Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-13T14:06:31Z No. of bitstreams: 1 EmanuelleJustinoDosSantos_DISSERT.pdf: 2780139 bytes, checksum: e43c4103ed60215df6ed5bf1d78aa7d8 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-26T10:58:33Z (GMT) No. of bitstreams: 1 EmanuelleJustinoDosSantos_DISSERT.pdf: 2780139 bytes, checksum: e43c4103ed60215df6ed5bf1d78aa7d8 (MD5) / Made available in DSpace on 2017-01-26T10:58:34Z (GMT). No. of bitstreams: 1 EmanuelleJustinoDosSantos_DISSERT.pdf: 2780139 bytes, checksum: e43c4103ed60215df6ed5bf1d78aa7d8 (MD5) Previous issue date: 2016-03-31 / Situamos o Grupo Araruna no mundo vivido da fenomenologia de Merleau-Ponty, com o intuito de compreend?-lo atrav?s do m?todo da rede de significados, que foi constru?do atrav?s das fotografias, dos v?deos, das entrevistas com brincantes e tamb?m das simbologias contidas nos objetos c?nicos: m?sicas, cartola, leque, maquiagem, cores e figurinos. A dan?a potencializa a expressividade do corpo, apresentando-se como uma arte completa, de uma beleza singular. Em primeiro, h? uma descri??o sobre a tradi??o do Araruna considerando a liga??o entre as dan?as europeias, as festas aristocr?ticas da Modernidade e a pr?pria historicidade dos corpos brincantes. Atrelado a isso, ? realizada uma discuss?o sobre a mem?ria do corpo e da Cultura de Movimento do Araruna em Natal/RN. Em segundo, ? evidenciado todo o universo simb?lico existente nos objetos c?nicos e nas letras das m?sicas, que desvelam rela??es entre corpo, cultura, natureza, ludicidade e sexualidade. Tais dimens?es constituem for?as profundas que integram e potencializam a exist?ncia humana. Em terceiro, s?o apresentadas algumas proposi??es est?ticas para a Educa??o F?sica, buscando mobilizar outras reflex?es que intensifiquem a valoriza??o da beleza do dan?ar e celebrar a tradi??o. Por fim, s?o trazidas indaga??es que possam contribuir para a feitura de novas rela??es est?ticas entre a Educa??o F?sica, a dan?a e o corpo. / We situate the Araruna Group in the world lived of Merleau-Ponty?s phenomenology in order to understand it through the method of the network of meanings that was built through photos, videos, interviews with players and also the symbols contained in the props: music, hat, fan, makeup, colors and costumes. Dance enhances the expressiveness of the body, presenting itself as a complete art of singular beauty. First, there is a description of the tradition of Araruna considering the link between European dances, the aristocratic parties of Modernity and the historicity of the players bodies. Coupled to this, it is held a discussion on the memory of the body and Araruna Movement of Culture in Natal/RN. Second, it is highlighted all existing symbolic universe in props and lyrics of the songs, that reveal relationships between body, culture, nature, playfulness and sexuality. Such dimensions are deep forces that integrate and enhance human life. Third, some aesthetic propositions for Physical Education, seeking to mobilize other reflections that intensify the appreciation of the beauty of dance and celebrate tradition, are presented. Finally, are brought some questions that can contribute to the making of new aesthetic relationships between physical education, dance and body.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-13T18:45:39Z No. of bitstreams: 1 NataliaOliveiraMoura_DISSERT.pdf: 1171510 bytes, checksum: 1363157de70e7316a4a52371f5d996cb (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-02-13T23:09:05Z (GMT) No. of bitstreams: 1 NataliaOliveiraMoura_DISSERT.pdf: 1171510 bytes, checksum: 1363157de70e7316a4a52371f5d996cb (MD5) / Made available in DSpace on 2017-02-13T23:09:05Z (GMT). No. of bitstreams: 1 NataliaOliveiraMoura_DISSERT.pdf: 1171510 bytes, checksum: 1363157de70e7316a4a52371f5d996cb (MD5) Previous issue date: 2016-07-29 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Percebe-se, na escrita de Marcelino Freire, em Bal?Ral? (2003), o estilha?amento