Para a conservação de água existem medidas convencionais e medidas não convencionais. O sistema de aproveitamento de água da chuva para consumo não potável é uma medida não convencional. Atualmente o aproveitamento de água da chuva é praticado em países como Estados Unidos, Alemanha, Japão, entre outros. No Brasil, o sistema é utilizado em algumas cidades do Nordeste como fonte de suprimento de água. A viabilidade do uso de água da chuva é caracterizada pela diminuição na demanda de água fornecida pelas companhias de saneamento, tendo como conseqüência a diminuição dos custos com água potável e a redução do risco de enchentes em caso de chuvas fortes. No processo de coleta de água da chuva, são utilizadas áreas impermeáveis, normalmente o telhado. A primeira água que cai no telhado, lavando-o, apresenta um grau de contaminação bastante elevado e, por isso, é aconselhável o desprezo desta primeira água. A água de chuva coletada através de calhas, condutores verticais e horizontais é armazenada em reservatório podendo ser de diferentes materiais. A água armazenada deverá ser utilizada somente para consumo não potável, como em bacias sanitárias, em torneiras de jardim, para lavagem de veículos e para lavagem de roupas. Este trabalho trata da avaliação da qualidade da água da chuva, juntamente com o estudo da viabilidade econômica da utilização de um sistema de coleta e aproveitamento da água da chuva. A partir de um sistema experimental, análises da composição física, química e bacteriológica da água da chuva foram realizadas para caracterizar a água e verificar a necessidade de tratamento, diminuindo riscos à saúde de seus usuários. A viabilidade do sistema depende basicamente de três fatores: precipitação, área de coleta e demanda. O reservatório de água da chuva, por ser o componente mais dispendioso do sistema, deve ser projetado de acordo com as necessidades do usuário ecom a disponibilidade pluviométrica local para dimensioná-lo corretamente, sem inviabilizar economicamente o sistema. Baseado nos resultados das análises realizadas e na utilização do sistema de coleta e aproveitamento de água da chuva, seu uso para fins não potáveis deve ser estimulado. / There are conventional and non-conventional ways for water conservation. The rainwater catchment system for non-drinking use is a non-conventional way. Nowadays, the exploitation of the rainwater is found in the United States, Germany, Australia and Japan, among others. In Brazil, the system is used in some northeast cities as water supplement supply source. The feasibility of rainwater use is characterized by the reduction of the demand on water supplied by the sanitation company and, as a consequence, the reduction of costs and the reduction of flood risk in case of storm rain. In the process of rainwater catchment impermeable areas are used, in most of cases, the roof. The first water that falls and washes the roof has sufficiently high degree of contamination and therefore it is a advisable to discharge it. The rainwater caught by gutters, vertical and horizontal conductors, is stored in a rainwater reservoir, which can be made of different materials. The stored rainwater should be used only for non-drinking consumption like in the toilet, in garden taps, in car washing and in clothes laundering. This paper evaluates the rainwater quality and develops the feasibility study for rainwater catchment for non-drinking use. From an experimental system, physical, chemical and microbiological analyses of the rainwater were made to qualify and verify the need of treatment avoiding the risk of illness to users. The feasibility of the system depends firstly on three factors: precipitation, catchment area and demand. The rainwater reservoir, as the most expensive part of the system, should be designed accordingly to the consumption and the local precipitation availability to set it accordingly, without making it economically unfeasible. Based on the results of the analysis and on the rainwater catchment system, its application for non-drinking use should be stimulated.

This thesis focuses on analysis of jobs in private company MAVEL a.s. Objective of this thesis is to update current jobs descriptions, which are supplemented by specification, and to create the missing description of the selected jobs. The first part of the work is theoretical base, which is elaborated by the literature and relevant web sources. The practical part discribes the company and basic characteristics of the respondents, who were all workers of studied jobs. Next part is analysis of work, which was carried out by questionnaires. The analysis result is to create jobs descriptions, whose final version is fleshed out by interview with senior staff. Updated descriptions should facilitace the selection procedure to the given positions. At the end of the work are introduced some recommendations which should lead to more effictive HR activities in the investigate company.

