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An elaboration on how to construct a spillway for closure for a large tailings pond completely enclosed by embankments, leading to a situation where construction in bedrock is not possible is presented with the following conclusion. A stepped spillway arrangement constructed with granite blocks will require of large blocks for being stable, and will require of filters that are not always considered functional in long-term perspective. It is presented an analysis of the overall stability of the structure proposed and of the stability of its individual blocks.  In addition, it will be impossible to design a vegetated channel that remains stable, without silting and without erosion, over thousand years without maintenance.

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Made available in DSpace on 2016-03-22T17:26:31Z (GMT). No. of bitstreams: 1 Dissertelidaa.pdf: 3267240 bytes, checksum: 64f01bd8fda5d54ab328e433e584a8a4 (MD5) Previous issue date: 2010-02-26 / This work analyses news published by Zero Hora (RS) newspaper regarding the coverage of an event of great repercussion in "gaucho" media that we call for research shake "Episódio Aracruz" [Aracruz Episode]. The analysis is based on theoretical grounds developed by the Bakhtin Circle and establishes an interlocution with an ergological viewpoint. The main purpose is the exam of discursive strategies chosen for producing news about the said episode from the enunciative scene created by the newspaper by focusing on the ways dialogical relationships are established in order to retrieve characteristics and sense effects of printed newspapers. We analyze news about Aracruz Episode published in March 10 and 12, 2006 issues, taking the cover as the main object, supplemented by a brief exam of pages 4 and 5 of each issue. For methodological reasons, the analysis is organized in two interdependent groups. The first presents a reflection about verbal resources selected for constructing the news. The second one examines visual resources used therein (such as color, space and graphic elements). As regards the covers, we considered analytically two groups of verbal resources, namely (a) names used for leads regarding Aracruz Episode and (b) verbal elements used in other leads. Our reflections show the presence of evaluative, ideological positionings that project themselves in verbal-visual resources as a whole, for news are a construction, a specialized version, of events. In this discursive process, there are cues pointing to discursive strategies chosen for presenting in the public space news regarding Aracruz Episode which allow us to perceive, among Zero Hora's axiological positions, resonances of a conflict between the newspaper and leftist social movements. In the well elaborated dialogical relationships identified, we also perceive Zero Hora's strategy of including protests demonstrations under the theme of agrarian reform, something common in the journalistic sphere, which do not engage in deepening debates but only in bringing to the front of the public scene impactprovoking themes supposedly interesting to the audience, an specificity requiring a critical attitude by the audience for an adequate understanding of the sense relationships circulating in printed newspapers pages / Este trabalho estuda notícias publicadas em Zero Hora sobre um acontecimento de grande repercussão na mídia gaúcha, que denominamos para fins de pesquisa como Episódio Aracruz. Para tanto, nossas reflexões se baseiam nos pressupostos teóricos desenvolvidos pelo Círculo de Bakhtin, estabelecendo interlocução com a sociologia e a abordagem ergológica. O objetivo geral da pesquisa é analisar estratégias discursivas eleitas para a produção das notícias sobre o Episódio Aracruz, a partir da cena construída pelo jornal Zero Hora, observando relações dialógicas empreendidas que permitem recuperar características e efeitos de sentido das notícias no jornal impresso. São analisadas as notícias sobre o Episódio Aracruz nas edições de 10 e 12 de março de 2006, contemplando a capa e, mais sucintamente, as páginas internas (4 e 5). Por razões metodológicas, a análise está organizada em dois grupos interdependentes. O primeiro deles apresenta uma reflexão acerca dos recursos verbais eleitos para a construção da notícia. O segundo grupo analisa os recursos visuais utilizados (como cor, espaço e elementos gráficos). Em relação às capas, desdobramos a categoria analítica que trata dos recursos verbais (o primeiro grupo) em outros dois tópicos: (a) designações utilizadas para a chamada sobre o Episódio Aracruz e (b) elementos verbais utilizados em outras chamadas. As reflexões empreendidas ao longo do estudo permitem algumas percepções sobre o objeto de pesquisa, como as posições avaliativas, ideológicas, que se projetam no conjunto dos recursos verbo-visuais, visto que as notícias são uma construção, uma versão especializada, dos acontecimentos. Nesse espaço discursivo, há pistas das estratégias discursivas eleitas pelos jornalistas para apresentar na cena pública as notícias sobre o Episódio Aracruz, deixando ressoar, entre as posições axiológicas assumidas por Zero Hora, o conflito com os movimentos sociais de esquerda. Nas elaboradas relações dialógicas, percebemos a escolha de Zero Hora em abarcar sob a temática da reforma agrária manifestações de protesto. Tal decisão não foge às lógicas da esfera jornalística, que não se ocupa em aprofundar debates, mas em trazer para a cena pública temas que provoquem impacto ante suas audiências, especificidade que requer um olhar crítico dos leitores para a compreensão das relações de sentido que circulam nas páginas dos jornais impressos

