ANA-buljongen är utvecklad för att kunna anrika både aeroba och anaeroba bakterier vid inkubering i aerob miljö. Odlingsbuljongen innehåller antioxidanter som skyddar anaeroberna mot reaktiva syreradikaler, vilket främjar anaerob anrikning. Syftet med arbetet var att utvärdera om ANA-buljongen kan ersätta de två befintliga odlingsbuljongerna som idag används vid anrikning av bakterier på avdelningen för klinisk mikrobiologi, Kronoberg Blekingesjukhuset. Elva bakteriearter och fyra blandfloror användes i utvärderingen av ANA-buljongen. En mikroliter (µl) inokulat som innehöll ca 100 colony forming units tillsattes till ANA-buljong samt aeroba buljongen Brain Heart Infusion (BHI) eller den anaerobbuljongen Fastidious Anaerobe Broth (FAB). Prov från buljongerna odlades ut efter två, fyra och sju dygns inkubering. Tillväxtsgrad vid olika inkubationstider jämfördes mellan ANA-buljongen och BHI-buljongen/FAB. ANA-buljongen utvärderades även för odling av kliniska prov. De kliniska proven odlades ut på agarplattor samt inokulerades till ANA-, BHI-buljong och FAB. Vid utodling från buljongerna jämfördes fynden från BHI-buljongen och FAB med fynden från ANA-buljongen. Tillväxten verkade vara snabbare i ANA-buljongen jämfört med BHI-buljong och FAB. Vissa arter, exempelvis Cutibacterium acnes, uppvisade en betydligt snabbare tillväxt i ANA-buljongen. Vissa bakteriearter tillväxte men överlevde inte längre inkubationstider och kunde efter dessa inte detekteras. Anrikningen av blandfloror i ANA-buljongen resulterade i överväxt av en art vilken konkurrerade ut de övriga arterna. Detta fenomen uppstod inte i FAB. Att ersätta de två kliniska buljongerna med ANA-buljongen hade varit fördelaktigt både praktiskt, ekonomiskt och ur ett hållbarhetsperspektiv. Eftersom ANA-buljongen enbart visade sig användbar vid odling av renkulturer men inte vid odling av blandfloror är den inte optimal för klinisk diagnostik. Men den skulle eventuellt kunna nyttjas vid ortopediska Kamme-Lindberg-odlingar då det oftast är fråga om renkulturer. / ANA-broth is developed to enrich both aerobic and anaerobic bacteria by incubation in an aerobic environment. The broth contains antioxidants that protect anaerobic bacteria from reactive oxygen species and make it possible for anaerobic bacteria to grow in an oxygenated environment. The purpose of the study was to evaluate the ANA-broth and see if the broth could replace the two broths that are being used clinically today.  Eleven bacterial species and four mixed floras were used to evaluate the ANA-broth. One microliter (µl) inoculum with about 100 colony forming units was used to inoculate ANA-broth, Brain Heart Infusion (BHI) broth and Fastidious Anaerobe Broth (FAB), respectively. Samples from the broths were then used to inoculate agar plates after two, four and seven days of incubation, to evaluate the difference in enrichment effectiveness at different incubation times in relation to the clinically used broths. The ANA-broth was also evaluated by using clinical samples from patients. The findings from the ANA-broth were compared with the findings from the BHI-broth and FAB. The growth in the ANA-broth was quicker compared to the BHI-broth and FAB. Some bacterial species grew but became non-viable in the ANA-broth after a longer period of incubation. Bacterial species within mixed floras were not able to grow in coexistence in the ANA-broth. One bacterial species took over and competed out the residual bacteria. This phenomenon did not occur in FAB. If the ANA-broth could replace the broths now used clinically then that would be advantageous both in terms of practicality, economy and from a sustainability perspective. Though, the ANA-broth is not optimal for clinical use considering that only one bacterial species within a mixed flora was able to grow. As the broth has greater potential for cultures containing only one bacterial species it could possibly be suited for orthopaedic Kamme-Lindberg cultivation.

La présente étude invite le lecteur à s’éloigner des longs fleuves d’encre pour plonger dans le monde du bref, du furtif et de l’allusif, et à explorer le genre qu’est la micronouvelle. Cette étude sert de prétexte, paratexte et péritexte à la traduction, de l’espagnol au français, du recueil de micronouvelles Fenómenos de circo (2011) de l’écrivaine argentine Ana María Shua. La micronouvelle jouit d’une diffusion différentielle dans le monde : particulièrement intense dans l’espace hispanophone, beaucoup plus timide dans l’espace francophone. À la traduction du recueil de micronouvelles le plus récent à ce jour d’une auteure connue et réputée en microfiction, j’ajoute la production d’une sorte d’état des lieux thématique des réflexions théoriques actuelles sur ce genre littéraire, sa définition, sa dénomination et une partie de son histoire. J’étudie ensuite huit caractéristiques qui ressortent des œuvres de microfiction en général et de celles d’Ana María Shua en particulier : fractalité, brièveté, métafiction, hybridité, intertextualité, effet de chute, présence du fantastique et rôle actif du lecteur. La traduction de la microfiction ne semble pas fondamentalement différente de la traduction de toute autre œuvre littéraire dans la même combinaison de langues. Elle reçoit néanmoins l’influence du rayonnement différentiel de la micronouvelle dans les espaces hispanophone et francophone ainsi que des caractéristiques propres au genre microfictionnel.

