, que se revela, antes de mais nada, em permanente renovação, evidenciando esforços afirmativos contra a paralisia do sujeito e em diálogo com a condição crítica do mundo moderno. Pois, ainda que a poesia de Eugénio de Andrade procure sua expressão na própria realidade das palavras, não deixa de manifestar um momento histórico em que o sujeito enfrenta a consciência dolorosa de um mundo caótico, fragmentado, e separado da natureza. / This dissertation aims at analyzing the main poetic signs and images in Poemas (1945-1965), collection of the first poetry by the Portuguese Eugénio de Andrade, published in 1966. Many of the selected images, read as allusions to the poetic expression, draw movements of dislocation and expansion, revealing an autonomous and reflexive poetic structure which remains in perpetual transformation. In each one of the seven books included in the collection, we identify a poetic nucleus developed around a group of poems, linked by a dominant and recurrent sign. The dynamic of rotation and repetition of signs and images prescribe movement to the poetry by Eugénio de Andrade, organizing cycles that narrate stories of love and poetic emergence, from its birth to its decease or exhaustion, usually lamented by a tragically abandoned poetic subject. Our corpus constitutes of the preface, the opening poem of each of the seven books, as well as other relevant poems and extracts. The main purpose is to investigate the formulation of a poetic conception which reveals itself in constant change and reformation, seeking permanence through the very act of transformation. Its affirmative efforts can be read in association with the tensions lived by the modern individual, who constantly tries to overcome his particularly conflictuous historical moment in which his fellow men can only face a chaotic and fragmented existence, distant from nature and from any kind of reconciliation.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-06-09T14:55:40Z No. of bitstreams: 1 Débora Junge Baum.pdf: 2353364 bytes, checksum: 5f1533355c44784c68c2134c28420360 (MD5) / Made available in DSpace on 2015-06-09T14:55:40Z (GMT). No. of bitstreams: 1 Débora Junge Baum.pdf: 2353364 bytes, checksum: 5f1533355c44784c68c2134c28420360 (MD5) Previous issue date: 2015-03-13 / Nenhuma / A busca das organizações pela diferenciação e pelo desenvolvimento de vantagens competitivas, passa pela habilidade em capitalizar conhecimento. Na maioria das vezes, esse conhecimento se encontra distribuído entre os colaboradores, muitas vezes dispersos geograficamente. Nesse contexto, as comunidades de prática surgem como uma solução, promovendo o compartilhamento e construindo conhecimento. A dissertação tem como tema as estruturas de redes sociais em comunidades de prática. O objetivo principal é identificar como as características da estrutura da rede social impactam no desenvolvimento de comunidades de prática, tendo como objeto de estudo três comunidades de prática da empresa Gerdau. O estudo aborda em sua fundamentação teórica os temas de aprendizagem social, comunidades de prática e redes sociais. De caráter exploratório e natureza quantitativo-qualitativa, o estudo de caso utilizou Análise de Redes Sociais, análise documental e entrevistas semiestruturadas, em uma triangulação de dados. Dentre os resultados da pesquisa, destaca-se a identificação dos construtos, sendo eles: interação entre os membros, envolvimento, papéis formais, perfil dos membros, centralização e clusters. A identificação desses construtos promove contribuição teórica, à medida que a temática das comunidades de prática ainda é pouco explorada sob o prisma de redes sociais. Adicionalmente, os resultados da pesquisa demonstram que as características da estrutura das redes sociais das comunidades de prática impactam significativamente no seu desenvolvimento e que a análise das comunidades de prática sob o viés dos construtos possibilita a identificação de oportunidades de atuação, contribuindo para sua gestão e seu desenvolvimento. / The search for differentiation and for the development of competitive advantages resides on the ability of organizations to capitalize knowledge. Most of the times, these knowledge is embedded into the mind of employees, who are frequently geographically dispersed. In this context, communities of practice arise as a solution, providing knowledge sharing and building. The dissertation theme is social network structures in communities of practice. The main objective is to identify how the characteristics of the social network structures affect the development of communities of practice, having as an study object three of Gerdau’s communities of practice. In its theoretical foundation the study addresses issues such as social learning, communities of practice and social networks. With an exploratory character and a qualitative-quantitative nature, the case study used Social Networks Analysis, documentary analysis and semi-structured interviews, providing data triangulation. Among the research results are a set of constructs formed by: members interaction, engagement, formal roles, members profile, centralization and clusters. The identification of these constructs provides theoretical contribution, as the theme of communities of practice is still little explored in the light of social networks. Besides, research results show that the characteristics of the social network structures in communities of practice affects significantly it’s development and that analyzing communities of practice under the bias of the constructs allows the identification of action opportunities, contributing to its management and development.