de um modelo de repeti??o circular, inserindo na literatura um novo paradigma est?tico (GUATTARI, 1992) que n?o o do sublime e do tradicional, mas sim o de uma est?tica rasurada, contr?ria ? coloniza??o de alteridades. Considerando esses aspectos, viu-se a relev?ncia de promover um estudo acerca da rela??o entre margens, imagens e corpo dentro da obra freiriana, observando como essas tr?s inst?ncias fomentam uma ruptura com padr?es de normatividade, seja social, simb?lica e corporal, que apreendem os processos de singulariza??o (GUATTARI; ROLNIK, 2013). Nas margens surgem as sonoridades de uma l?ngua menor que se produz, na escrita do autor pernambucano, como m?quina de guerra e de express?o (DELEUZE; GUATTARI, 1997b). Al?m disso, produz-se imagens que desconstroem ? por meio do di?logo suscitado com outras artes, aqui destacando-se a fotografia (BARTHES, 2012) ? tanto os regimes de visibilidade e representa??o, como a sua pretensa condi??o de revela??o, fixidez e nitidez, provocando novas formas de semiotiza??o (BARTHES, 2007) ao se fazer destituir as identidades formadoras, remetendo a fluxos de desejo que dissolvem a unidade da linguagem. Os lances ficcionais, intitulados por Marcelino Freire de improvisos, surgem como lugar dos corpos-linguagem (DELEUZE, 2011), corpos fragmentados, sem ?rg?os (DELEUZE; GUATTARI, 1996) os quais desfazem o corpo org?nico, em processos de intensidade e pot?ncia, pelos quais se reinventam. O fluxo de desejo se estende para dimens?es que n?o se limitam apenas ao corpo humano, mas a outros objetos e fragmentos de corpo, instaurando uma experi?ncia intensiva e contradit?ria do interdito e da transgress?o e tamb?m sua anula??o, como na baixa prostitui??o (BATAILLE, 2014), promovendo a perda do sentido e lan?ando o corpo para a emerg?ncia do diferente. Em face de tais problem?ticas, percebeu-se, por meio dessa pesquisa, que as potencialidades discursivas do pensamento liter?rio do autor pernambucano promovem as margens como condutoras de pot?ncias de transforma??o. Estas s?o expostas em superf?cies propulsoras de novas formas de subjetiva??o, dando vez no ficcional ? proposta de uma literatura e de uma no??o de minorias n?o assimiladas ? categoria de representa??o, mas de um desejo que se pluraliza. / Se percibe, en la escritura de Marcelino Freire, la ruptura de un modelo de repetici?n circular, que se inserta en la literatura un nuevo paradigma est?tico (GUATTARI, 1992) que no sea de lo sublime y de lo tradicional, pero s? lo de una est?tica rasurada, contraria a la colonizaci?n de la alteridad. Teniendo en cuenta estos aspectos, se observ? la importancia de promover un estudio sobre la relaci?n entre los m?rgenes, las im?genes y el cuerpo dentro de la obra de Freire, observando c?mo estos tres casos fomentan una ruptura con los est?ndares normativos, ya sea social, simb?lica y del cuerpo, que se apoderan de los procesos de singularizaci?n (GUATTARI; ROLNIK, 2013). En los m?rgenes vienen los sonidos de una lengua menor que se produce, en la escritura del autor pernambucano, como m?quina de guerra y de expresi?n (DELEUZE; GUATTARI, 1997b). Adem?s, se produce im?genes que deconstruyen - a trav?s del di?logo planteado con otras artes, aqu? destacando la foto (BARTHES, 2012) ? tanto los reg?menes de visibilidad y de representaci?n, cuanto su presumida condici?n de revelaci?n, la fijeza y claridad, provocando nuevas formas de semiotizaci?n (BARTHES, 2007) cuando para deshacer las identidades formadoras, remetiendo a los flujos de deseo que disuelven la unidad del lenguaje. Los juegos ficcionales, intitulados por Marcelino Freire de improvisos, emergen como lugar de los cuerpos-lenguaje (DELEUZE, 2011), cuerpos fragmentados, sin ?rganos (DELEUZE; GUATTARI, 1996), que rompen el cuerpo org?nico, en procesos de intensidad y potencia, por los cuales se reinventan. El flujo del deseo se extiende a las dimensiones que no se limitan solamente al cuerpo humano, sino a otros objetos y fragmentos del