We consider the set of all spacelike embeddings of the circle S1 into a spacetime R1 × S1 with a metric globally conformal to the Minkowski metric. We identify this set and the group of conformal isometries of this spacetime as quotients of semidirect products involving diffeomorphism groups and give a transitive action of the conformal group on the set of spacelike embeddings. We provide results showing that the group of conformal isometries is a topological group and that its action on the set of spacelike embeddings is continuous. Finally, we point out some directions for future research.

The use of geosynthetic clay liners (GCLs) as (i) covers for arsenic-rich gold mine tailings and landfills, (ii) subsurface barrier for migration of hydrocarbons in the Arctic, and (iii) basal liner for sewage treatment lagoons were examined. After 4 years in field and laboratory experiments, it was found that best cover configuration above gold mine tailings might include a layer of GCL product with polymer-enhanced bentonite and a geofilm-coated carrier geotextile serving above the tailings under ≥ 0.7 m overburden. However, acceptable performance could be achieved with using a standard GCL with untreated bentonite provided that there is a minimum of 0.7 m of cover soil above the GCL. When GCL samples were exhumed from experimental landfill test cover with complete replacement of sodium in the bentonite with divalent cations in the adjacent soil, it was observed that the (i) hydraulic head across the GCLs, (ii) size of the needle-punched bundles, and (iii) structure of the bentonite can all significantly affect the value of the inferred in-situ hydraulic conductivity measured at the laboratory. The higher the hydraulic head and the larger the size of the needle-punched bundles, the higher the likelihood of internal erosion/structural change of bentonite at bundles that will cause a preferential flow for liquids to occur. A key practical implication was that GCLs can perform effectively as a single hydraulic barrier in covers provided that the water head above the GCL kept low. The hydraulic performance of a GCL in the Arctic was most affected by the location within the soil profile relative to the typical groundwater level with the highest increase in the hydraulic conductivity (by 1-4 orders of magnitude) for GCL below the water table. However, because the head required for jet fuel to pass through the GCL was higher than that present under field conditions, there was no evidence of jet fuel leakage through the barrier system. The leakage through GCLs below concrete lined sewage treatment lagoons was within acceptable limits, in large part, due to the low interface transmissivity between GCLs and the overlying poured concrete. / Thesis (Ph.D, Civil Engineering) -- Queen's University, 2014-02-28 08:53:29.171

