<p>Taksonomija&nbsp; i&nbsp; sistematika&nbsp; su&nbsp; okosnica&nbsp; nauke&nbsp; o biodiverzitetu,&nbsp; obzirom&nbsp; da&nbsp; su&nbsp; osnova&nbsp; za identifikaciju&nbsp; i&nbsp; razdvajanje&nbsp; jedinstvenih filogenetskih&nbsp; entiteta&nbsp; (vrsta),&nbsp; ali&nbsp; i&nbsp; vi&scaron;ih taksonomskih&nbsp; kategorija.&nbsp; Rod&nbsp;<em> Merodon&nbsp;</em> Meigen,1803&nbsp; pripada&nbsp; familiji&nbsp; Syrphidae,&nbsp; podfamiliji Eristalinae,&nbsp; tribusu&nbsp; Merodontini.&nbsp; Vodeći&nbsp; je&nbsp; rod osolikih muva po bogatstvu vrstama u Evropi (124 vrsta).&nbsp; Sirfide&nbsp; predstavljaju&nbsp; veoma&nbsp; važnu&nbsp; grupu<br />organizama&nbsp; i&nbsp; njihov&nbsp; značaj&nbsp; u&nbsp; prirodi&nbsp; je&nbsp; vi&scaron;estruk (polinacija,&nbsp; regulatori&nbsp; brojnosti&nbsp; &scaron;tetnih&nbsp; insekata bioindikatori&nbsp; stani&scaron;ta,&nbsp; razlagači&nbsp; materija&nbsp; u raspadanju&nbsp; itd).&nbsp; Iako&nbsp; su&nbsp; se&nbsp; istraživanjima&nbsp; roda Merodon&nbsp; bavili&nbsp; brojni&nbsp; autori,&nbsp; dosada&scaron;nje filogenetske&nbsp; analize&nbsp; nisu&nbsp; u&nbsp; potpunosti&nbsp; rasvetlile njegovu sistematsku poziciju, kao i položaj taksona na&nbsp; filogenetskom&nbsp; stablu.&nbsp; U&nbsp; cilju&nbsp; &scaron;to&nbsp; boljeg razumevanja sistematike i filogenije roda&nbsp; <em>Merodon</em>, neophodno&nbsp; je&nbsp; analizirati&nbsp; genske&nbsp; regione&nbsp; koji evoluiraju različitim mutacionim stopama, kao i &scaron;to veći&nbsp; broj&nbsp; filogenetski&nbsp; informativnih&nbsp; morfolo&scaron;kih karaktera. U&nbsp; ovom&nbsp; radu&nbsp; su&nbsp; u&nbsp; cilju&nbsp; istraživanja sistematike&nbsp; roda&nbsp; <em>Merodon&nbsp; </em>analizirani&nbsp; molekularni (mtDNK, 18S rRNK, 28S rRNK) i 250 morfolo&scaron;kih<br />karaktera&nbsp; (pomoću&nbsp; binokularne&nbsp; lupe&nbsp; i&nbsp; Skening elektronskog&nbsp; mikroskopa),&nbsp; pojedinačno&nbsp; i kombinovano&nbsp; a&nbsp; upotrebom&nbsp; metoda&nbsp; za&nbsp; filogenetsku analizu-&nbsp; <em>maximum&nbsp; parsimony</em>&nbsp; (MP)&nbsp; i&nbsp;<em> maximumlikelihood (</em>ML). Analizirano je ukupno 329 jedinki. Pokazalo&nbsp; se&nbsp; da&nbsp; je&nbsp; u&nbsp; ovakvom&nbsp; tipu&nbsp; istraživanja neophodan&nbsp; integrativni&nbsp; pristup,&nbsp; odnosno kombinacija&nbsp; &scaron;to&nbsp; vi&scaron;e&nbsp; karaktera&nbsp; poreklom&nbsp; iz različitih&nbsp; izvora.&nbsp; Na&nbsp; osnovu&nbsp; ML&nbsp; stabla&nbsp; svih&nbsp; gena tribus&nbsp; Merodontini&nbsp; je&nbsp; monofiletski&nbsp; gde&nbsp; se&nbsp; vrsta<br /><em>Nausigaster&nbsp; meridionalis</em>&nbsp; pojavljuje&nbsp; kao&nbsp; sestrinska ostalim rodovima tribusa (<em>Azpeytia, Platynochaetus, Megatrigon,&nbsp; Eumerus&nbsp;&nbsp; tricolor&nbsp;</em> kladi&nbsp; i&nbsp; ostalim vrstama&nbsp; roda&nbsp;<em> Eumerus</em>).&nbsp; Rod&nbsp; <em>Eumerus&nbsp;</em> je parafiletski&nbsp; i&nbsp; sastoji&nbsp; se&nbsp; iz&nbsp; dve&nbsp; monofiletske&nbsp; linije: <em>Eumerus&nbsp; tricolor&nbsp;</em> klade&nbsp; (potencijalnog&nbsp; roda)&nbsp; i ostalih&nbsp; vrsta&nbsp; roda&nbsp; Eumerus.&nbsp; Rod&nbsp; Merodon&nbsp; je monofiletski&nbsp; prema&nbsp; analizama&nbsp; kombinovane matrice&nbsp;&nbsp; molekularnih&nbsp; i&nbsp; morfolo&scaron;kih&nbsp; podataka,&nbsp; 5&#39; kraja&nbsp; mtDNK&nbsp; COI&nbsp; i&nbsp; analize&nbsp; matrice&nbsp; morfolo&scaron;kih karaktera.&nbsp; U&nbsp; okviru&nbsp; roda&nbsp; <em>Merodon</em>&nbsp; detektovano&nbsp; je ukupno&nbsp; pet&nbsp; klada&nbsp; (<em>aureus,&nbsp; albifrons,&nbsp; desuturinus, natans&nbsp; i&nbsp; avidus</em>),&nbsp; odnosno&nbsp; četiri&nbsp; glavne&nbsp; evolutivne linije,&nbsp; potencijalna&nbsp; podroda:&nbsp; aureus,&nbsp; albifrons&nbsp; + desuturinus,&nbsp; natans&nbsp; i&nbsp; avidus.&nbsp; Mitohondrijalni&nbsp; geni pokazali su se veoma informativnim u sagledavanju<br />filogenetskih odnosa i izdvajanja većine klada, kao i grupa&nbsp; vrsta,&nbsp; &scaron;to&nbsp; ukazuje&nbsp; na&nbsp; veću&nbsp; varijabilnost sekvenci&nbsp; COI&nbsp; gena&nbsp; u&nbsp; odnosu&nbsp; na&nbsp; nuklearne&nbsp; gene. Nuklearni&nbsp; geni&nbsp; samostalno&nbsp; nisu&nbsp; doprineli rasvetljavanju&nbsp; filogenetskih&nbsp; odnosa&nbsp; između&nbsp; klada<br />(28S&nbsp; rRNK&nbsp; izdvaja&nbsp; samo&nbsp; natans&nbsp; kladu)&nbsp; u&nbsp; okviru roda&nbsp;<em> Merodon</em>,&nbsp; ali&nbsp; su&nbsp; izdvojili&nbsp; tribus<em>&nbsp; Merodontini,</em>kao&nbsp; i&nbsp;<em> Eumerus&nbsp; tricolor&nbsp; </em>liniju.&nbsp; Nuklearni&nbsp; geni&nbsp; su izdvojili&nbsp; i&nbsp; pojedine&nbsp; grupe&nbsp; vrsta&nbsp; u&nbsp; okviru&nbsp; roda <em>Merodon</em>,&nbsp; &scaron;to&nbsp; govori&nbsp; u&nbsp; prilog&nbsp; tome&nbsp; da&nbsp; nuklearni geni mogu biti informativni kako na vi&scaron;im, tako i na nižim&nbsp; taksonomskim&nbsp; nivoima.&nbsp; Mala&nbsp; varijabilnost nuklearnog&nbsp; gena&nbsp; u&nbsp; okviru&nbsp; roda&nbsp; Merodon,&nbsp; naročito<br />slučaju&nbsp; 18S&nbsp; rRNK,&nbsp; govori&nbsp; o&nbsp; njegovoj konzervativnosti.&nbsp; Utvrđeno&nbsp; je&nbsp; da&nbsp; morfolo&scaron;ki<br />karakteri genitalija mužjaka nose važan filogenetski signal&nbsp; za&nbsp; izdvajanje&nbsp; klada&nbsp; i&nbsp; grupa&nbsp; vrsta&nbsp; te&nbsp; upravo kombinacija&nbsp; različitih&nbsp; morfolo&scaron;kih&nbsp; struktura&nbsp; i njihova uloga sa različitim stepenom selekcije koja deluje&nbsp; na&nbsp; njih,&nbsp; uslovljava&nbsp; i&nbsp; njihovu&nbsp; evolucionu diverzifikaciju.