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Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / Until recently little attention has been paid to Latin American women writers and even less to those of them who are Jewish. This dissertation is an attempt to remedy that situation through the study of four contemporary Argentine Jewish women writers. My introduction explores theoretical issues relating to the specificity of both Jewish and women's writing. Chapter One considers the work of Alejandra Pizarnik (1936-1972). Although a Jew by birth, she shows very little overt Jewish influence in her work because she did not acknowledge her heritage. However, her background appears obliquely throughout her writing, for example, in many biblical references. Pizarnik's perspective on women is equally elusive, but nonetheless can be traced in her treatment of love and loss. Ana Maria Shua (1951- ), whose writing is the subject of the second chapter, is openly Jewish and unavowedly feminist. I study those aspects of her work that can be considered Jewish, such as her interest in the immigrant experience and her recounting of traditional Jewish folk tales. Although Shua does not admit to being a feminist, her books portray female dominance over men, particularly in El marido argentino promedio. Chapter Three centers on the writings of Manuela Fingueret (1945- ). Traditional customs, the Yiddish language and biblical references appear in her fiction and poetry. She depicts her female characters as strong and independent. Her poetry contains an element of eroticism, which she presents from a distinctively feminine perspective. The final chapter studies the work of Alicia Steimberg (1933- ). Steimberg's characters indicate contradictory feelings about being Jewish. Steimberg, like Shua, deals with the Jewish immigrant experience; she focuses on women, many of whom work outside the home. Steimberg's treatment of eroticism is idiosyncratically straightforward in its emphases. The dissertation's epilogue summarizes its conclusions and points the way for additional work to be done on Latin-American Jewish women writers. / 2031-01-01

Beginning with a basic definition of what an identity is, this research provides a connection between Santeria, as religion and Afro-Cuban folklore, and identity for a better understanding of the works of Cuban migrant artists. Following a general conclusion that identity is not stable, the question that becomes essential is, what happens during migration? By explaining what Santeria is and how it became an important religion in Latin America, the resea~ch concludes that it is more than a religion or folklore. Santeria is a way of life, a way or representing and preserving the Afro-Cuban heritage and cultural identity. In an effort to maintain their roots, the African slaves in Cuba used the religion as a source of preservation that aided their sense of belonging and survival needs. Today, the religion has b~come an inspirational source for artists such as Wilfredo Lam, Ana Mendieta, Raquelin Mendieta, and Juan Boza. These migrating artists used Santeria as a form of portraying cultural and ethnic identities. Furthermore, using these artists as example, the research concludes that a migrant artist may create their personal visual language as he or she defines his or her identity.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-28T09:07:44Z No. of bitstreams: 1 Andréia Kmita.pdf: 12020610 bytes, checksum: 7c2787835e42938102d6fa0365fe99f7 (MD5) / Made available in DSpace on 2018-11-28T09:07:45Z (GMT). No. of bitstreams: 1 Andréia Kmita.pdf: 12020610 bytes, checksum: 7c2787835e42938102d6fa0365fe99f7 (MD5) Previous issue date: 2018-09-10 / The present research aims to investigate the literary translation activity of the Carioca poet Ana Cristina Cesar, relating her translation work to the critical conjectures and criteria that guide her own poetic writing. Setting specific analysis in "Words" ("Words"), translation of the poem of the North American poet Sylvia Plath. It will start from the discussion of concepts of literary translation sketched by scholars and poet-translators, Rosemary Arrojo (2003), Paulo Henriques Britto (2016), Paulo Rónai (1976), Mário Laranjeira (1993), Henri Meschonnic (2010), Georges Mounin (1963), Paul Ricoeur (2011), Michaël oustinoff (2011), Lawrence Venuti (2002), Roman Jakobson (1970), Paul Zumthor (2018), Breno Silveira (2004), Even-Zohar (2012), Susan-Bassnett (2003) and Leila M. Darin (2015). These concepts will be added by original fragments of the poet Ana Cristina Cesar, who left us about her translation practice in the book "Criticism and Translation" (2016). The critical sense that guided the poet in his choices, in the lexical and grammatical fields, and that marked his conception of literature between the English (starting language) and the Portuguese (language of arrival). Being relevant the research material included, the publications of "Writings in England", translation drafts that were published and their critical production, some of them located in the IMS (Moreira Salles Institute), in Rio de Janeiro / A presente pesquisa tem por objetivo investigar a atividade de tradução literária da poeta carioca Ana Cristina Cesar, relacionando seu trabalho tradutório às conjeturas críticas e aos critérios que norteiam sua própria escrita poética. Fixando análise específica em “Words” (“Palavras”), tradução do poema da poeta norte-americana Sylvia Plath. Partir-se-á da discussão de conceitos de tradução literária esboçados por estudiosos e poetas-tradutores, Rosemary Arrojo (2003), Paulo Henriques Britto (2016), Paulo Rónai (1976), Mário Laranjeira (1993), Henri Meschonnic (2010), Georges Mounin (1963), Paul Ricoeur (2011), Michaël oustinoff (2011), Lawrence Venuti (2002), Roman Jakobson (1970), Paul Zumthor (2018), Breno Silveira (2004), Even-Zohar (2012, Susan-Bassnett (2003) e Leila M. Darin (2015). Tais conceitos serão acrescidos de fragmentos originais da própria poeta Ana Cristina Cesar, os quais nos legou acerca de sua prática tradutória na obra “Crítica e Tradução” (2016). Pretende-se depreender desses, o senso crítico que guiava a poeta nas suas escolhas, nos campos lexical e gramatical, e que marcaram sua concepção de literatura entre o inglês (língua de partida) e o português (língua de chegada). Sendo relevante o material de pesquisa incluso, as publicações de “Escritos na Inglaterra”, rascunhos de tradução que foram publicados e sua produção crítica, alguns dos quais localizados no IMS (Instituto Moreira Salles), no Rio de Janeiro