A dissertação tem como objetivo analisar a formação da coleção artística do Estado de São Paulo, entre os anos de 1893 e 1912, tratando de sua história no âmbito de instauração da República e da constituição de instituições de guarda e exposição de objetos artísticos. Observa as primeiras aquisições destinadas ao Museu Paulista (Monumento do Ipiranga) entre 1893 e 1904, a transferência de uma parcela dessas obras de arte para fundar a Pinacoteca do Estado de São Paulo em 1905 e o alargamento da coleção desta última instituição até 1912, quando suas atividades são regulamentadas. Essas aquisições ocorrem no momento de ascensão, tanto econômica quanto política, do Estado de São Paulo, quando seus dirigentes passam a instaurar novas perspectivas sobre a história de São Paulo em confluência com essa situação privilegiada. A dissertação busca compreender a historicidade das aquisições em conjunto com os discursos dos próceres do Estado de São Paulo, analisando as articulações históricas de construção de narrativas cívicas por meio da coleção de arte. Busca também observar conexões entre a formação da coleção e seus contextos: museológico, historiográfico e da produção artística brasileira. A trajetória da coleção é percebida em relação aos nexos formativos de um campo artístico na cidade de São Paulo, pois sua constituição permite também observar movimentos desse campo, até o museu tornar-se efetivamente parte oficial da engrenagem social do circuito artístico na metrópole. Investigando o movimento histórico de atribuição de valores e representações públicas almejadas por políticos, artistas e a opinião pública de seu tempo, a pesquisa busca a compreender a inserção da coleção do museu na cultura artística, política e institucional da São Paulo no entresséculos XIX e XX. / The thesis aims to analyze the formation of the artistic collection of the State of São Paulo, between the years 1893 and1912, dealing with its history under the scope of the establishment of the Republic and the establishment of institutions of storage and exhibition of artistic objects. It sheds light on the first acquisitions for the Museu Paulista (Ipiranga Monument) between 1893 and 1904, the transfer of a portion of these works of art to found the Pinacoteca do Estado de São Paulo in 1905 and the enlargement of the collection of that institution until 1912, when its activities became regulated. These acquisitions have occurred during the economic and political rise of the state of São Paulo, when its leaders began to establish new perspectives on the history of São Paulo in confluence with this privileged situation. The thesis seeks to understand the historicity of acquisitions together with the discourses of the founding fathers of the State of São Paulo, analyzing the historical articulations of building civic narratives through art collections. It also seeks to shed light on connections between the formation of the collection and its several contexts: museological, historiographic and of the Brazilian artistic production. The trajectory of the collection is perceived in relation to a formative nexus of an artistic field in São Paulo, since its constitution allows to also observe movements of the field, until the museum becomes effectively an official part of the art scene in the metropolis. Investigating the historical movement of value assignment and craved public representations by politicians, artists and the public opinion of its time, the research seeks to understand the insertion of the museum\'s collection in the artistic, political and institutional culture of São Paulo between the nineteenth and twentieth centuries.

Reducing the time spent by experts on the process of cuneiform fragment reconstruction means that more time can be spent on the translation and interpretation of the information that the cuneiform fragments contain. Modern computers and ancillary technologies such as 3D printing have the power to simplify the process of cuneiform reconstruction, and open up the field of reconstruction to non-experts through the use of virtual fragments and new reconstruction methods. In order for computers to be effective in this context, it is important to understand the current state of available technology, and to understand the behaviours and strategies of individuals attempting to reconstruct cuneiform fragments. This thesis presents the results of experiments to determine the behaviours and actions of participants reconstructing cuneiform tablets in the real and virtual world, and then assesses tools developed specifically to facilitate the virtual reconstruction process. The thesis also explores the contemporary and historical state of relevant technologies. The results of experiments show several interesting behaviours and strategies that participants use when reconstructing cuneiform fragments. The experiments include an analysis of the ratio between rotation and movement that show a significant difference between the actions of successful and unsuccessful participants, and an unexpected behaviour that the majority of participants adopted to work with the largest fragments first. It was also observed that the areas of the virtual workspace used by successful participants was different from the areas used by unsuccessful participants. The work further contributes to the field of reconstruction through the development of appropriate tools that have been experimentally proved to dramatically increase the number of potential joins that an individual is able to make over period of time.