&nbsp; Ipak,&nbsp; analize&nbsp; molekularnog&nbsp; i morfolo&scaron;kog&nbsp; seta&nbsp; karaktera&nbsp; pojedinačno&nbsp; nisu&nbsp; u potpunosti&nbsp; rasvetlili&nbsp; filogenetske&nbsp; odnose&nbsp; u&nbsp; okviru<br />roda&nbsp;<em> Merodon</em>,&nbsp; &scaron;to&nbsp; opravdava&nbsp; potrebu&nbsp; za kombinovanom analizom.&nbsp;</p> / <p>Taxonomy&nbsp; and&nbsp; systematics&nbsp; provide&nbsp; the&nbsp; framework&nbsp; for&nbsp; biodiversity&nbsp; research, since&nbsp; they represent a foundation for identification&nbsp; and&nbsp; delimitation&nbsp; of&nbsp; phylogenetic&nbsp; units&nbsp; (species), as well as higher taxonomic ranks. Genus<em>&nbsp; Merodon&nbsp; </em>Meigen,&nbsp; 1803&nbsp; belongs&nbsp; to family&nbsp; Syrphidae,&nbsp; subfamily&nbsp; Eristalinae, tribus&nbsp; Merodontini.&nbsp; Hoverflies&nbsp; play&nbsp; crucial&nbsp; ecological&nbsp; roles&nbsp; (pollination,&nbsp; decomposition&nbsp; and&nbsp; recycling&nbsp; of&nbsp; a&nbsp; vast&nbsp; range&nbsp; of&nbsp; materials, bioindicators&nbsp; etc).&nbsp; Despite&nbsp; the&nbsp; fact&nbsp; that genus<em>&nbsp; Merodon</em>&nbsp; is&nbsp; the&nbsp; species&nbsp; richest hoverfly&nbsp; genus&nbsp; in&nbsp; Europe&nbsp; (124&nbsp; described&nbsp; species so far), only few authors have dealt with&nbsp; its&nbsp; systematics&nbsp; and&nbsp; phylogenetic&nbsp; relationships&nbsp; of&nbsp; this&nbsp; large&nbsp; phytophagous genus. In order to understand the systematics and&nbsp; phylogeny&nbsp; of&nbsp; genus&nbsp; Merodon,&nbsp; it&nbsp; is&nbsp; necessary to analyze comprehensive number of&nbsp; gene&nbsp; regions&nbsp; known&nbsp; to&nbsp; evolve&nbsp; with various&nbsp; mutational&nbsp; rates,&nbsp; and&nbsp; as&nbsp; many&nbsp; feasible,&nbsp; phylogenetically&nbsp; important&nbsp; morphological&nbsp; characters.&nbsp; In&nbsp; this&nbsp; thesis, molecular (mtDNA, 18S rRNA, 28S rRNA)and&nbsp; 250&nbsp; morphological&nbsp; characters&nbsp; (with&nbsp; the aid&nbsp; of&nbsp; binocular&nbsp; and&nbsp; scanning&nbsp; electron microscope)&nbsp; were&nbsp; analyzed,&nbsp; separately&nbsp; and combined,&nbsp; with&nbsp; phylogenetic&nbsp; methods <em>maximum&nbsp; parsimony&nbsp; </em>(MP)&nbsp; and&nbsp; <em>maximum likelihood</em>&nbsp; (ML).&nbsp; In&nbsp; total&nbsp; 329&nbsp; specimens were&nbsp; analyzed.&nbsp; It&nbsp; has&nbsp; been&nbsp; proven&nbsp; that&nbsp; in these types of research integrative approach is crucial, as it considers a large&nbsp; amount of data from various sources. In ML analysis of all&nbsp; genes&nbsp; tribus&nbsp; Merodontini&nbsp; is monophyletic,&nbsp; with&nbsp; Nausigaster meridionalis&nbsp; grouping&nbsp; as&nbsp; a&nbsp; sister&nbsp; to&nbsp; the remaining&nbsp; Merodontini&nbsp; (<em>Azpeytia, Platynochaetus,&nbsp; Megatrigon,&nbsp; Eumerus&nbsp; </em>and <em>Eumerus&nbsp; tricolor&nbsp;</em> lineage). Genus&nbsp;<em> Eumerus </em>is&nbsp; paraphyletic,&nbsp; and&nbsp; within&nbsp; this&nbsp; genus&nbsp; two main&nbsp; monophyletic&nbsp; lineages&nbsp; can&nbsp; be identified:&nbsp;<em> Eumerus&nbsp; tricolor&nbsp; </em>clade&nbsp; (putative genera)&nbsp; and&nbsp; the&nbsp; remaining&nbsp; taxa&nbsp; of&nbsp; genus Eumerus.&nbsp; Genus&nbsp; <em>Merodon</em>&nbsp; monophyly&nbsp; is confirmed,&nbsp; based&nbsp; on&nbsp; all&nbsp; data&nbsp; analysis&nbsp; 5&#39; mtDNA&nbsp; COI&nbsp; and&nbsp; morphological&nbsp; dataset. Within&nbsp; genus&nbsp; <em>Merodon</em>&nbsp; five&nbsp; monophyletic clades&nbsp; can&nbsp; be&nbsp; identified&nbsp; (<em>aureus,&nbsp; albifrons, desuturinus,&nbsp; natans&nbsp; and&nbsp; avidus</em>),&nbsp; or&nbsp; four evolutionary&nbsp; lineages,&nbsp; putative&nbsp; subgenera: aureus,&nbsp; albifrons&nbsp; +&nbsp; desuturinus,&nbsp; natans&nbsp; and avidus.&nbsp; Mitochondrial DNA is proved to be very&nbsp; informative&nbsp; in&nbsp; resolving&nbsp; systematic position&nbsp; of&nbsp; clades,&nbsp; species&nbsp; groups&nbsp; and&nbsp; taxa, which confirms the higher variability of COI mtDNA&nbsp; sequences&nbsp; compared&nbsp; to&nbsp; nuclear genes. Nuclear genes alone didn&#39;t resolve the systematic&nbsp; position&nbsp; and&nbsp; phylogenetic relationships&nbsp; between&nbsp; most&nbsp; clades&nbsp; (28S rRNA&nbsp; identified&nbsp; only&nbsp; natans&nbsp; clade)&nbsp; within genus&nbsp; <em>Merodon,</em>&nbsp; but&nbsp; these&nbsp; genes&nbsp; confirmed the&nbsp; monophyly&nbsp; of&nbsp; tribus&nbsp; Merodontini&nbsp; and putative&nbsp; genera&nbsp; <em>Eumerus&nbsp; tricolo</em>r.&nbsp; Nuclear genes&nbsp; were&nbsp; also&nbsp; informative&nbsp; for&nbsp; some species&nbsp; groups,&nbsp; which&nbsp; implies&nbsp; that&nbsp; nuclear genes&nbsp; could&nbsp; be&nbsp; beneficial&nbsp; in&nbsp;&nbsp; resolving systematic position of both lower and higher taxonomic ranks. Low&nbsp; variability of nuclear genes within genus <em>Merodon</em>, especially 18SrRNA,&nbsp; proves&nbsp; the&nbsp; fact&nbsp; that&nbsp; they&nbsp; are&nbsp; conservative&nbsp; genes.&nbsp; Morphological&nbsp; characters&nbsp; of&nbsp; male&nbsp; genitalia&nbsp; carry&nbsp; the strongest&nbsp; phylogenetic&nbsp; signal,&nbsp; since&nbsp; they show a great evolutionary divergence in the shape&nbsp; and&nbsp; structural&nbsp; complexity,&nbsp; as&nbsp; a&nbsp; result of&nbsp; sexual&nbsp; selection.&nbsp; As&nbsp; molecular&nbsp; nor morphological&nbsp; characters&nbsp; alone&nbsp; couldn&#39;t fully&nbsp; resolve&nbsp; the&nbsp; phylogenetic&nbsp; relationships&nbsp; within genus&nbsp; <em>Merodon</em>,&nbsp; all data&nbsp; approach is proven&nbsp; to&nbsp; be&nbsp; necessary&nbsp; in&nbsp; this&nbsp; type&nbsp; of&nbsp; research.<br />&nbsp;</p>