En este estudio comparamos dos novelas españolas del género fantástico – Aranmanoth de Ana María Matute y La Emperatriz de los etéreos de Laura Gallego García. Ambas obras tienen tramas parecidas pero están dirigidas a dos grupos diferentes de lectores – jóvenes y adultos. Aplicamos el método comparativo, es decir, identificamos y analizamos las similitudes y las diferencias en cuanto a los elementos fantásticos presentes en ambas novelas con el propósito de analizar las consecuencias en la literatura para estos dos grupos de lectores. Asimismo nos interesan las razones de las similitudes y las diferencias, las cuales buscamos sobre todo, en los antecedentes de las autoras, los diferentes grupos de lectores y la gran influencia de los cuentos de hadas en este género fantástico.   Los elementos fantásticos que analizamos se encuentran en las categorías del motivo, el entorno y los personajes. Algunos de los ejemplos más conocidos de estas categorías son el viaje de aventura, la presencia de la magia y el mundo de imaginación pero asimismo se presentan elementos menos esperados como la importancia de los cuentos y las apariencias de los personajes. Dado que el lenguaje es un elemento diferenciador muy evidente cuando se compara la literatura juvenil con la de adultos, lo excluimos de la investigación.   Concluimos que existe una concordancia clara entre muchos elementos fantásticos en las dos novelas. A pesar de esto, las historias no dan la impresión de ser iguales. En la novela para adultos, por ejemplo, el elemento mágico es más complejo debido en parte a la gran cantidad de símbolos utilizados lo cual hace más difícil su comprensión. Además las autoras tienen objetivos diferentes con respecto a lo fantástico y este hecho afecta en gran medida la narración de las historias. Por consiguiente, los jóvenes posiblemente no entiendan toda la magnitud del elemento mágico intrincado en el libro para adultos y los adultos por su parte encuentren los elementos mágicos un poco simples en el libro juvenil. Sin embargo, es probable que los dos grupos distintos de lectores, puedan disfrutar la lectura de ambas novelas siempre y cuando tengan interés por el género.

The authors of this article conducted an analysis of the companies providing publicsanitation services. In particular, they focus on determining if these are legally entitled to market the treated waste water generated as a result of the provision of public services in charge. Additionally, in order to provide a complete analysis of the issue, the authors speak about the powers of the National Water Authority and his power to permit reuse of treated wastewater. / Los autores del presente artículo realizan un análisis sobre las empresas prestadoras de servicios públicos de saneamiento. En particular, se enfocan en determinar si es que estas se encuentran facultadas legalmente para comercializar el agua residual tratada que generan como consecuencia de la prestación de los servicios públicos a su cargo. Adicionalmente, a fin de brindar un análisis completo del tema, se toman en cuenta las facultades de la Autoridad Nacional del Agua para conceder autorizaciones de reúso del agua residual tratada.