This thesis examines the relationship of George Villiers, First Duke of Buckingham (1592--1628) to the art and aesthetic ideas of his era. As the intimate and all-powerful favourite of two successive kings, James I and Charles 1, Buckingham profoundly influenced the course of English politics, both at home and abroad, and it is as a political force that he is generally viewed. But, as a major patron of many artists and the builder of one of the largest art collections of the time, his influence in the cultural sphere must have been equally significant. Yet no modern study of this aspect of Buckingham's persona exists. / After a review of the general historiographical material on Buckingham as well as his evaluation by art historians over the years, Chapter I presents an analysis of the concept and role of Favourite in social and cultural terms. It goes on to detail Buckingham's personal position within early Stuart court culture, and argues that while this culture formed and defined him, he simultaneously re-formed and redefined it through his choices and actions. / Chapter II examines the dynamics of art patronage and Buckingham's activity as a patron, beginning with his early dealings with the native English painter, William Larkin. The relationship of Buckingham and the young Anthony Van Dyck is discussed, with parlicular attention to the artist's brief visit to England in 1620--21, and it is suggested that Buckingham was instrumental in bringing about this event. The Duke's dealings with the controversial polymath, Balthazar Gerbier, are explored, as are his many-layered connections with the premier painter of the day, Peter Paul Rubens. / In Chapter III the traditions of art collecting, especially in England are discussed, as is Buckingham's reputation as a collector compared to some of his rivals in the field. The extant documentation of his collection is examined, along with the chronology and methodology of its formation. Particular attention is given to gifts of art to Buckingham by King Charles, the Earl of Arundel and others; the art-buying by Buckingham's agents like Balthazar Gerbier; and the incorporation by the Duke into his own inventory of parts of other collections such as that of the Duke of Hamilton and, more importantly, that of Rubens. / Both in the realm of court culture and in the world of art patronage and art collecting, it was Buckingham more than anyone else who supplied the energy and set the fashion. And he continued to do so even after his premature death: the Duke's image remained bright in the memory of King Charles, whose subsequent expanded relationships with Rubens and Van Dyck owe much of their intensity to both artists' previous connections with Buckingham.

No description available.

The diploma thesis maps the activity of the Zátka family, a significant family from České Budějovice, in the cultural sphere. A view on atmosphere of 19th century and the beginning of 20th century will be presented via selected members of this family (Hynek, August and Vlastislav Zátka). The roots of their extended family will be summarized with emphasis on their role as founders and patrons in founding particular Czech organizations, companies and associations. The first part focuses on Zátkas' impulses and activities in cultural, political and economic sphere. The second part is dedicated to various family monuments, for example buildings (family mansions), statues or collecting activities.