In this thesis, I explore the construction of female erotic desire in Ovid’s work as it is represented in the form of mythical heroines. Phaedra-like figures appear in Ovid’s poetry as dangerous spectres of wildly inappropriate and therefore destructive, bestial, or incestuous sexuality. I consider in particular the catalogue of Phaedra-like figures in Ars Amatoria 1.283-340, Phaedra in Heroides 4, Byblis in Metamorphoses 9.439-665, and Iphis in Metamorphoses 9.666-797. Their tales act as a threat of punishment for any inappropriate desire. They represent for the normative sexual subject a sexual desire which has been excluded, and what could happen, what the normative subject could become, were he or she to transgress taboos and laws governing sexual relations. I apply the idea of the abject, as it has been formulated by Julia Kristeva and Judith Butler, in order to elucidate Ovid’s process of constructing such a subject in his poetry. I also consider Butler’s theories of the performativity of sex, gender, and kinship roles in relation to the continued maintenance of the normative and abject subject positions his poetry creates. The intersection of “performance” and performativity is crucial to the representation of the heroines as paradigms of female desire. Ovid’s engagement with his literary predecessors in the genre of tragedy, in particular Euripides’ and Sophocles’ tragedies featuring Phaedra, highlights the idea of dramatically “performing” a role, e.g., the role of incestuous step-mother. Such a spotlight on “performance” in all of these literary representations reveals the performativity of culturally defined gender and kinship roles. Ovid’s ludic representations, or “citations,” of Phaedra, I argue, both reinvest cultural stereotypes of women’s sexuality with authority through their repetition and introduce new possibilities of feminine subjectivity and sexuality through the variations in each iteration.

In this thesis, I explore the construction of female erotic desire in Ovid’s work as it is represented in the form of mythical heroines. Phaedra-like figures appear in Ovid’s poetry as dangerous spectres of wildly inappropriate and therefore destructive, bestial, or incestuous sexuality. I consider in particular the catalogue of Phaedra-like figures in Ars Amatoria 1.283-340, Phaedra in Heroides 4, Byblis in Metamorphoses 9.439-665, and Iphis in Metamorphoses 9.666-797. Their tales act as a threat of punishment for any inappropriate desire. They represent for the normative sexual subject a sexual desire which has been excluded, and what could happen, what the normative subject could become, were he or she to transgress taboos and laws governing sexual relations. I apply the idea of the abject, as it has been formulated by Julia Kristeva and Judith Butler, in order to elucidate Ovid’s process of constructing such a subject in his poetry. I also consider Butler’s theories of the performativity of sex, gender, and kinship roles in relation to the continued maintenance of the normative and abject subject positions his poetry creates. The intersection of “performance” and performativity is crucial to the representation of the heroines as paradigms of female desire. Ovid’s engagement with his literary predecessors in the genre of tragedy, in particular Euripides’ and Sophocles’ tragedies featuring Phaedra, highlights the idea of dramatically “performing” a role, e.g., the role of incestuous step-mother. Such a spotlight on “performance” in all of these literary representations reveals the performativity of culturally defined gender and kinship roles. Ovid’s ludic representations, or “citations,” of Phaedra, I argue, both reinvest cultural stereotypes of women’s sexuality with authority through their repetition and introduce new possibilities of feminine subjectivity and sexuality through the variations in each iteration.