CAPES / A pesquisa buscou investigar o Tropicalismo (1967-1968) e analisar de que forma sua linguagem gráfica repercutiu nas capas de disco de 1969 a 1978, ou seja, nos dez anos seguintes ao término oficial do movimento. A dissertação procurou pensar nas características estéticas e culturais presentes nos projetos gráficos, considerando o contexto histórico desses anos, as propostas da canção tropicalista, tal como as influências entre as sonoridades e visualidades do período. Para isso, foram estudadas as capas de disco do Brasil da segunda metade dos anos de 1960, com ênfase na Tropicália. Foram selecionadas dez capas de discos do período posterior, com o intuito de estabelecer comparações e discutir as principais referências. Foi desenvolvida uma análise visual com base na semiótica peirceana - a partir da proposta de Martine de Joly (2006) - de capas de eixos fonográficos diversos de 1969 a 1978, apontando de que maneira construiu-se um diálogo entre o design tropicalista e as peças selecionadas. A partir disso, foi possível verificar que o Tropicalismo teve significativa importância para a criação e implantação de uma nova linguagem visual no design brasileiro e influenciou, em diferentes aspectos, o desenvolvimento de capas de disco da década posterior. / The research sought to investigate the Tropicalismo (1967-1968) and analyse how its graphic language reflected in the album covers from 1969 to 1978, in other words, in the ten years following the official end of the movement. The dissertation attempted to think about the esthetic and cultural characteristics present in graphic projects, considering the historical context of those years, the proposals of the Tropicália’s songs and the influences between sounds and visualities of period. Thus, the research was studied the album covers of Brazil in the second half of the 1960s, with an emphasis on Tropicália. Ten album covers of the period subsequent were selected, to compare and discuss the main references. It was developed a visual analysis based on Peircean semiotic - from the proposed of Martine Joly (2006) - of album covers of different phonograph axes from 1969 to 1978, pointing how was constructed a dialogue between Tropicalismo’s design and the selected pieces. From this, it was possible to verify that the Tropicalismo had significant importance for the creation and implementation of a new visual language in Brazilian design and influenced, in different aspects, the development of album covers in the next decade.

Philosophiae Doctor - PhD (Mathematics) / The main theme of this thesis is the construction of linear codes from adjacency matrices or sub-matrices of adjacency matrices of regular graphs. We first examine the binary codes from the row span of biadjacency matrices and their transposes for some classes of bipartite graphs. In this case we consider a sub-matrix of an adjacency matrix of a graph as the generator of the code. We then shift our attention to uniform subset graphs by exploring the automorphism groups of graph covers and some classes of uniform subset graphs. In the sequel, we explore equal codes from adjacency matrices of non-isomorphic uniform subset graphs and finally consider codes generated by an adjacency matrix formed by adding adjacency matrices of two classes of uniform subset graphs.

CAPES / A pesquisa buscou investigar o Tropicalismo (1967-1968) e analisar de que forma sua linguagem gráfica repercutiu nas capas de disco de 1969 a 1978, ou seja, nos dez anos seguintes ao término oficial do movimento. A dissertação procurou pensar nas características estéticas e culturais presentes nos projetos gráficos, considerando o contexto histórico desses anos, as propostas da canção tropicalista, tal como as influências entre as sonoridades e visualidades do período. Para isso, foram estudadas as capas de disco do Brasil da segunda metade dos anos de 1960, com ênfase na Tropicália. Foram selecionadas dez capas de discos do período posterior, com o intuito de estabelecer comparações e discutir as principais referências. Foi desenvolvida uma análise visual com base na semiótica peirceana - a partir da proposta de Martine de Joly (2006) - de capas de eixos fonográficos diversos de 1969 a 1978, apontando de que maneira construiu-se um diálogo entre o design tropicalista e as peças selecionadas. A partir disso, foi possível verificar que o Tropicalismo teve significativa importância para a criação e implantação de uma nova linguagem visual no design brasileiro e influenciou, em diferentes aspectos, o desenvolvimento de capas de disco da década posterior. / The research sought to investigate the Tropicalismo (1967-1968) and analyse how its graphic language reflected in the album covers from 1969 to 1978, in other words, in the ten years following the official end of the movement. The dissertation attempted to think about the esthetic and cultural characteristics present in graphic projects, considering the historical context of those years, the proposals of the Tropicália’s songs and the influences between sounds and visualities of period. Thus, the research was studied the album covers of Brazil in the second half of the 1960s, with an emphasis on Tropicália. Ten album covers of the period subsequent were selected, to compare and discuss the main references. It was developed a visual analysis based on Peircean semiotic - from the proposed of Martine Joly (2006) - of album covers of different phonograph axes from 1969 to 1978, pointing how was constructed a dialogue between Tropicalismo’s design and the selected pieces. From this, it was possible to verify that the Tropicalismo had significant importance for the creation and implementation of a new visual language in Brazilian design and influenced, in different aspects, the development of album covers in the next decade.