Made available in DSpace on 2017-07-21T14:54:09Z (GMT). No. of bitstreams: 1 Bianca do Rocio Vogler.pdf: 886094 bytes, checksum: db3486c650f01f42b65fc8ee31927a18 (MD5) Previous issue date: 2014-09-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this dissertation, I analyze how the character Afonso da Maia is built in the novel The Maias, by Eca de Queiroz, and in the eponymous miniseries, originally broadcast in Brazil by Globo TV in 2001, having the playwright Maria Adelaide Amaral as a screenwriter, Luiz Fernando Carvalho as a director and the actor Walmor Chagas as a performer of this character. Thus, initially, the observation of some characteristics of Eça's writing enables us to understand the way the Portuguese writer uses them in the process of creating the character of the patriarch Maia in order to compose both the physical and psychological makeup of what I consider to be the fundamental character in the novel. And as the analysis is guided by the relationship between the television adaptation and the literary text on which it is based, I see that the theoretical concepts to be covered must contribute to the understanding of the dialogism that presents itself as basic to every creative movement. Thus, by taking into account certain concepts of the theories of Walter Benjamin and Mikhail Bakhtin, I mean to provide an understanding of how the approaches of the two philosophers, each in his own area and developing his views about different issues, may contribute to the study of the relationship between literature and film/television, especially regarding the audiovisual adaptations of literary texts. And, from such considerations with respect to how the character Afonso da Maia is built through some of the specifics of Eça de Queiroz's writing and also the issues detected in the relationship between the literary and the audiovisual media, I seek to investigate how the authors of the television text perform the adaptation of such character to a medium with distinct features of significance, but nonetheless manage to appropriate certain elements used by the Portuguese writer, as well as undertake some additions and modifications, in order to build the senses that pertain to the figure of the patriarch. / Nesta dissertação, procuro analisar a forma como é construída a personagem Afonso da Maia no romance Os Maias, de Eça de Queiroz, e na minissérie homônima, exibida originalmente no Brasil pela Rede Globo de Televisão no ano de 2001, tendo como roteirista a dramaturga Maria Adelaide Amaral, como diretor Luiz Fernando Carvalho e como intérprete dessa personagem, o ator Walmor Chagas. Desse modo, inicialmente, a observação de algumas das características da escrita de Eça nos possibilita a compreensão da maneira como o escritor português as emprega no processo de criação do patriarca Maia para compor tanto a constituição física quanto psicológica dessa que considero ser a personagem fundamental da obra. E por ter como foco uma análise pautada na relação de uma adaptação televisiva com o texto literário em que se baseia, vejo que os conceitos teóricos a serem abordados devem contribuir para o entendimento do dialogismo que se apresenta como aspecto primordial de todo movimento de criação. Assim, a abordagem de determinados conceitos das teorias de Walter Benjamin e de Mikhail Bakhtin tem por intuito estabelecer a compreensão de como as pesquisas dos dois filósofos, cada um na sua área e desenvolvendo as suas visões a respeito de temáticas distintas, podem contribuir para o estudo dessa relação entre literatura e cinema/televisão, principalmente em se tratando das adaptações audiovisuais de textos literários. E, partindo de tais ponderações com relação ao modo como é construída a personagem Afonso da Maia por meio de algumas das especificidades da escrita de Eça de Queiroz e a respeito desses pontos apreensíveis na relação entre a literatura e os meios audiovisuais, busco realizar a análise da forma como os autores do texto televisivo realizam a adaptação de tal personagem para um meio com recursos de significação distintos, conseguindo, mesmo assim, se apropriar de determinados elementos utilizados pelo escritor português, assim como empreendendo algumas adições e modificações, no intuito de construir os sentidos que apreendem na figura do patriarca.