Submitted by Renilda Vale (renildadovale@yahoo.com.br) on 2016-10-09T21:53:15Z No. of bitstreams: 1 Memória da Fé.pdf: 6379416 bytes, checksum: e0d22ef341e32c2d8cdc51f46d22254f (MD5) / Approved for entry into archive by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2017-05-31T14:16:38Z (GMT) No. of bitstreams: 1 Memória da Fé.pdf: 6379416 bytes, checksum: e0d22ef341e32c2d8cdc51f46d22254f (MD5) / Made available in DSpace on 2017-05-31T14:16:38Z (GMT). No. of bitstreams: 1 Memória da Fé.pdf: 6379416 bytes, checksum: e0d22ef341e32c2d8cdc51f46d22254f (MD5) / FAPESB / O presente trabalho tem como objeto de estudo a coleção de Paramentos Litúrgicos do Museu do Traje e do Têxtil da Fundação Instituto Feminino da Bahia (FIFB), a qual é formada por peças que vão do século XVIII ao XX. Após a visão inicial sobre a origem dos paramentos no âmbito da igreja católica, comenta-se a trajetória do FIFB e o surgimento do Museu do Traje e do Têxtil e da Galeria Eclesiástica, que expõe parte dessa coleção. O enfoque em Henriqueta Martins Catharino, criadora e dirigente do Instituto Feminino da Bahia na fase anterior à transformação do instituto em fundação e sua proximidade com o clero, traz à luz para além das obras assistenciais a vertente colecionista dessa senhora da sociedade baiana, cuja trajetória se mescla à formação de diferentes coleções incluindo a dos paramentos litúrgicos, que nascem de forma distinta da maioria das coleções de museus. Concomitantemente à pesquisa, desenvolveu-se a documentação da coleção de modo a ter elementos sistematizados para estudo e análise do conjunto de paramentos e dos processos museológicos que são e/ou podem ser realizados em torno dela. A partir de uma análise formal das peças da coleção concluiu-se que parte dela tem suas origens ou sofreram influências das indumentárias litúrgicas de origem europeia. Observaram-se, ao longo do processo, os elementos simbólicos a exemplo das cores, bordados ou aplicações que se prestam a relacionar o paramento ou veste com a hierarquia eclesiástica e determinados rituais católicos, além das antigas orações que acompanham a sua vestidura. Conclui-se que o paramento litúrgico, como objeto religioso, se reveste de indicações simbólicas e que tais características são imprescindíveis para serem informadas quando da sua exposição ao público na nova condição de objeto musealizado. / The goal of this work is studying the collection of Liturgical Vestments of the Museum of Costume and Textile of the Women's Institute of Bahia Foundation (FIFB), which consists of pieces ranging from the Eighteenth to the Twentieth Century. Af ter the initial vision of the origin of vestments within the Catholic Church, the work exploits the history of FIFB and the emergence of the Museum of the Costume and Textile and the Ecclesiastical Gallery, which exposes part of this collection. The focus on Henriqueta Martins Catharino, creator and director of Women's Institute of Bahia before the transformation of the institute into a foundation, and her proximity to the clergy, brings to light, beyond charitable works, the collector’s side of this lady o f Bahian society, whose trajectory mingles with the formation of different collections including the one of the liturgical vestments, that is created differently from most museum collections. Simultaneously with the research, the documentation of the colle ction was developed in the way that systematized elements for study and analysis of all the vestments and museological processes that are and/or can be carried around it. From a formal analysis of the pieces of the collection the work leads to the conclusi on that that part of it has come from or was influenced by the European liturgical garments. The symbolic elements that are suitable to connect the vestment or wear with the ecclesiastical hierarchy and certain Catholic rituals besides the ancient prayers that accompany the dressing up, for example, colors, embroidery or applications. As a conclusion of this work, it can be said that the liturgical vestment, as a religious object, comprises symbolic indications and that such characteristics are essential to be informed when it is exposed to the public as a musealized object.

Artefacts created from big game material proliferated during the period between 1870 and 1920 and, through their physical and metaphorical circulation as trophies, mementos, furnishings, garments, and personal accoutrements, became increasingly visible as they percolated from their predominantly elite genesis, into a multiplicity of public, domestic and civic spaces. This study seeks to discern the effect of their dissemination, showing how it impacted on the museum displays, domestic decor, fashionable dress and commodity culture of the era. It reflects the extensive representation of big game hunting, and its material effusions, in the text and images of the expanding periodical press, recognising the contribution of published sources to public reception of these artefacts and their developing role as commodities. My thesis aims to demonstrate that detailed examination of the varied and abundant artefacts which stemmed from big game hunting can offer valuable insights into the social and cultural history of the era and argues that this material's entanglement in Britain's imperial project is too significant to overlook. It contends that the transitions from nature to culture, which these objects illustrate, map the reach of the burgeoning Empire, and plot the dichotomies of late Victorian, and Edwardian, engagements with the natural world and subaltern nations. Scholarly work by John M. Mackenzie and Harriet Ritvo, in the mid 1980's, firmly established the relevance of the examination of material culture, within the contexts of animal studies and imperial history, as a fruitful field for academic research, arguing convincingly for further examination of its varied manifestations. However, a generation later, no comprehensive exploration of those elements appertaining to big game hunting has been attempted. Encouraged by the post-millennial 'material turn' in social history, identified by scholars including Bill Brown (2001), Erica Rappaport (2006) and Frank Trentmann (2009), my work draws on a wealth of contemporaneous factual sources including museum, exhibition and trade catalogues, fashion plates, unpublished correspondence, biographical material, museum records, archival sources and popular fiction, to explore the circulation and representation of big game material culture, during a long fin de siècle, and reveal its extensive influence. As a whole, this thesis seeks to offer a nuanced, detailed and holistic view of the visibility and affect of the material culture of big game hunting in the period.