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T23:26:04Z (GMT). No. of bitstreams: 1 Camara_ElisaOliveira_M.pdf: 1043195 bytes, checksum: 7a0c6a4a4d6c9134a5cfa8f2d2156f4d (MD5) Previous issue date: 2014 / Resumo: As capas dos livros ¿ incluindo todos os elementos que as compõem: título, subtítulo, ilustrações, orelhas, quarta capa ¿, juntamente com os textos sobre o autor, a sinopse do livro, os trechos de críticas, e, mais recentemente, a cinta, em maior ou menor medida, alimentam as expectativas dos leitores em relação ao texto base. Pode-se dizer que eles funcionam como uma porta de entrada ¿ na realidade, um limiar ¿ para o leitor, ou ainda, como uma extensão do texto base com a função de apresentar a obra, garantindo sua presença e sua recepção. Pensando nessa função de extensão e na importância que os elementos paratextuais têm no produto final da tradução editorial, isto é, na obra literária, surge a questão: não deveriam os tradutores ter mais voz nas decisões editoriais relacionadas aos paratextos? Sabendo que os títulos e as capas, incluindo seu design, escolhas tipográficas, normas ortotipográficas, ilustrações e fotografias, cores e todas as significações que essas escolhas implicam na relação desses elementos com o texto base, parece justificável que haja um diálogo mais aberto entre os profissionais envolvidos, incluindo editores, capistas, ilustradores, autores e também os tradutores, para que nenhuma tradução seja publicada sem sua correspondente paratradução. Assim sendo, a presente pesquisa analisa o papel fundamental desempenhado por esses elementos e por todos os recursos que os compõem, sejam eles imagéticos, gráficos, tipográficos ou ortotipográficos, e sua relação com os textos de partida e de chegada, de forma a relacioná-los também com a tarefa do tradutor e verificar as possíveis perdas para os leitores da obra literária traduzida. A obra escolhida para análise é Relato de um certo Oriente, de Milton Hatoum, a qual se mostra de grande interesse tanto pela mistura de elementos culturais e por levar o exotismo a todo tipo de leitor, trazendo à tona questões ideológicas relevantes, como pelo próprio background do autor, com sua vida entre culturas / Abstract: Book covers ¿ including all elements they comprise, such as title, subheading, illustration, front and back flaps, back cover ¿ along with texts about the author, synopsis, reviews¿ excerts and, most recently, the wrap-around band, to a greater or lesser extent, create expectations for the readers regarding the base text. One can say those elements work as a doorway ¿ actually, a threshold ¿ for the reader, or yet, an extent of the base text, with a function to present the literary work, guaranteeing its presence and its reception. Considering that extention function and the importance of paratextual elements for the final product of the editorial translation, that is, the literary work, a question presents itself: shouldn¿t translators have more space to express their opinion about the editorial decisions regarding paratexts? Aware that titles and covers, including their design, typographical choices, typographical sytax¿s rules, illustration and photography, colors and all the meanings implied by those choices in the relation of those elements with the base text, it seems rational that the professionals involved in that process have a more open dialogue, including editors, cover designers, illustrators, authors, and translators as well, so that a translation never gets to be published without its corresponding paratranslation. That being said, this research analyses the essential role played by those elements and by our their resources, may they be images, graphics, typhographics or some typographical syntax choice, and their relation to the source and target texts, in such a way as to also relate them to the translator¿s task and to verify potential losses for the literary work¿s readers. The literary work chosen to be analysed here is the book Relato de um certo Oriente, by Milton Hatoum, which presents itself with a great interest, not only because of the mix of cultural elements and for bringing exoticist to all kinds of readers, eliciting relevant ideological matters, but also for the author¿s background, having himself been living between cultures / Mestrado / Linguagem e Educação / Mestra em Linguística Aplicada