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-10-23T13:04:33Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Flavia Juliana Ferreira Furlan.pdf: 1362623 bytes, checksum: 6c83d02bf6b7bf72c1474c600ed503e9 (MD5) / Made available in DSpace on 2018-10-23T13:04:33Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Flavia Juliana Ferreira Furlan.pdf: 1362623 bytes, checksum: 6c83d02bf6b7bf72c1474c600ed503e9 (MD5) Previous issue date: 2018-08-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A produção de trigo no Brasil é insuficiente para atender a demanda interna deste cereal. Adicionalmente, a farinha obtida desses grãos, em sua grande maioria, tem qualidade inferior ao exigido pelas indústrias de panificação. Neste sentido, a seleção artificial direcionada para o alto potencial produtivo de grãos e adequada qualidade reológica da farinha para panificação deve ser intensificada pelos programas de melhoramento genético da cultura. Dessa forma, os objetivos do trabalho foram prospectar linhagens melhoradas de trigo com aptidão agronômica, alto potencial produtivo de grãos e elevada qualidade industrial da farinha. Foram avaliadas 46 linhagens melhoradas e quatro testemunhas, duas comerciais (Quartzo® e Safira®) e duas linhagens de alto potencial do programa de melhoramento da UEPG (L34 e L38). Foram realizadas avaliações de campo de vigor, ciclo vegetativo e reprodutivo, estatura, massa de mil grãos e rendimento de grãos. Foram conduzidas análises de qualidade industrial da farinha de trigo, como peso hectolitro, número de queda, rendimento de moagem, teor de glúten, alveografia e cor da farinha. Foram realizados as análises de variância e o agrupamento de médias pelo teste de Scott e Knott a 5%. Na sequência foram estimados os parâmetros genéticos para os caracteres agronômicos e de qualidade industrial da farinha. Os dados foram submetidos à análise de componentes principais (CP), estimada a dissimilaridade genética entre os genótipos de trigo e a análise de agrupamento pelo método UPGMA. As estimativas dos parâmetros genéticos com base nas características agronômicas, rendimento e qualidade evidenciaram elevada variabilidade genética entre as linhagens melhoradas, indicando possibilidade de ganho genético com a seleção artificial. A análise de componentes principais reduziu o conjunto de seis variáveis em dois componentes principais que explicaram 70,8% da variância fenotípica total. Com base na análise de CP, foi possível a identificação de diferentes grupos de genótipos e das linhagens melhoradas mais promissoras de trigo em relação aos caracteres agronômicos e ao potencial produtivo de grãos. No agrupamento realizado para as características de qualidade industrial e para os parâmetros da alveografia, a linhagem melhorada L57 se destacou com elevada qualidade da farinha, sendo classificada como trigo melhorador. Os resultados demonstraram o potencial agronômico de várias linhagens melhoradas do programa de melhoramento genético da UEPG, com maior destaque para a linhagem L57, podendo no futuro ser recomendadas como cultivares comerciais com elevado potencial produtivo de grãos associado à alta qualidade industrial para a panificação. / The production of wheat in Brazil is insufficient to meet domestic demand for this cereal. In addition, the flour obtained from these grains, for the most part, is of lower quality than that required by the bakery industries. In this sense, the artificial selection directed to the high productive potential of grains and adequate rheological quality of the flour for baking must be intensified by the crop breeding programs. Thus, the objectives of the study were to prospect wheat breeding lines with agronomic aptitude, high grain yield potential and high industrial quality of the flour. Were evaluated 46 breeding lines and four controls, two commercial (Quartzo® and Safira®) and two high potential lines from the UEPG breeding program (L34 and L38). Field evaluations of vigor, vegetative and reproductive cycle, stature, a thousand grain mass and grain yield were performed. Industrial quality analyzes of wheat flour, such as test weight, falling number, milling yield, gluten content, alveograph and flour color were conducted. Analyzes of variance and the grouping of means by the Scott and Knott test were performed at 5%. The genetic parameters for the agronomic traits and the industrial quality of the flour were estimated. The data were submitted to multivariate statistical analysis of principal components, estimated the genetic dissimilarity between the wheat genotypes and the cluster analysis by the UPGMA method. Estimates of the genetic parameters based on the agronomic, yield and quality traits showed high genetic variability among the breeding lines, indicating the possibility of genetic gain with the artificial selection. Principal component analysis reduced the set of six variables in two principal components that accounted for 70.8% of the total phenotypic variance. Based on PC analysis, it was possible to identify different groups of genotypes and the most promising whet breeding lines in relation to the agronomic traits and the productive potential of grains. In the cluster produced for the industrial quality characteristics and alveograph parameters, the breeding line L57 was highlighted with high quality of the flour, being classified as wheat improver. The results demonstrated the agronomic potential of several breeding lines of the UEPG breeding program, most notably the L57 lineage, which may in the future be recommended as commercial cultivars with high productive potential of grains associated with high industrial quality for baking.