Ce mémoire propose une lecture du recueil Art poétique d’Eugène Guillevic. Art poétique parait non seulement comme un livre où se développe la recherche patiente d’un principe directeur, mais aussi comme « l’autoportrait d’un poète qui continue de s’interroger et d’interroger le monde » . Le poète a résumé cette double interrogation dans l’expression suivante : « Écrire, c’est bien s’inscrire dans le monde » . Cette formule inspire notre réflexion sur le recueil et nous amène à avancer l’hypothèse suivante : la reprise du genre de l’art poétique par Guillevic s’accorde paradoxalement avec sa recherche d’une expression subjective et singulière. Au cours de ce mémoire, nous allons examiner les relations que le sujet guillevicien entretient avec l’espace et le temps. Nous allons chercher notre appui dans la théorie du discours, telle que la décrit Émile Benveniste. / This dissertation will develop an interpretation of Art poétique by Eugène Guillevic. This anthology in not only a treatise on poetry, but also a “self-portrait of a poet who continues to interrogate himself, and interrogates the world” . This issue is expressed by Guillevic himself: “Writing means making ourselves part of the world” . This sentence leads to the following hypothesis: the genre of “ars poetica” is a means that paradoxically leads Guillevic to write in an intimate manner. This dissertation is an outline of the relations that the poetical subject attempts to maintain with space and time. The theory of discourse of Emile Benveniste will constitute the primary theoretical background for this analysis.

Data de aprova??o ausente. / ?rea de concentra??o: Qu?mica Anal?tica. / Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2016-12-21T17:35:27Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) rodrigo_carvalho_hott.pdf: 1415995 bytes, checksum: f0a923f5addbb9b380763851a41b99e6 (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2017-01-31T13:51:38Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) rodrigo_carvalho_hott.pdf: 1415995 bytes, checksum: f0a923f5addbb9b380763851a41b99e6 (MD5) / Made available in DSpace on 2017-01-31T13:51:38Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) rodrigo_carvalho_hott.pdf: 1415995 bytes, checksum: f0a923f5addbb9b380763851a41b99e6 (MD5) Previous issue date: 2016 / A elevada toxicidade e potencial de acumula??o de ars?nio em diversos ambientes t?m incentivado pesquisas de novos m?todos de remo??o desse ?on em ?guas contaminadas. Dentre os diversos processos utilizados, a adsor??o contendo ?xidos de ferro tem apresentado bons resultados na remedia??o de ambientes aqu?ticos contaminados por ars?nio. Entretanto, muito do ars?nio liberado no ambiente aqu?tico ? proveniente de efluentes de minera??o, que apresenta meio extremamente ?cido, o que impossibilita a a??o da maioria dos adsorventes utilizados. Neste contexto, a K-jarosita surge como alternativa na remo??o de ars?nio em ambientes contaminados devido sua estabilidade neste ?mbito de baixo pH. Os estudos deste trabalho foram realizados no campus do Mucuri da UFVJM e tiveram como objetivo sintetizar, caracterizar e avaliar atrav?s de ensaios de adsor??o a efetividade de nanopart?culas de k-jarosita na remo??o de ars?nio inorg?nico (III e V) e ars?nio org?nico (?cido monometilars?nico-MMA) em ?gua contaminada, bem como a dessor??o destes elementos promovendo a libera??o dos s?tios de adsor??o dos nanomateriais. A K-jarosita foi caracterizada atrav?s da difratometria de raios-X, com seus pontos de reflex?o estando de acordo com o arquivo padr?o JCPDS 36-427. Seus dados difratom?tricos foram refinados pelo m?todo de Rietveld, caracterizando sua estrutura como rombo?drica de densidade 3,045g cm-3. Apresenta uma ?rea superficial de 9 m2 determinada atrav?s do m?todo BET, sendo uma estrutura mesoporosa, com poros apresentando volume de 0,034 cm3 g-1 e tamanho m?dio de 90?, determinados pelo m?todo BJH. Nos testes de adsor??o, os estudos cin?ticos demonstraram que a K-jarosita apresenta uma r?pida adsor??o, tendo o As(V) sido mais adsorvido que os demais. Com rela??o ao efeito de competi??o de ?nions, foram realizados ensaios com NO3-, PO43- e SO42-, sendo observada pouca interfer?ncia dos ?ons nitrato e fosfato, e um efeito de aumento de adsor??o do ?on sulfato com rela??o ao As (V). No caso do pH, foram avaliadas as faixas de pH do meio ?cido ao meio alcalino, sendo que nestas foi verificada maior estabilidade da K-jarosita em pH pr?ximo de 3, fora do qual ocorre sua desestabiliza??o com forma??o de outros ?xidos de ferro. A