Orientador: Amauri Gouveia Júnior / Banca: Regina Célia Souza Brito / Banca: Olavo de Faria Galvão / Resumo: Foram administradas doses progressivas (12, 24, 36, 48 e 60μPb/L) e agudas (60μPb/L) de chumbo no Betta splendens (N = 23) e testados os comportamentos de display agressivo e escotataxia em cinco testes consecutivos, com intervalos de 18 horas - para dosagem progressiva - e 24 horas - para dosagem aguda. Realizaram-se sete experimentos: (1) validação do teste de preferência claro-escuro; (2) teste e re-teste da preferência claro-escuro; (3) efeito de doses progressivas de chumbo sobre teste de preferência claro-escuro; (4) efeitos de doses agudas de chumbo sobre teste de preferência claro-escuro; (5) teste e re-teste do display agressivo; (6) efeito de doses progressivas de chumbo sobre o display agressivo; (7) efeito de doses agudas de chumbo sobre o display agressivo, com exposição ao espelho. Os experimentos (1) e (2) indicaram que o Betta splendens apresenta comportamento de escotataxia, sendo que não houve habituação ao re-teste da preferência claro-escuro. Nos experimentos (3) e (4) indicaram que o chumbo em doses progressivas e agudas não alterou o comportamento de escotataxia, mas provocou déficits de memória de longo-prazo no teste de preferência claro-escuro. O experimento (5) não apresentou habituação no re-teste do display agressivo. Os experimentos (6) e (7) indicaram que o chumbo em doses progressivas e agudas aumentou a frequencia de comportamentos agressivos. Estes dados apontam para o teste de preferência claro-escuro como um novo modelo de ansiedade para o Betta splendens e que a exposição progressiva e aguda ao chumbo produz déficits de memória de longo-prazo e aumenta a agressividade deste. / Abstract: Betta splends (N = 23) were treated with progressive (12, 24, 36, 48 e 60μPb/L) and acute (60μPb/L) lead poisoning. They were submitted to darkness preference and aggressive display test into five consecutive trials separated by 18 h to progressive poisoning and 24 h to acute poisoning between trials. Seven experiments were conducted so: (1) validation of darkness preference test; (2) exposition and re-exposition to darkness preference teste; (3) effect of progressive lead doses on the darkness preference teste; (4) effect of acute lead dose on the darkness preference test; (5) exposition and re-exposition to aggressive display test; (6) effect of progressive lead doses on aggressive display test; (7) effect of acute lead dose on aggressive display test. Experiments (1) and (2) data showed the darkness preference of Betta splendens, since there was no habituation to re-exposition to darkness preference test. Experiments (3) and (4) data showed deficits on long-term memory produced by progressive and acute lead poisoning. Experiment (5) data showed no habituation to re-exposition to aggressive display test. Experiments (6) and (7) data showed the increase of aggressiveness display produced by progressive and acute lead poisoning. Therefore, these seven experiments data showed how darkness preference test can be a possible anxiety model to Betta splendens and how progressive and acute lead exposition can produce deficits in long-term memory and aggressiveness display increased. / Mestre

The aim of this study is to compare metaphors from the 1970 edition of Joseph Conrsd's Heart of Darkness (originally published in 1902) with their Swedish translations in Mörkrets Hjärta, by Einar Hecksher (2006), to see how mwtaphors have been translated from English into Swedish, i.e. to see if there are any structural differences which cause semantic differences to the metaphors. By comparing the original metaphors with their translations, it is possible to point to difficulties, which may cause problems in the translation process. One example indicates that homonyms can be a problem. Nearly all of the English metaphors have been translated as metaphors in Swedish as well. About half of the metaphors studied have been semantically changed in their translations, yet without any pragmatic differences compared to the originals. It seems not that important which theory about metaphors (e.g. Lakoff, Leech, Levinson, Black) is more 'applicable' than the others with regard to translation. The result of translation of metaphors is more likely due to the translator's perception of the source language, rather than to theories about metaphors per se.

This paper, then, purposes to examine these two characteristics of Styron's novel form--structure and point of view--as they are handled in his major works, the novels Lie Down in Darkness and Set This House on Fire, and the novella The Long March.

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No description available.

