Abstract Because of the global competition, the work in a position becomes complex and needs to cooperate with others now. In a team, everyone with different characters has to use his or her ability to assist a team in finishing the mission. Actually the cooperative relationship between Taiwanese and Japanese companies is quite close. No matter the business companies or the educational groups have got to rely on multinational cooperation. But the managerial philosophy of Japanese teams and Taiwanese ones is very different. This research expects to compare the different behaviors between the students¡¦ corporations in Taiwan and Japan, which hope to find out the causes to cooperate with each other. That could be a reference for the teamwork of Taiwan and Japan. This research is based on Taiwanese and Japanese students¡¦ team behaviors. The goal of it discusses whether the organizational character and the process of its performance are different or not. According to the thesis of national and foreign educators, they focus on teams¡¦ participation, process and production, and mention a conceptual framework based on the organizational character, implementing process and team¡¦s performance by the independent variable of organizational character, by the intermediary variable of team implementing, and by dependent variable of team performance. This research interviewed the students of commercial and managerial department in Taiwan and Japanese by the way of questionnaire. To analyze 214 valid copies (78 copies from Taiwan, and 136 copies from Japan) reaches a conclusion: it is related between team organizational character, team implementing, and team performance. In the aspect of team performance, it also reveals that working design, mutual relations, and social support affected group performance between Taiwan and Japan very much. Conclusions: 1. Each team needs variable kinds of members, such as ones who are creative, are capable to analyze questions, are good at communicating, or are gifted to implement. Thus, in order to arrange a team with the best performance, it should analyze members¡¦ personality, which can let members have appropriate positions, and predict each member¡¦s different behavior. 2. Both of teams in Taiwan and Japan quite emphasize on what members design at work, and on which level to participate activities. In fact, there are two aspects to consider for working design: profession and spontaneity. Working design is considered to combine the different levels of profession and spontaneity, because those professional factors, like the variety of skills, the integrity of missions, or the meanings of missions, etc. influence the common sense of meanings of working. Furthermore, the spontaneity affects members¡¦ responsibility at work. 3. This research uncovers that the teamwork in Taiwan is effective than that in Japan, because Japanese students pay attention on the coordination of other¡¦s, and Taiwanese students emphasize on the entire group¡¦s interaction instead. Even though Taiwanese members consider that it is prior to finish missions, this research also figures out that the influence of social support, such as working atmosphere, psychological aspect and relations are also quite important. 4. In order to overcome problems to cooperate caused by different nations and background, the members can receive diverse trainings of social relations, or conflict management. To establish the positive atmosphere to communicate and to strengthen believes between members can help inspire teamwork¡¦s implementing and creativity. Teamwork is not a cure-all, so it should understand why a company needs teamwork. Nowadays Japanese companies in Taiwan need Taiwanese managers to increase their competitions. The question is how to arrange them to reach the best performance, not how to let a teamwork implement. Thus, only when effectively to use Taiwanese managers can teamwork perform very well. In conclusion, this research can provide the difference of conception of teamwork between students in Taiwan and Japan, and the causes that members have to conquer and strengthen in teamwork.