cuerpo, estableciendo una experiencia intensiva y contradictoria del interdicto y de la trasgresi?n y tambi?n su anulaci?n, como en la baja prostituci?n (BATAILLE, 2014), instituyendo la p?rdida del sentido y lanzando el cuerpo a la manifestaci?n del diferente. Debido estas cuestiones, se percibi?, por medio de esta pesquisa, que las potencialidades discursivas del pensamiento literario del autor de pernambucano promueven los m?rgenes como como conductores de potencias de transformaci?n. Estos se exhiben como propulsores de nuevas formas de subjetivaci?n, dando paso en el ficcional a la propuesta de una literatura y de una noci?n de minor?as que no se asimilan a la categor?a de representaci?n, pero de uno deseo que se pluraliza.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-03-09T18:23:54Z No. of bitstreams: 1 ArmandoSergioDosPrazeres_TESE.pdf: 3591303 bytes, checksum: 00708b60f21c5b815365eadab25c983f (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-10T00:16:40Z (GMT) No. of bitstreams: 1 ArmandoSergioDosPrazeres_TESE.pdf: 3591303 bytes, checksum: 00708b60f21c5b815365eadab25c983f (MD5) / Made available in DSpace on 2017-03-10T00:16:40Z (GMT). No. of bitstreams: 1 ArmandoSergioDosPrazeres_TESE.pdf: 3591303 bytes, checksum: 00708b60f21c5b815365eadab25c983f (MD5) Previous issue date: 2016-02-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Esta pesquisa consiste na realiza??o de uma esp?cie de roteiro de leitura do livro Gal?xias, de autoria do poeta, cr?tico e tradutor brasileiro Haroldo de Campos, com base nos pressupostos conceituais do barroco hist?rico e trans-hist?rico. Prop?e-se, deste modo, um poss?vel mapeamento das refer?ncias que engendram pequenas est?rias em rota??o pelas p?ginas gal?ticas, visando proporcionar ao leitor uma modalidade de guia que possa incitar tanto mais a frui??o da referida obra. Para tal empresa, buscou-se assinalar as marcas expressivas que definem a po?tica haroldiana como singular pr?tica barroca na modernidade, investigando em sua obra as conex?es tecidas com o Barroco, a fim de verificar os modos operacionais empregados pelo Poeta no seu exerc?cio de tradu??o das tradi??es liter?rias. Gal?xias, a nosso ver, constitui este projeto po?tico de alta voltagem barroca, am?lgama de recursos criativos i?ados da mais rica tradi??o liter?ria, nacional e estrangeira, e processados antropofagicamente nas sendas da produ??o art?stico-liter?ria contempor?nea. Publicado pela primeira vez em 1984, contendo cinquenta p?ginas-fragmentos, o livro de Haroldo de Campos surge para, dentre outros fins, suscitar o entrecruzar de g?neros liter?rios, como a prosa e a poesia; dissolver as fronteiras entre a cor local e a dic??o alheia; transfundir tradi??o e modernidade; fundir arte e ideologia; mixar fato e fantasia; remixar forma e conte?do, superpor significado e significante. Todos estes procedimentos liter?rios, intersemiotizados, promovem uma caleidosc?pica tessitura verbal que empreende, nas palavras do autor, ?a viagem como livro e o livro como viagem? (CAMPOS, 2004, p. 119). Viagem esta, urdida por uma rede intertextual e par?dica, dada a ver atrav?s de inventivos recursos fono-pros?dicos, donde sobressaltam alitera??es, anagramas, paronom?sias e trocadilhos, desenhando no curso gal?tico sibilantes e sinuosas imagens que reivindicam a l?dica co-participa??o do leitor para a frui??o plena da leitura. Isto posto, nosso roteiro de leitura empenha-se sobretudo na tentativa de amplificar os ecos das constru??es ?picas e epif?nicas que transitam pelas p?ginas da obra, que ora velam, ora revelam pequenas est?rias que, por um instante apreendidas, podem descortinar outras tantas est?rias e, com isso, tornar a leitura ainda mais prazerosa. O fim primeiro das Gal?xias, assim entendemos, n?o ter? sido outro sen?o o da fecunda??o do gosto pela leitura. Da?, nosso roteiro de leitura: fecundar no leitor o gosto pelas leituras gal?ticas, tal qual a leitura das Gal?xias de Haroldo de Campos. / This investigation