The work Nothing around us is based on reflection of the present. From the beginning it was clear that it will deal with the space. The space around us, the environment in which we live, our perception of the surrounding and our feelings from it. The surrounding world is one, but everyone perceive it in their own way because our ideas about the world are different. The Nothing that I wanted to show was always only apparent. Over time, I moved from general considerations of the functioning of the world to explore my own place in it. I focused on myself, on my own feelings and needs, perhaps for the first time in my work. Desire for solitude, peace, freedom from all around was the strongest one. To be somewhere, where I do not perceive anything around me, opens my inner space and allows me to explore happening in it Staying in absolute darkness reminds of already forgotten memories. Mind is able to create the illusion of nonexiatent light. I tried to transfer This state to the light installation in the former factory Mosilana in Brno.

In this essay the use of othering in the novels Heart of Darkness by Joseph Conrad and Paradise by Abdulrazak Gurnah is compared. The comparative reading is carried out through the lens of a postcolonial framework comprising thoughts and ideas of, among others Edward Said and Ania Loomba. The analysis of this essay shows that while the othering in Heart of Darkness is based on an ideologically motivated conception of European superiority resulting in racism, the othering in Paradise is based on the status levels in the precolonial East Africa, where in the end economic wealth, culture and religion decided everyone’s position within the system.

Dear reader,  My aim here, in this essay, is to wonder around and embrace the unknown in the literary genre of letter writing. One of the main questions that the essay circles around is: how embracing the unknown can be a celebration, and a way to get lost, instead of it being something we fear of, like darkness? In the essay I draw bridges between the unknown, the erotic, vulnerability, the use of senses and perception, as well as pondering about the question of whether an experience can be larger than knowledge. The essay is structured in three parts: an introduction, middle part and a final part. In the introduction, the first letter, I open up the purpose of this essay and present my references. In the middle part, I dedicate five letters to the writers and researchers of my references, Rebecca Solnit, Audre Lorde, Brené Brown, Susan Sontag and Deborah Hay. The final part, the last letter, opens up the process of the performance, and how the readings for the essay have affected the doing in the performance. Described in the essay is the journey of methods that were used in the project such as reading, walking around and getting lost. Further the essay describes how dancing later on in the process appeared as a method of getting lost, embracing the unknown through bodily perception and movement. Through this essay and my performance DARK BLISS, I come to a conclusion that being with the unknown is a never-ending process, an endless journey of learning that I will continue to wonder and wander around. / <p>This work includes both a performing and a written part.</p>

Uppsatsen gör en kvalitativ närläsning av utvalda passager i science fiction-verken Dune - Frank Herbert (1965), The Left Hand of Darkness - Ursula K. Le Guin (1969) och Dawn - Octavia E. Butler (1987). Materialet analyseras utifrån ett ekokritiskt perspektiv. Dess samband med posthumanistisk teori aktualiseras också i dess gemensamma ifrågasättande av människan och dess självbild. Syftet är att undersöka hur verken både återspeglar och aktualiserar ekokritiska perspektiv i gestaltning av människan och miljö. Vidare diskuteras resultatet i förhållande till gymnasieskolans värdegrundsinnehåll kopplat till klimatförändringar och hållbar utveckling för att presentera hur science fiction kan behandla dessa frågor i undervisningen. Slutsatserna visar att verken återspeglar ekokritiska perspektiv i deras gestaltning av människan i en alternativ framtid där relationen gentemot naturen ges en stor betydelse, till exempel som bärande av en kultur och i gestaltning av människors försök till kontroll gentemot dess omgivning. De alternativa perspektiven bär vikt i förhållande till den posthumanistiska kritiken av människan genom att ifrågasätta och gestalta människan i en biologisk och kulturell förändring. Verken visar hur science fiction-genren ger nya perspektiv på människans framtida varande. Samtliga insikter går att koppla till samtida diskussioner gällandes klimatförändringar och dess konsekvenser på människan och blir därav högst aktuella att behandla på gymnasieskolan.

The program of the proposal is a small recreational facility with a restaurant,conference facilities, a reception, hotel rooms and a bath.The size of the program is approximately 1200 m2.Rough approximation:- Staff and information building: 200 m2- Hotel rooms (10 á 25 m2): 250 m2- Bath building: 210 m2- Conference building: 300 m2