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-08-31T12:51:52Z No. of bitstreams: 1 Joana Angélica Travassos de Oliveira.pdf: 990386 bytes, checksum: 1ef99135d1af814f0fbf9867a5b2a44a (MD5) / Made available in DSpace on 2017-08-31T12:51:52Z (GMT). No. of bitstreams: 1 Joana Angélica Travassos de Oliveira.pdf: 990386 bytes, checksum: 1ef99135d1af814f0fbf9867a5b2a44a (MD5) Previous issue date: 2017-08-25 / The present dissertation has as its main corpus of analysis the novel As três Marias (1939), by the Brazilian writer Rachel de Queiroz (1910-2003). It aims at investigating the feminine figurations created in the book, by observing the trajectory of the three main characters in the narrative plot: Maria Augusta, Maria José and Maria da Glória, three girls who meet one another in a boarding school run by nuns and soon begin a lifelong friendship. Firstly, there’s a contextualization of the author’s literary career, the very first woman to take part in the Brazilian Academy of Letters. Then, we advance towards the description of some of the strong female characters the author usually portrays in her books, in an attempt to situate the novel “As três Marias” in her body of work. Finally, we analyze the trajectory of the three Marias, by examining the main character’s narrative voice, Guta, short for Maria Augusta, who incarnates women’s struggle for emancipation and their fight against suppression. Moreover, this research seeks to analyze the way three different roles of women, emblematic of the Brazilian society in the first half of the twentieth century, are depicted in the novel: women confined to marriage and family (Maria da Glória), women who join religion and pursue a career in teaching (Maria José), and those who seek freedom and independence, breaking the stereotype of submissive and dominated women in a patriarchal society (Guta) / Esta dissertação tem como corpus central o romance As três Marias (1939), da escritora cearense Rachel de Queiroz (1910-2003). O objetivo é investigar as figurações do feminino construídas na obra, a partir da observação da trajetória das três personagens que constituem a trama narrativa: Maria Augusta, Maria José e Maria da Glória, três meninas que se encontram em um internato de freiras onde iniciam uma amizade por toda a vida. Para tanto, parte-se primeiramente da contextualização da carreira literária da autora, primeira mulher a ocupar uma cadeira na Academia Brasileira de Letras, passando pela descrição de algumas de suas fortes personagens femininas, presentes em quase todos seus romances, para se buscar situar o romance As três Marias no conjunto da obra da escritora. Após esse percurso, aborda-se a trajetória de cada uma das Marias, a partir da análise da voz de sua narradora e protagonista, Maria Augusta, a Guta, aquela que encarna a luta da mulher pela emancipação das instituições de dominação da mulher. Busca-se, assim, analisar-se como o romance figura três modos diferentes do papel da mulher, emblemáticos da sociedade brasileira da primeira metade do século XX: a restrita ao matrimônio e à família (Maria da Glória), a que se dedica à religião e ao magistério (Maria José) e a que busca sua liberdade e independência, quebrando o estereótipo da mulher submissa e dominada em uma sociedade patriarcal (Guta)

Cette thèse porte sur l’analyse et la génération de mouvements expressifs pour des personnages humains virtuels. Sur la base de résultats d’état de l’art issus de trois domaines de recherche différents (la perception des émotions et du mouvement biologique, la reconnaissance automatique des émotions et l’animation de personnages), une représentation en faible dimension des mouvements a été proposée. Cette représentation est constituée de trajectoires spatio- temporelles des extrémités des chaînes articulées (tête, mains et pieds) et du pelvis. Nous avons soutenu que cette représentation est à la fois appropriée et suffisante pour caractériser le contenu expressif du mouvement humain et pour contrôler la génération de mouvements corporels expressifs. Pour étayer ces affirmations, cette thèse propose : i.) Une nouvelle base de données de mouvements capturés. Cette base de données a été inspirée par la théorie du théâtre physique et contient des exemples de différentes catégories de mouvements (à savoir des mouvements périodiques, des mouvements fonctionnels, des mouvements spontanés et des séquences de mouvements théâtraux), produit avec des états émotionnels distincts (joie, tristesse, détente, stress et neutre) et interprétés par plusieurs acteurs. ii.) Une étude perceptuelle et une approche basée classification automatique conçus pour évaluer qualitativement et quantitativement la quantité d’information liée aux émotions encore véhiculée et codée dans la représentation proposée. Nous avons observé que, bien que de légères différences dans la performance aient été trouvées par rapport à la situation dans laquelle le corps entier a été utilisé, notre représentation conserve la plupart des qualités de mouvements liées à l’expression de l’affect et d’émotions. iii.) Un système de synthèse de mouvement capable : (a) de reconstruire des mouvements du corps entier à partir de la représentation à faible dimension proposée, (b) de produire de nouvelles trajectoires extrémités expressives (incluant la trajectoire du pelvis). Une évaluation quantitative et qualitative des mouvements du corps entier générés montre que ces mouvements sont aussi expressifs que les mouvements enregistrés à partir d’acteurs humains. / This thesis addresses the analysis and generation of expressive movements for virtual human characters. Based on previous results from three