consists in the proposition of a kind of reading guideline for the book Gal?xias (Galaxies, in a free translation), written by the Brazilian poet, reviewer and translator Haroldo de Campos, based on the conceptual tenets of the historical and transhistorical baroque. Thus, a possible mapping of the references, which generates little rotating stories over the ?galactic? pages, is proposed, aiming at providing the reader with a kind of guideline that encourages him or her to go deeper into the book fruition. For that purpose, the expressive marks that define the haroldian poetry as singular baroque practice in modernity was searched for, by means of investigating, in his poetic work, the connections interlaced with the Baroque, in order to check the operative ways the author dealt with in his translation of the literary traditions. Gal?xias, in my opinion, is a baroque high voltage poetic project that blends creative resources extracted from the richest national and foreign literary tradition, processed anthropophagically in the ways of the contemporary artistic production. Published by the first time in 1984, with fifty pages, the Haroldo de Campos? book comes out for, among other purposes, prompting the literary genres interlace, as prose and poetry; dissolving the boundaries between local color and alien diction; transfusing tradition and modernity; melting art and ideology; mixing fact and fantasy; remixing form and content, superposing signified and signifier. All these literary proceedings, intersemioticized, promote a kaleidoscopic verbal weave, which undertakes, in the author?s words, ?the travel as a book and the book as a travel? (CAMPOS, 2004, p. 119, my translation). This travel, is achieved by means of an intertextual and parodic net, made known through inventive phono-prosodic resources, in which alliterations, anagrams, paronomasias and wordplays come forth, drawing on the galactic path, sibilant and sinuous images that claim the reader?s ludic copartnership for full reading fruition. Having said that, our reading guideline is chiefly focused on the attempt to amplify the construction of the epic and epiphanic echoes that transit by the work pages, and these echoes both veil and unveil little stories that, once digested, might uncover many other stories and, thus, make reading even more pleasing. The main aim of Gal?xias, I think, is no other than to encourage a liking for reading. The same goes for our reading guideline: to back up the reader to enjoy the galactic reading, just like the reading of Haroldo de Campos? Gal?xias.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-26T19:35:13Z No. of bitstreams: 1 EdilbertoDaSilvaMendes_DISSERT.pdf: 1640120 bytes, checksum: 9e824c5f4d98b20af996590f101749cd (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-26T19:45:37Z (GMT) No. of bitstreams: 1 EdilbertoDaSilvaMendes_DISSERT.pdf: 1640120 bytes, checksum: 9e824c5f4d98b20af996590f101749cd (MD5) / Made available in DSpace on 2017-04-26T19:45:37Z (GMT). No. of bitstreams: 1 EdilbertoDaSilvaMendes_DISSERT.pdf: 1640120 bytes, checksum: 9e824c5f4d98b20af996590f101749cd (MD5) Previous issue date: 2014-04-29 / A pesquisa investiga a rela??o est?tica / pol?tica, processo dramat?rgico / imagin?rio a partir da reescrita ficcional do fato hist?rico da seca no Nordeste brasileiro. Com base na teoria do imagin?rio em Gilbert Durand (2012), Gaston Bachelard (2001; 2013) e Jacques Raci?re (2005), recupera a emerg?ncia, a partir do final do s?culo XIX, na literatura e na dramaturgia teatral, de um mundo figurativo sobre o sofrimento da seca, centrado na figura do retirante, que agencia de diferentes maneiras a sensibilidade em torno dessa quest?o social com o intuito de apontar para uma consci?ncia pol?tica das fronteiras entre o lugar da arte e sua dimens?o social. Pela revis?o cr?tica do processo de constru??o est?tica do retirante, busca compreender e problematizar a sensibilidade social para com a pobreza e a exclus?o