No ano de 1934, o artista alemão Max Ernst lança em Paris um peculiar conjunto de fascículos intitulado Uma Semana de Bondade ou os Sete Elementos Capitais. Trata-se, segundo o próprio artista, de um romance de colagens. A obra, que fora pensada e produzida por Ernst durante férias na Itália, consiste de 182 colagens feitas a partir da combinação de figuras provenientes de romances folhetinescos do século XIX e de enciclopédias do mesmo período. Em cada uma dessas colagens, há cenas de violência e horror, praticadas por seres estranhos, meio humanos, meio animais. Fora a estranheza já naturalmente causada pelas colagens, é curioso notar o fato de que a obra se apresenta como um romance, tanto na denominação dada pelo autor, quanto pela forma na qual foi lançado, inicialmente por meio de cadernos periódicos, à moda dos folhetins, e posteriormente na forma de um grande volume. Este trabalho procura analisar como duas características caras ao romance se configuram nesta obra de Ernst. São elas a narratividade e os personagens. Para tanto, o trabalho faz uma revisão do movimento surrealista, apresentando a colagem de Max Ernst e a análise da narratividade e dos personagens em Uma Semana de Bondade. / In 1934, the German artist Max Ernst launches in Paris a peculiar set of fascicles entitled A Week of Kindness or the Seven Deadly Elements. It is, according to the artist himself, a \"collage-novel\". The work, which was conceived and produced by Ernst during a holiday in Italy, is consisted of 182 collages made from the combination of pictures from nineteenth-century kitsch novels and encyclopedias of the same period. In each of these collages, there are scenes of violence and horror, practiced by strange beings, half human, half animals. Apart from the strangeness already caused by the collages themselves, it is curious to note the fact that the work presents itself as a novel, in the denomination given by the author and also in the form in which it was launched, initially by means of periodical fascicles, in the style of serial novels, and later in the form of a large volume. This work tries to analyze how two characteristics of the novel are configured in this Ernst\'s work: narrativity and characters. In order to do this, the surrealist movement is reviewed, presenting the collage of Max Ernst and the analysis of narrativity and characters in A Week of Kindness.

No ano de 1934, o artista alemão Max Ernst lança em Paris um peculiar conjunto de fascículos intitulado Uma Semana de Bondade ou os Sete Elementos Capitais. Trata-se, segundo o próprio artista, de um romance de colagens. A obra, que fora pensada e produzida por Ernst durante férias na Itália, consiste de 182 colagens feitas a partir da combinação de figuras provenientes de romances folhetinescos do século XIX e de enciclopédias do mesmo período. Em cada uma dessas colagens, há cenas de violência e horror, praticadas por seres estranhos, meio humanos, meio animais. Fora a estranheza já naturalmente causada pelas colagens, é curioso notar o fato de que a obra se apresenta como um romance, tanto na denominação dada pelo autor, quanto pela forma na qual foi lançado, inicialmente por meio de cadernos periódicos, à moda dos folhetins, e posteriormente na forma de um grande volume. Este trabalho procura analisar como duas características caras ao romance se configuram nesta obra de Ernst. São elas a narratividade e os personagens. Para tanto, o trabalho faz uma revisão do movimento surrealista, apresentando a colagem de Max Ernst e a análise da narratividade e dos personagens em Uma Semana de Bondade. / In 1934, the German artist Max Ernst launches in Paris a peculiar set of fascicles entitled A Week of Kindness or the Seven Deadly Elements. It is, according to the artist himself, a \"collage-novel\". The work, which was conceived and produced by Ernst during a holiday in Italy, is consisted of 182 collages made from the combination of pictures from nineteenth-century kitsch novels and encyclopedias of the same period. In each of these collages, there are scenes of violence and horror, practiced by strange beings, half human, half animals. Apart from the strangeness already caused by the collages themselves, it is curious to note the fact that the work presents itself as a novel, in the denomination given by the author and also in the form in which it was launched, initially by means of periodical fascicles, in the style of serial novels, and later in the form of a large volume. This work tries to analyze how two characteristics of the novel are configured in this Ernst\'s work: narrativity and characters. In order to do this, the surrealist movement is reviewed, presenting the collage of Max Ernst and the analysis of narrativity and characters in A Week of Kindness.