different research areas (perception of emotions and biological motion, automatic recognition of affect and computer character animation), a low-dimensional motion representation is proposed. This representation consists of the spatio-temporal trajectories of end-effectors (i.e., head, hands and feet) and pelvis. We have argued that this representation is both suitable and sufficient for characterizing the underlying expressive content in human motion and for controlling the generation of expressive whole-body movements. In order to prove these claims, this thesis proposes: i.) A new motion capture database inspired by physical theater theory. This database contains examples from different motion classes (i.e., periodic movements, functional behaviors, spontaneous motions, and theater-inspired motion sequences) and distinct emotional states (happiness, sadness, relaxedness, stress and neutral) performed by several actors. ii.) A user study and automatic classification framework de- signed to qualitatively and quantitatively assess the amount of emotion-related information conveyed and encoded in the proposed representation. We have observed that although slight differences in performance were found with respect to the cases in which the entire body was used, our proposed representation preserves most of the motion cues salient to the expression of affect and emotions. iii.) A simple motion synthesis system able to capable of: a) reconstructing whole-body movements from the proposed low-dimensional representation, and b) producing novel end- effector (and pelvis) expressive trajectories. A quantitative and qualitative evaluation of the generated whole body motions shows that these motions are as expressive as the movements recorded from human actors

Esta tese traz a análise das personagens arrivistas femininas das obras romanescas de Machado de Assis e Marcel Proust. São elas: Guiomar, Helena e Sofia, de A mão e a luva, Helena e Quincas Borba, respectivamente, e Odette e Madame Verdurin de À la recherche du temps perdu. Em A Mão e a luva e Helena, Machado engendra as tramas no Rio de Janeiro dos anos 1850, período estável do Segundo Reinado. A trajetória ascensional de Guiomar e Helena, em uma época de pouca mobilidade social, justifica-se pelo fato de serem personagens singulares, dotadas de grande habilidade. Aqui, o destino repara o equívoco do nascimento desprivilegiado. Quincas Borba, por outro lado, ambientado entre 1867 e 1871, apresenta uma sociedade mais dinâmica e fluida. A mudança gradativa de classes operada por Sofia e Cristiano Palha se deve ao grande senso de oportunismo nos negócios e às ações pouco escrupulosas do casal. De todo modo, as narrativas brasileiras tratam predominantemente do desejo de pertencer à burguesia rica. Em À la recherche du temps perdu, Proust mostra uma sociedade complexa e estratificada, em que a burguesia e a nobreza, a despeito da Revolução Francesa, continuam divididas em várias subcategorias na Belle Époque. Por isso, Odette e Madame Verdurin têm de cumprir muitas etapas no decorrer de quatro décadas para conquistarem seu espaço no faubourg Saint-Germain. Considerando as diferenças históricas e espaciais dos romances brasileiros e franceses, analisamos a construção das figuras femininas citadas através do cotejamento de trechos das obras. Com isso, foi-nos possível apontar pontos de aproximação como o casamento, a maternidade e a importância dos salões, vistos sob os pontos de vista das condições sócio-culturais de cada país. / This thesis provides an analysis of female social-climber characters in the novels of Machado de Assis and of Marcel Proust. They are: Guiomar, Helena, and Sofia, from A mão e a luva, Helena, and Quincas Borba, respectively; and Odette and Madame Verdurin, from À la recherche du temps perdu. In A Mão e a luva and in Helena, Machado unwinds his plot in the Rio de Janeiro of the 1850s, a stable period of the Second Reign. The upwards trajectory of Guiomar and Helena during a time of limited social mobility is justified by the fact that they are singular characters, gifted with great abilities. Here, destiny corrects the mistake of underprivileged birth. Quincas Borba, on the other hand, set between 1867 and 1871, presents a more dynamic and fluid society. The gradual changes in class accomplished by Sofia and Cristiano Palha is a result of the couples enormous sense of opportunism in business and the relative lack of scruples in their actions. Regardless, the Brazilian stories deal predominately with the desire to belong to the wealthy bourgeoisie. In À la recherche du temps perdu, Proust shows a complex and stratified society where the bourgeoisie and nobility, in spite of the French Revolution, continue to be divided into various categories of the Belle Époque. As a result, Madame Verdurin has to pass through many stages during a period of four decades to conquer her space in the faubourg of Saint-Germain. Considering the historical and spatial differences between the Brazilian and French novels, we analyze the construction of the abovementioned female characters through a comparison of excerpts from the works. In so doing, it was possible for us to show points of similarity, such as marriage and maternity and the importance of salons, viewed through the eyes of each countrys sociocultural conditions.