dessor??o ocorre em pH acima de 12, sendo o As-i (V) e o As-o MMA os mais facilmente liberados. Foram avaliadas isotermas de Langmuir, Freundlich, Langmuir-Freundlich e Redlich-Peterson, sendo todas adequadas ? adsor??o de ars?nio pela K-jarosita, tendo o modelo de Langmuir-Freundlich apresentado um melhor ajuste. A capacidade m?xima de adsor??o pelas nanopart?culas de K-jarosita foi de 11,12 mg g-1 para As (III), de 18,26 mg g-1 para As (V) e de 13,35 mg g-1 para MMA. Em an?lise de amostras de ?guas superficiais de rios contaminados por ars?nio, provenientes do munic?pio de Paracatu/MG, todas ficaram ap?s a adsor??o por K-jarosita abaixo dos limites estabelecidos pela legisla??o vigente. Foi realizada tamb?m a recupera??o do ars?nio ap?s dessor??o na forma de Ag3AsO4, o qual apresentou grande efici?ncia em ensaios de fotocat?lise, que tamb?m foram realizados. E como forma de funcionalizar o uso das nanopart?culas de K-jarosita, foram desenvolvidos prot?tipos de filtros que apresentaram grande efici?ncia na remo??o do ars?nio em amostras de ?gua. Atrav?s deste estudo, foi poss?vel verificar que a K-jarosita apresenta grande potencial de ser utilizada como forma de remedia??o ambiental em ambientes aquosos contaminados por ars?nio. / Disserta??o (Mestrado) ? Programa de P?s-Gradua??o em Qu?mica, Universidade Federal dos Vales do Jequitinhonha e Mucuri, [2016]. / The high toxicity and potential of arsenic accumulation in different environments have encouraged works of new ion removal methods in contaminated water. Among the various processes used, the adsorption containing iron oxides has shown good results in the remediation of aquatic environments contaminated by arsenic. However, much of the arsenic is released into the aquatic environment from mining waste, which presents extremely acid medium, which prevents the action of most adsorbents used. In this context, the K-jarosite is an alternative in the removal of arsenic in contaminated environments due to its stability in the context of low pH. Studies of this work were carried out in the Mucuri campus from UFVJM and aimed to synthesize, characterize and evaluate through adsorption tests the effectiveness of K-jarosite nanoparticles in inorganic arsenic removal (III and V) and organic arsenic (monometilars?nic acid -MMA) in contaminated water and desorption of these elements promoting the release of nanomaterials adsorption sites. The K-jarosite was characterized by diffraction of X-rays, with their reflection points are in accordance with the standard file JCPDS 36-427. Its difratom?trics data were refined by the Rietveld method, characterizing its structure and density of rhombohedral 3,045g cm-3. Having a surface area of 9 m2 determined by the BET method, being a mesoporous structure with pores having volume of 0.034 cm3 g-1 and 90 ? average size determined by the BJH method. In adsorption tests, kinetic studies have shown that K-jarosite has a rapid adsorption, and the As (V) was adsorbed more than the others. With respect to anions competition effect, tests were performed with NO3-, PO43- and SO42-, and observed little interference of nitrate and phosphate ions, and sulfate ion adsorption increased effect with respect to As (V). In the case of pH, the pH ranges from acid to alkaline medium were evaluated, and these were verified increased stability of K-jarosite at pH around 3, out of which a destabilization occurs with formation of other iron oxides. The desorption occurs at pH above 12 and the As-i (V) and o-MMA to more easily released. Langmuir isotherms were evaluated, Freundlich, Langmuir-Freundlich and Redlich-Peterson, all being suitable for the adsorption of arsenic by K-jarosite having the model of Langmuir-Freundlich presented a better fit. The maximum adsorption capacity for K-jarosite nanoparticles was 11.12 mg g-1 for As (III) 18.26 mg g-1 to As (V) and 13.35 mg g-1 for MMA . In analysis of surface water samples from contaminated rivers by arsenic, from the Paracatu city / MG, all they were after adsorption by K-jarosite below the limits established by law. It also performed the recovery of arsenic desorbed in the form of Ag3AsO4, which showed great efficiency in photocatalysis tests were also performed. And as a way to functionalize the use of K-jarosite nanoparticles filter prototypes were developed that showed high efficiency in the removal of arsenic in water samples. Through this study, we found that K-jarosite has potential to be used as a form of environmental remediation in aqueous environments contaminated by arsenic.