Made available in DSpace on 2014-06-11T19:26:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-06-19Bitstream added on 2014-06-13T18:55:12Z : No. of bitstreams: 1 salomao_lc_me_botfca.pdf: 1830018 bytes, checksum: fc8e5d39992c264d8cca35306797b3c5 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Universidade Estadual Paulista (UNESP) / O presente trabalho foi desenvolvido com o objetivo de monitorar a concentração dos nutrientes N, P e K, a partir de variações no posicionamento dos extratores de solução tanto na vertical como na horizontal ao longo do bulbo molhado, e o tempo de vácuo e coleta da solução do solo em relação à fertirrigação, para cultura da laranja. O experimento foi conduzido na fazenda Emu, pertencente à empresa Citrovita, localizada na cidade de Reginópolis, estado de São Paulo. Adotou-se o delineamento experimental em blocos. O arranjo dos tratamentos constitui um fatorial 4 x 4 com cinco repetições, compreendendo quatro distâncias do emissor 5, 15, 25 e 35 cm, e quatro profundidades 15, 30, 60 e 90 cm. Foram instalados 16 extratores de solução do solo por bloco, totalizando 80 extratores no projeto. O vácuo aplicado aos extratores de solução foi realizado sob diferentes momentos 0, 2, 4, 6 e 12 horas após a irrigação e dois momentos distintos de coleta após a aplicação do vácuo, 2 e 12 horas. O monitoramento da concentração dos íons no solo foi realizado por meio da retirada da solução do solo com extratores de cápsulas porosas. Durante o período de condução do experimento foi avaliado o pH, CE, nitrato, potássio e fósforo na solução do solo e umidade do solo com auxílio de tensiômetros de punção. Os resultados indicam que não há necessidade de maiores tempos para aplicação de vácuo aos extratores e coleta da solução, sendo o tempo de vácuo e coleta 4-2 suficiente para realização do procedimento de extração... / The aim of this study was to monitor the concentration of nutrients N, P and K on citrus orchard through extractors positioned vertically and horizontally along with the wet bulb in the soil. The vacuum applied to the solution extractors and the soil solution extracting time of fertigation were measured. This research was conducted at Emu farm, which belongs to Citrovita Company, located in Reginópolis city, at São Paulo state, Brazil. Was used in the experimental design blocks, the arrangement of the treatments is a 4 x 4 factorial with five replications, including four distances from the transmitter 5, 15, 25 and 35 cm, and four depths 15, 30, 60 and 90 cm. 16 extractors have been installed in the soil solution per block, totaling 80 extractors in the project. The vacuum was applied to the solution extractors at different times as 0, 2, 4, 6 and 12 hours after the irrigation occurrence. The soil solution was collected 2 and 12 hours later the vacuum had been applied. The soil ions concentration was determined extracting the soil solution through porous ceramic cup extractors.During the research period, pH, CE, soil moisture, nitrate, potassium and phosphorus content were measured in the soil solution by tensiometros de punção (tensiometric batteries). The results indicated that it is necessary to wait a long time after the irrigation to apply the vacuum and to collect the soil solution. Respectively, 4 and 2 hours to apply the vacuum and to obtain the soil solution are enough to the extraction soil solution procedure.Based on ions mobility in the soil profile to determine P and K nutrients in the soil solution is recommended to place the soil solution... (Complete abstract click electronic access below)