Made available in DSpace on 2014-07-29T16:19:04Z (GMT). No. of bitstreams: 1 Dissertacao Leticia Costa e Silva Ferro.pdf: 1450189 bytes, checksum: a1b2a3ba556ef0ec2a8c4a94d960199e (MD5) Previous issue date: 2010-02-23 / Once in contact with contemporary poetry, we can think of its multiple practice in which form and diction, the most diverse ones resist to critical reception that are tied to established literary standards. The literary work of Ana Cristina Cesar can be included in this particular context. Controversial in its essence, her work keeps oscillating and drifting from stable matters. Therefore, the aim of this study is to read it by the bias of hesitation, between poetry and prose, center and edge, biography and fiction, memory and forgetfulness, in order to find out what is hidden underneath it, and whether it means simulation or dissimulation. The essay is elected then, in the wake of Adorno (2003), as the academic style of dissertation. It is a belief that the essay is analogous to the poetry studied, for it is placed among absurdities since it neither starts from a very beginning nor converges at a final ending. / No contato com as poéticas contemporâneas, pensa-se sua prática múltipla, em que forma e dicção as mais diversas resistem à recepção crítica presa a padrões pré-estabelecidos. Nesse particular, insere-se a produção literária de Ana Cristina Cesar (1952-1983) que, controversa já na essência, soçobra oscilando e à deriva do estável. Dessa maneira, este estudo propõe lê-la pelo viés da hesitação entre poesia e prosa, centro e margem, biográfico e ficcional, memória e esquecimento a fim de se entrever o que sob ele se esconde, escapa, simula ou dissimula. Para isso, elege-se o ensaio, na esteira de Adorno (2003), como estilo acadêmico de escrita da dissertação, acreditando ser ele análogo à poética estudada na medida em que ocupa um lugar entre os despropósitos, sem partir de um princípio primeiro ou convergir para um fim último.

Si la littérature centre-américaine est peu étudiée, la poésie contemporaine des femmes de l’Isthme l’est moins encore. Nous avons donc souhaité participer au développement de ce champ de recherche, en étudiant l’œuvre lyrique de six écrivaines d’Amérique centrale. Dans ce corpus, publié de 1948 à nos jours, la réinvention des mythes – par l’appropriation, l’actualisation et/ou le détournement – nous a semblé particulièrement significative. Pour l’aborder, nous suivons tout d’abord le fil de la vie des poétesses sur la trame de l’Histoire contemporaine de l’Isthme et de sa littérature. Puis, nous tentons de caractériser les différents types de mythes qui peuplent leurs recueils – mythes ancestraux (amérindiens, grecs et bibliques) et mythes « nouveaux-nés », fruits de représentations stéréotypées et souvent idéalisées (l’Eternel féminin ou le « macho »). Par l’analyse textuelle et une approche théorique basée sur la réécriture et la mythocritique, nous étudions le traitement de ces motifs et figures mythiques selon leur provenance et leur valeur prescriptive envers les femmes. Nous observons ensuite de quelle manière la réinvention des mythes s’inscrit dans la poétisation du cycle de la vie, de la création (Genèse du Monde, de l’humain, de l’enfant, du poème) à la mort. Enfin, nous analysons comment, à travers le prisme du mythe, le statut de la femme et de l’homme sont redéfinis – notamment en brisant l’alternative femme exemplaire (Pénélope, l’ange du foyer) / femme fatale ou « perdue » (Eve, Médée, la prostituée), en valorisant l’héroïsme au féminin et à travers de nouveaux mythes (la femme sauvage) – pour aboutir à une réinvention des relations homme/femme. / The literature of Central America – and in particular the contemporary works of the female poets in this region – is a little-studied subject. We therefore wished to help develop this field of research by examining the lyrical work of six women writers from Central America. In this corpus, published from 1948 to the present day, the reinvention of myths is, to our minds, especially significant. In order to tackle this subject, we shall first unravel the threads of these poets’ lives from the fabric of the contemporary history and literature of Central America. We shall then attempt to characterise the types of myths found in their poems – age-old tales (Amerindian, Greek and Biblical) as well as « newborn » myths that are the fruit of stereotyped and images (the Archetypal Female or the « macho » male). Through textual analysis and a theoretical approach based on rewriting and myth criticism, we shall study the way these myths are dealt with according to where they come from and their advisory value regarding women. We shall then consider the way in which the reinvention of myths is part of the poetic depiction of the life cycle from creation (the genesis of the world, of human life; the birth of a child, of a poem) to death. Finally, we shall analyse how the status of women and men is redefined through the prismatic distortion of the myth – by breaking down the dichotomy between the commendable woman (Penelope, the angel in the house) and the femme fatale or « fallen woman » (Eve, Medea, the prostitute), or praising female heroism through new myths (such as the wild woman) – with a view to breaking new ground in male-female relationships.