La plupart des problématiques évoquées en esthétique au XXIe siècle tournent autour de la question du personnage de fiction. Dans ce cadre, cette étude essaie d'examiner comment les stratégies esthétiques et la poétique de la réception sont liées, à travers l'œuvre d'un auteur autrichien, Stefan Zweig, qui écrivit non seulement un grand nombre de récits fictionnels (essentiellement des nouvelles et romans), mais également des essais historiques et géographiques. Sa poétique du récit construit des situations de communication, comme le récit enchâssé, dans lesquelles le lecteur est invité à s'impliquer, face à un personnage dont les propres mots forment la seule version des faits racontés dans la fiction. Dans le même ordre d'idée, les personnages, qu'il soient héros de fiction ou de biographie, sont souvent placés dans une situation de crise, qui à la fois révèle une destinée intérieure et se présente comme une conséquence inéluctable de leurs actes. Tous les éléments de leur vie et de leur personnalité convergent donc, et s'expliquent les uns les autres, comme si les personnages de Zweig devenaient des êtres totalement cohérents. En conclusion, il semblerait que les personnages de biographie s'inscrivent dans les problématiques touchant également la fiction, et même qu'ils appartiennent à la catégorie des personnages de fiction ; il sera donc productif de leur appliquer les outils de la critique narrative, par exemple en ce qui concerne la perspective du lecteur et les mécanismes affectifs de projection. / Most of the aesthetics questions of the XXIst century are focalised on the issue of fictional character. In this frame, this study try to examine how aesthetical strategies and poetics of reception are connected through the case of an austrian author, Stefan Zweig, who wrote not only a lot of fictional narratives (essentially short stories and novels), but also historical and geographical essays.His narrative poetic draw situations of communication, like framed narrative, in which the reader is invited to implicate himself, face to a character whose words are the only one version of fictional facts. In the same order of ideas, characters, in fiction or in biographies, are often placed in a critical situation, that reveals in the same time an inner destiny and unaffordable consequence of the way they act. So all elements of life and personnality are convergent, and can explain each other, as if Zweig's characters were totally coherent beings. To conclude, it appears that biographical characters have fictional problematics, and more, they belong to the category of fictional characters ; consequently, it is productive to apply to it the tools of narrative critic, for instance in the perspective of reader and affectives mecanisms of projection.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T19:18:38Z No. of bitstreams: 1 FINAL - Dissertação com ABNT - Andréa Almeida.pdf: 22679475 bytes, checksum: 14cba6d1fa4ef8bca5fa46c14982c9a2 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:18:31Z (GMT) No. of bitstreams: 1 FINAL - Dissertação com ABNT - Andréa Almeida.pdf: 22679475 bytes, checksum: 14cba6d1fa4ef8bca5fa46c14982c9a2 (MD5) / Made available in DSpace on 2018-09-11T13:18:31Z (GMT). No. of bitstreams: 1 FINAL - Dissertação com ABNT - Andréa Almeida.pdf: 22679475 bytes, checksum: 14cba6d1fa4ef8bca5fa46c14982c9a2 (MD5) / A pesquisa aponta e analisa as criações dos figurinos, de Victor Moreira, para o espetáculo Paixão de Cristo. Importante descrever processos e materiais, registrando fotograficamente os figurinos existentes no acervo de Nova Jerusalém e os croquis do acervo do referido artista e outras imagens de livros de Carlos Reis, Jamildo Melo e Diva Pacheco, pois resgata parte da história do teatro histórico, religioso e cultural pernambucano, nordestino e até brasileiro. Somada a investigação fontes bibliográficas, e levando em consideração à história oral, nas entrevistas e depoimentos de Victor Moreira, Marina Pacheco, Arnaldo Siqueira e Antonio Lopes, sendo este último quem me levou a Victor Moreira, bem como, à análise do acervo do artista formatando o meu objeto da pesquisa enquanto história e cultura. Faço estudo qualitativo, descritivo e analítico das montagens do ano de 1954 ao ano de 2004, pontuando como se deu a evolução dos figurinos de Herodes, Pilatos e Demônios. A transformação vista etimologicamente como mudanças nos figurinos de Herodes e Pilatos, e a transfiguração, estabelecida enquanto etimologia, dos três Demônios ao assimilar formas diferentes. Levando-me a estabelecer nos meus relatos os processos criativos como processo de trabalho que incorpora pesquisa do artista, técnicas da produção, no que concerne a elaboração dos figurinos do espetáculo como um todo e no particular das personagens Herodes, Pilatos e Demônios. / The research show and analyze the Victor Moreira’s costume creations, for the Passion of Christ‘s play. It’s Important to describe the processes and materials, recording by photos the costumes featured in the collection of New Jerusalem and sketches of the collection of that artist and other images of books of Carlos Reis, Jamildo Melo and Diva Pacheco, rescues part of the history of the old theater, religious and cultural of Pernambuco, as northeastern as Brazil. Added research literature sources, and considering the oral history interviews and testimonials from Victor Moreira, Marina Pacheco, Arnaldo Siqueira and Antonio Lopes, the latter who took me to Victor Moreira, and for the analysis of collection of the artist being formatting the object of my research as history and culture. I made a qualitative, descriptive and analytical study of the productions of the year 1954 to 2004, highlighting how was the evolution of the costumes of Herod, Pilate and Demons. The transformation view etymologically as changes in the costumes of Herod and Pilate, and the transfiguration, established as etymology, the three Demons to assimilate different forms. Leading me to establish in my reports the creative process as a work process that incorporates artist’s research, his concept and constrution production techniques, concerning the preparation of the costumes of the show as a whole and in particular the characters Herod, Pilate and Demons.