social e o lugar da escrita ficcional nessa din?mica. Identifica e problematiza tr?s grandes projetos est?tico-pol?ticos na imagina??o po?tica do retirante: o agenciamento da compaix?o, a den?ncia social e o ethos barroco. Realiza um experimento de cria??o dramat?rgica que retoma a figura do retirante, reposicionando-a conforme a problematiza??o acerca da fronteira arte e sociedade. / The research investigates the relation between aesthetics / politics, fiction / imaginary in novels and plays about the historical experience of drought in Brasil. The concept of imaginary as developed by Gilbert Durand (2012), Gaston Bachelard (2001; 2013) and Jacques Raci?re (2005) is applied to analyse the aesthetics construction of the ?retirante? in brazilian literature and drama, so as to understand how it evoques feelings towards the social question of drought, poverty and social exclusion, aiming to point to a political consciousness of the limits between art and its social dimension. It identifies and discusses three major aesthetic-political projects in the poetic imagination of the ?retirante?: the feeling of compassion, social criticism and the baroque ethos.This investigation constitutes a base to write a play the recreates the figure of the retirante considering the questions about art and society previously developed.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-02T21:56:47Z No. of bitstreams: 1 JoseMarcelinoFerreiraJunior_DISSERT.pdf: 11780670 bytes, checksum: c75ced76bfd8d0de17413df68125f163 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-05T22:48:54Z (GMT) No. of bitstreams: 1 JoseMarcelinoFerreiraJunior_DISSERT.pdf: 11780670 bytes, checksum: c75ced76bfd8d0de17413df68125f163 (MD5) / Made available in DSpace on 2017-10-05T22:48:54Z (GMT). No. of bitstreams: 1 JoseMarcelinoFerreiraJunior_DISSERT.pdf: 11780670 bytes, checksum: c75ced76bfd8d0de17413df68125f163 (MD5) Previous issue date: 2017-06-19 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico (CNPq) / Os princ?pios da est?tica cl?ssica condicionam a obra de arte aos preceitos de harmonia e beleza. Com o intuito de agradar ao seu p?blico, torna-se, portanto, indispens?vel ao artista o respeito ?s regras de composi??o, ? verossimilhan?a, aos fins morais e ? imita??o da Natureza como fatores determinantes para a representa??o do Bem, do Belo e do Verdadeiro. No entanto, in?meros artistas e escritores das mais diversas ?pocas empregaram em suas cria??es procedimentos bastantes diferentes, para n?o dizer opostos, aos moldes cl?ssicos. Em raz?o disso, adotou-se para o presente estudo as an?lises desenvolvidas por Victor Hugo (2002) e Wolfgang Kayser (1986) sobre uma categoria est?tica a que se veio nomear de Grotesco e em especial a no??o de realismo grotesco formulada por Mikhail Bakhtin (1993). De acordo com esses autores, o exagero e a deforma??o do corpo caracter?sticos do grotesco induzem o leitor a perceber uma realidade por vezes oculta. Identificado como um constituinte predominante no romance Famintos (1962), do escritor caboverdiano Luis Romano, o grotesco assume, dessa forma, uma fun??o dupla: apresentar o tema da fome n?o apenas em seus significados sociais, mas tamb?m em seus efeitos sobre o corpo. Nesse sentido, esta pesquisa, que tem como foco principal discutir o ensino de literatura, centra-se em dois eixos, tomando como ponto de partida a an?lise desse romance, baseada na ideia de realismo grotesco, e a inclus?o de um relato de experi?ncia de leitura em sala de aula em conson?ncia ?s considera??es de Jauss (1994), sobre o horizonte de expectativa do leitor na recep??o de uma obra, e em Jouve (2013), a respeito da leitura subjetiva. Por isso, considera-se para a proposta de leitura de Famintos (1962) a centralidade do leitor como produtor de um segundo texto, constru?do no primeiro ato da leitura, que ?, nessa inst?ncia inicial, resultado ?nico de sua capacidade interpretativa subjetiva. Pensando nisso, este trabalho, amparado em uma pesquisa