Tipos móveis de metal da Funtimod: contribuições para história tipográfica brasileira A fundição de tipos móveis de metal foi uma atividade primordial para o funcionamento das artes gráficas desde seu desenvolvimento, no século 15, até meados do século 20. Entretanto, as primeiras casas fundidoras foram instaladas no Brasil apenas no começo dos anos oitocentistas - quando a técnica ainda era realizada com procedimentos manuais -, poucos anos depois da corte portuguesa ter permitido a reprodução de impressos em território nacional. Inovações tecnológicas do século 19, principalmente máquinas fundidoras e equipamentos para gravar punções e matrizes, transformaram as oficinas de fundição em indústrias. Dentro deste contexto industrial, a Funtimod, objeto de estudo desta pesquisa de doutorado, operou durante quase todo o século 20. A empresa, que pode ser considerada a maior fundição de tipos brasileira, foi fundada na cidade de São Paulo, em 1932, por uma colaboração entre os alemães Karl H. Klingspor e Josef Tscherkassky, a empresa alemã-brasileira Sociedade Técnica Bremensis e a fundição suíça Haas, que estava representando a fundição alemã D. Stempel. Com filiais em Belo Horizonte, Curitiba, Porto Alegre, Recife e Rio de Janeiro, a Funtimod serviu a indústria gráfica nos quatro cantos do País, comercializando máquinas e todo tipo de material tipográfico. Embora os tipos móveis de metal fundidos pela empresa sejam o foco desta investigação, o estudo de caso Funtimod também abordou sua trajetória histórica e a fábrica de tipos, por intermédio de coleta de dados em cinco fontes de evidência diferentes: registros, documentos, entrevistas, observações não-participantes e artefatos físicos. Desse modo, foi possível salientar a dependência de empresas alemãs para o desenvolvimento dos negócios no que tange aos produtos comercializados. Se a Funtimod estava aparelhada, nos moldes das fundições europeias, para manufaturar um tipo desde o desenho até a fundição, definitivamente, o design das faces não foi uma etapa valorizada. Grande parte dos tipos encontrados em nove catálogos da Funtimod, com repertórios tipográficos diferentes, foi identificada como sendo de origem alemã, principalmente das firmas D. Stempel e Klingspor. E, apesar de algumas faces não terem sido identificadas em outras fundições brasileiras ou estrangeiras, não foram encontradas evidências de que a Funtimod tenha lançado no Brasil alguma face com desenho original. A coleção de tipos Funtimod, por outro lado, é formada por faces representativas do começo do século 20, como Futura, Kabel, Memphis e Mondial, assim como revivals da Bodoni e Garamond. Análises comparativas dos tipos móveis de metal da Funtimod revelaram práticas singulares realizadas na fábrica de tipos brasileira. No meio de designs internacionalmente conhecidos, por exemplo, alguns caracteres, em especial os conjugados com os diacríticos til e cedilha, apresentam variações de forma, posicionamento, peso e tamanho na mesma face. As considerações desta investigação contribuem para a história tipográfica brasileira de uma forma particular, numa relação intrínseca com a Alemanha, que, sobretudo, levaram-me a questionar o quão brasileira a Funtimod realmente foi. / Type founding was one of the most important activities for the graphic arts since its beginning in the fifteenth century until the middle of twentieth century. However, the first type foundries were only installed in Brazil in the beginning of 1800s a few years after the Portuguese Court allowed printing in Brazilian lands, and when the technique was still performed with manual methods. Technical innovations developed in the nineteenth century, mainly, typecasting machines and pantograph punchcutting machines, which transformed type foundries into industries. Within this industrial context, Funtimod, the subject of this doctoral research and the largest Brazilian type foundry, operated during almost the entire twentieth century. Funtimod was founded in 1932 in São Paulo by a collaboration of two Germans (Karl H. Klingspor and Josef Tscherkassky), the German-Brazilian company Sociedade Técnica Bremensis, and the Swiss type foundry Haas. With branches in Belo Horizonte, Curitiba, Porto Alegre, Recife e Rio de Janeiro, Funtimod supplied the graphic industry across the four corners of the country, selling all kinds of typographic materials as well as machines. Although the movable metal types cast by the company were the focus of this investigation, the case study of Funtimod also explored its historic development and the factory, through data gathered from multiple sources: specimens, documents, interviews, non-participant observations, and physical artefacts. Thereby, the evidence suggests Funtimod\'s reliance on German companies for its business development in respect to the products manufactured in Brazil. Seeing that Funtimod was equipped, like European foundries, to manufacture types from the design until the casting phases, definitely, the originality of the typeface\'s design was not considered valuable by the factory. The majority of faces, which were found in nine specimens with different typographic collections, were identified as being German, especially from D. Stempel and Klingspor foundries. Moreover, although some of the faces have not been identified in other foundries, evidence was not found that Funtimod had released in Brazil any face cast with an original design. Funtimod type collection, on the other hand, is composed with representative faces from the beginning of the twentieth century, such as Futura, Kabel, Memphis, Mondial, as well as revivals of Bodoni and Garamond. Comparative analysis of movable metal types from Funtimod revealed that singular practices were performed at the Brazilian type foundry. Among internationally well-known faces, for instance, some characters, especially the ones joined with the tilde and cedilla diacritics, presented variations in form, position, weight and size. The findings of this investigation contribute to the Brazilian typographic history in a particular way, in a intrinsic relationship with Germany, that, above all, led me to question how Brazilian Funtimod really was.