Sélectionner des traitements de surface pour l’industrie nécessite de prendre en compte : les propriétés à conférer au substrat, la nature et la géométrie de celui-ci et les caractéristiques du milieu extérieur. Certaines combinaisons de ces paramètres rendent difficile la sélection d’un traitement unique, d’où le recours à des multitraitements de surface. Dès lors, se posent les questions suivantes : - Utiliser des multitraitements de surface peut se faire en scindant les différentes requêtes en sous-ensembles, de manière à ce que chaque traitement réponde à l’un d’eux. Dans quel ordre ces requêtes doivent-elles être introduites par rapport au substrat ? - Comment sélectionner les traitements de surface répondant à chaque requête individuelle ? - Comment classer des multitraitements en termes d’adéquation au problème posé ? Dans ce travail, les première et troisième questions sont abordées, en explorant les requêtes concernant habituellement les dispositifs de moulage de l’aluminium : - Résistance aux contraintes d’origine thermique. - Résistance à la corrosion par les métaux fondus. - Résistance au frottement. L’analyse de la bibliographie relative aux traitements de surface utilisés dans ces systèmes a été analysée et des « architectures »-types ont été identifiées (chapitre 3). On prévoit, par exemple, un traitement conférant la résistance à la fatigue superficielle, ainsi qu’un revêtement étanche et résistant à l’aluminium fondu. Une barrière thermique est parfois préconisée. Pour chacune des architectures, des traitements de surface individuels peuvent être sélectionnés. Un « facteur de performance » permettant de classer les solutions par rapport au problème de la fatigue thermique a été construit (chapitre 4) et discuté dans deux situations : - Lorsqu’un revêtement est présent, et que les contraintes d’origine thermique (différence de dilatation thermique couche-substrat) menacent de le rompre lors de l’immersion dans un milieu corrosif à haute température. Des essais de corrosion dans de l’aluminium fondu ont été réalisés sur un acier revêtu par du nitrure de chrome dopé à l’aluminium, synthétisé par déposition physique en phase vapeur (chapitre 5 – collaboration : Inasmet). - Lorsque des variations thermiques rapides menacent de rompre le substrat et la (les) couches. Des essais de fatigue thermique ont été réalisés sur de l’acier à outils pour travail à chaud non traité, boruré ou recouvert d’un multitraitements (zircone yttriée / NiCrAlY / boruration / acier). Le revêtement en zircone yttriée a été obtenu par projection par plasma. L’essai de fatigue thermique a été modélisé et le facteur de performance, discuté (chapitre 6). Au chapitre 7, les architectures-types ont été introduites dans une méthodologie de sélection des multi-traitements de surface, qui a été appliquée dans deux cas : - Celui des moules de fonderie, devant résister à la fatigue thermique et à la corrosion par l’aluminium fondu. Le facteur de performance a été extrapolé à d’autres situations qu’aux chapitres 5 et 6. Les solutions habituellement proposées pour résoudre ce problème sont retrouvées. - Celui de deux pièces en acier frottant l’une contre l’autre en présence d’aluminium fondu. To select surface treatments, one must account for the required functional properties, the substrate features and the solicitations the substrate must endure. Certain combinations of these parameters make it difficult to select a single surface treatment, a reason why several successive treatments are preferred. To select them, one needs to determine: - How to divide the several requests into groups and how to stack up these groups from the substrate to the outer surface, so that each treatment deals with one specific group of requests/properties. - How to select individual layers for each group of properties. - How to rank the multi-treatments in terms of relevance for a given application. In this work, one tries to answer the first and the third questions, by studying the case of aluminium foundry, in