A figura da mulher ocupa significativo papel nas novelas de cavalaria do Ciclo Bretão. Emergindo como um elemento que traz liga às narrativas do lendário artúrico, constitui-se adjuvante essencial e multifacetada na construção dos episódios, numa interação constante com o masculino representado, principalmente, pelos cavaleiros. O Medievo traz à tona uma imagem matizada do feminino: a mulher socialmente vista sob clivagens diversas é refletida na literatura de cavalaria, conforme se pode verificar em A Demanda do Santo Graal. A presença feminina é importantíssima na narrativa, sobretudo na sua tensa relação com a cavalaria, agora ligada ao elemento religioso - monastizada, celibatária e ascética. O objetivo precípuo de nossos estudos é investigar de que maneira a fôrma sociocultural medieva, na qual foi moldada A Demanda do Santo Graal, se relaciona com seu substrato: as narrativas provindas da cosmovisão inerente ao imaginário céltico. Desta feita, nosso viés analítico verticaliza-se no elemento feminino presente na obra. Mais especificamente, toma-se por escopo a imagem de personagens que refletem a ideologia clerical moralístico-didatizante do século XIII, mas, sobretudo, resgata-se a imagem de personagens imbuídas de singular dualidade; ambigüidade esta que é marca não só do medievo paradoxal concernente ao feminino, mas também de personas literárias concebidas entre dois mundos, dois pólos ideológicos distintos. Em outros termos, fala-se de personagens que são seres ficcionais bifrontes: personagens localizadas entre as herdades e as identidades. Foram tomados como corpora de pesquisa os episódios em que estas damas polidimensionais aparecem e se tornam adjuvantes na ação literária, seja para cooperar, confundir ou prejudicar os cavaleiros que empreendem a sagrada, inefável e venturosa busca do Santo Cálix que dará fim às aventuras do Reino de Logres / The figure of woman takes leading role in the novels of chivalry Cycle Breton. Emerging as an element that links the narratives of the legendary Arturo, it constitutes a vital and multifaceted adjuvant in the construction of the episodes in an ongoing interaction with the male represented mainly by knights. The Medieval brings up a nuanced picture of the female: the woman socially viewed under various divisions is reflected in the literature of chivalry, as it can be seen in The Quest for the Holy Grail. The female presence is important in the narrative, especially in its tense relationship with the chivalry, now linked to the religious element monasticated, ascetic and celibaterian. The main objective of our study is to investigate how the sociocultural medieval mold, in which was shaped The Quest for the Holy Grail relates to its substrate, the narratives originated of the worldview inherent in the Celtic imagination, thus our analytical bias uprights in the female element in this work. More specifically, it becomes a scope which the image of characters reflects the ideology of clerical didactic and moralistic of the thirteenth century. However it redeens the image of characters imbued with singular duality; that ambiguity which is not only a mark of the medieval paradoxical concerning the female, but also of literary characters designed between two worlds, two distinct ideological poles. In other words, it is about personas who are "bifront fictional beings". Characters located between the inheritances and identities. The research bases were the episodes in which these polidimensionals ladies appear and become adjuvants in literary action, either to cooperate, confuse or impair the knights who undertake the sacred, ineffable and "fortunate" quest for the Holy Chalice which will end the adventures of the Kingdom of Logres

Willa Cather (1873-1947) is nowadays regarded as one of the most important U.S. writers, and the volume of critical works, articles and dissertations devoted to her as a person and an artist is immense. One of the problematic relationship has always been, as can be seen from a number of critical essays and books, between Cather and U.S. feminists. The feminists would have liked to include Cather, as an feminist writer, into their group of the first-rate, woman-authored "female canon", however, such intent brought about an important question. Is it possible to regard Willa Cather as a feminist, considering her attacks on other women-writers, and her negative attitude towards the organized women's rights movement? This work's objective is to explore the background of Cather and organized women's rights movement's bizarre relationship, and answer the question above. To find out if Cather's work with its strong heroines empowered or weakened women in general, her novels and stories, rather then facts and assumption about her personal life, are used. The relevant parts of the plots from Cather's fiction are put into the historical perspective of the contemporary U.S. laws, showing that although Cather created exceptional woman characters, she let them deal with the same conditions and problems other...

Made available in DSpace on 2015-09-25T12:23:44Z (GMT). No. of bitstreams: 1 Tereza Raquel Arraes Alves Rocha.pdf: 548288 bytes, checksum: d0bdde3938bb92f099520c35232efea9 (MD5) Previous issue date: 2010-03-29 / This is paper focuses on the analysis of the, gender of hybridism, urban experience and characters that permeate the book Ô Copacabana!, written by the brazilian João Antônio Ferreira Filho (1937-1996), published in 1978 by Editora Civilização Brasileira. Structuring elements of the universe of João Antônio s narrative, his unique characters show a marked tendency in his writing: the predilection for those who are marginalized by society. Working intensively with themes of urban underworld in large cities, the writer makes use of ordinary practitioners to decant and narrate experiences of violence, pain, disillusionment and survival in an environment that hits and harden. As the narratives ranging in poles of order and disorder, their characters have changes of positions that vary depending on the textual content, a hallmark that most part of the critics calls it reversibility. Thus, the humiliated and offended can be the oppressive in the next turn of the page. Considering that this feature presents itself as a copyright mark that elevates João Antônio to a status of importance in Brazilian s contemporary literature, this research will be presented by the analysis of his marginalized characters and themes. / Este trabalho tem como objetivo uma análise do hibridismo de gêneros, experiência urbana e personagens que permeiam o livro Ô Copacabana!, do escritor paulista João Antônio Ferreira Filho (1937-1996), lançado em 1978, pela editora Civilização Brasileira. Elementos estruturantes do universo narrativo de João Antônio, as personagens marcam uma tendência em sua escrita: a predileção pelos marginalizados sociais. Trabalhando intensamente com temas do submundo urbano das grandes metrópoles, o escritor lança mão desses praticantes ordinários para decantar e narrar experiências de violência, dor, desencanto e sobrevivência em um ambiente que os agride e oprime. Assim como as narrativas oscilam em pólos de ordem e desordem, suas personagens apresentam mudanças de posições que oscilam dependendo do contexto textual, uma marca distintiva que parte da crítica nomeia como reversibilidade. Assim, o humilhado e ofendido pode ser o opressor no próximo virar de página. Entendendo que essa característica apresenta-se como uma marca autoral que faz João Antônio importante na literatura brasileira contemporânea, será feita a análise dos seus marginalizados de papel.