which the industrial devices frequently face the following solicitations: - Thermal stress (thermal fatigue, thermal expansion mismatch). - Presence of corrosive molten metal. - Sliding wear. In the literature, several “standard” architectures are proposed (chapter 3), like a diffusion layer reducing superficial fatigue plus a corrosion barrier layer. A thermal barrier coating is also sometimes proposed. For each of these architectures, one can select individual treatments. To rank them, one devised a “performance index” for thermal stress (chap.4), which is discussed for two cases: - For large differences between layer and substrate thermal expansion coefficients, when both are put into contact with a high temperature corrosive medium, the layer may be damaged. One discusses this case by examining the corrosion caused by molten aluminium for a steel substrate coated by anticorrosive chromium nitride doped with aluminium. The layer is produced by physical vapour deposition (chap. 5 – cooperation: Inasmet). - Repeated fast surface temperature transients can also damage the substrate and/or the layer by thermal fatigue. One conducted thermal fatigue tests with samples of hot work tool steel, respectively untreated, simply borided and protected by a multilayer. In the last case, top coat is yttria stabilised zirconia, followed by a nickel superalloy and then a borided layer (undercoat). One synthesized the zirconia coating by plasma spray and one modelled the thermal fatigue (chap. 6). In chap. 7, architectures from chap. 2 are introduced in a multi-treatment selection routine, which is applied in two cases: - Foundry moulds for molten aluminium, withstanding both thermal fatigue and corrosion. The devised performance index is extrapolated beyond the tests of chap. 5 and 6 to treatments for this industrial application, thereby quantifying their respective merits. - A foundry device exposed to molten metal and sliding wear.

Sélectionner des traitements de surface pour l’industrie nécessite de prendre en compte :les propriétés à conférer au substrat, la nature et la géométrie de celui-ci et les caractéristiques du milieu extérieur. Certaines combinaisons de ces paramètres rendent difficile la sélection d’un traitement unique, d’où le recours à des multitraitements de surface. Dès lors, se posent les questions suivantes :<p>- Utiliser des multitraitements de surface peut se faire en scindant les différentes requêtes en sous-ensembles, de manière à ce que chaque traitement réponde à l’un d’eux. Dans quel ordre ces requêtes doivent-elles être introduites par rapport au substrat ?<p>- Comment sélectionner les traitements de surface répondant à chaque requête individuelle ?<p>- Comment classer des multitraitements en termes d’adéquation au problème posé ?<p>Dans ce travail, les première et troisième questions sont abordées, en explorant les requêtes concernant habituellement les dispositifs de moulage de l’aluminium :<p>- Résistance aux contraintes d’origine thermique.<p>- Résistance à la corrosion par les métaux fondus.<p>- Résistance au frottement.<p>L’analyse de la bibliographie relative aux traitements de surface utilisés dans ces systèmes a été analysée et des « architectures »-types ont été identifiées (chapitre 3). On prévoit, par exemple, un traitement conférant la résistance à la fatigue superficielle, ainsi qu’un revêtement étanche et résistant à l’aluminium fondu. Une barrière thermique est parfois préconisée.<p>Pour chacune des architectures, des traitements de surface individuels peuvent être sélectionnés. Un « facteur de performance » permettant de classer les solutions par rapport au problème de la fatigue thermique a été construit (chapitre 4) et discuté dans deux situations :<p>- Lorsqu’un revêtement est présent, et que les contraintes d’origine thermique (différence de dilatation thermique couche-substrat) menacent de le rompre lors de l’immersion dans un milieu corrosif à haute température. Des essais de corrosion dans de l’aluminium fondu ont été réalisés sur un acier revêtu par du nitrure de chrome dopé à l’aluminium, synthétisé par déposition physique en phase vapeur (chapitre 5 – collaboration :Inasmet).<p>- Lorsque des variations thermiques rapides menacent de rompre le substrat et la (les) couches. Des essais de fatigue thermique ont été réalisés sur de l’acier à outils pour travail à chaud non traité, boruré ou recouvert d’un multitraitements (zircone yttriée / NiCrAlY / boruration / acier). Le revêtement en zircone yttriée a été obtenu par projection par plasma. L’essai de fatigue thermique a été modélisé et le facteur de performance, discuté (chapitre 6).<p>Au chapitre 7, les architectures-types ont été introduites dans une méthodologie de sélection des multi-traitements de surface, qui a été appliquée dans deux cas :<p>- Celui des moules de fonderie, devant résister à la fatigue thermique et à la corrosion par l’aluminium fondu. Le facteur de performance a été extrapolé à d’autres situations qu’aux chapitres 5 et 6. Les solutions habituellement proposées pour résoudre ce problème sont retrouvées.<p>- Celui de deux pièces en acier frottant l’une contre l’autre en présence d’aluminium fondu.<p><p>To select surface treatments, one must account for the required functional properties, the substrate features and the solicitations the substrate must endure. Certain combinations of these parameters make it difficult to select a single surface treatment, a reason why several successive treatments are preferred. To select them, one needs to determine:<p>- How to divide the several requests into groups and how to stack up these groups from the substrate to the outer surface, so that each treatment deals with one specific group of requests/properties.<p>- How to select individual layers for each group of properties.<p>- How to rank the multi-treatments in terms of relevance for a given application.<p>In this work, one tries to answer the first and the third questions, by studying the case of aluminium foundry, in which the industrial devices frequently face the following solicitations:<p>- Thermal stress (thermal fatigue, thermal expansion mismatch).<p>- Presence of corrosive molten metal.<p>- Sliding wear.<p>In the literature, several “standard” architectures are proposed (chapter 3), like a diffusion layer reducing superficial fatigue plus a corrosion barrier layer. A thermal barrier coating is also sometimes proposed.<p>For each of these architectures, one can select individual treatments. To rank them, one devised a “performance index” for thermal stress (chap.4), which is discussed for two cases:<p>- For large differences between layer and substrate thermal expansion coefficients, when both are put into contact with a high temperature corrosive medium, the layer may be damaged. One discusses this case by examining the corrosion caused by molten aluminium for a steel substrate coated by anticorrosive chromium nitride doped with aluminium. The layer is produced by physical vapour deposition (chap. 5 – cooperation: Inasmet).<p>- Repeated fast surface temperature transients can also damage the substrate and/or the layer by thermal fatigue. One conducted thermal fatigue tests with samples of hot work tool steel, respectively untreated, simply borided and protected by a multilayer. In the last case, top coat is yttria stabilised zirconia, followed by a nickel superalloy and then a borided layer (undercoat). One synthesized the zirconia coating by plasma spray and one modelled the thermal fatigue (chap. 6).<p>In chap. 7, architectures from chap. 2 are introduced in a multi-treatment selection routine, which is applied in two cases:<p>- Foundry moulds for molten aluminium, withstanding both thermal fatigue and corrosion. The devised performance index is extrapolated beyond the tests of chap. 5 and 6 to treatments for this industrial application, thereby quantifying their respective merits.<p>- A foundry device exposed to molten metal and sliding wear.<p><p> / Doctorat en Sciences de l'ingénieur / info:eu-repo/semantics/nonPublished