de car?ter bibliogr?fico e emp?rico, busca refletir sobre a pr?tica de leitura do texto liter?rio em sala de aula e analisar os textos de estudantes de licenciatura a partir da leitura do romance em foco. Essa atividade foi determinante para avaliar a percep??o dos leitores sobre os aspectos est?ticos de uma obra e, ao explorar a leitura como um ato de experi?ncia est?tica, inferir que ? poss?vel renunciar a algumas pr?ticas inadequadas que ainda persistem no ensino de literatura, como a instrumentaliza??o do texto liter?rio para o ensino da gram?tica, o ensino de literatura de vi?s historicista e mesmo as interpreta??es pr?-elaboradas dos manuais de literatura. / One of the principles of the classic art confines it to the ideal of harmony and beauty. Wishing to please his public, the artist became attached to these ideals, respecting the rules of composition, likelihood, moral effects and miming them as determinant elements to represent Good, Beauty and Truth. Uncountable artists and writers, however, living at different times and places, differed a lot from these ideals, using opposite elements on their creation. Considering these differences, this study presents the analysis from Victor Hugo (2002) and Wolfgang Kayser (1986) about the esthetic category named grotesque and, specially, about the meaning of grotesque realism formulated by Mikhail Bakhtin (1993). According to these authors, exaggeration and deformation of the corps are part of the grotesque and lead the reader to achieve a reality that is sometimes hidden. Identified as a constitutive element on the novel Famintos (1962), by the Cape Verdean writer Luis Romano, the grotesque has a double function on this novel: to present hunger as the central theme not only on its social aspects, but also on its effects on the bodies. Parting from these ideas, this research focus on the teaching of literature based on two axes: the analysis of a novel based on the grotesque and the results of its application on a classroom of graduates. This experience took as reference the considerations of Jauss (1994) about the horizon of expectation of a work of art, and Jouve (2013) when he talks about subjective reading. For this reason, this work considers, on reading Famintos (1962), the reader as producer of a second text, built on the first act of reading, which is, in this initial moment, the only result of the reader interpretative and subjective capacity. Concerning these ideas, this essay develops a theoretical empirical research that aims to discuss about the practice of literature in the classroom and analyzes the texts produced by students after reading the novel. This activity was determinant to understand and evaluate the perception of the readers about the aesthetic aspects of literature, and to explore reading as an aesthetic experience, concluding that is possible to abandon some old practices that still resist in teaching literature, as the use of literature to teach grammar or teaching literature based on its historic facts, and also to let down the pre-elaborated interpretation of the manuals.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-11-01T22:24:21Z No. of bitstreams: 1 DayaneDaSilvaGrilo_DISSERT.pdf: 4805833 bytes, checksum: b868ba891b607e680687e13f97658bc4 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-11-13T22:39:40Z (GMT) No. of bitstreams: 1 DayaneDaSilvaGrilo_DISSERT.pdf: 4805833 bytes, checksum: b868ba891b607e680687e13f97658bc4 (MD5) / Made available in DSpace on 2017-11-13T22:39:40Z (GMT). No. of bitstreams: 1 DayaneDaSilvaGrilo_DISSERT.pdf: 4805833 bytes, checksum: b868ba891b607e680687e13f97658bc4 (MD5) Previous issue date: 2017-07-31 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico (CNPq) / O trabalho de disserta??o concernente ? tem?tica sobre a import?ncia da poesia na forma??o de leitores nos anos iniciais do Ensino Fundamental apresenta como objeto de estudo a recep??o est?tica das crian?as ? poesia do livro ?Mem?rias inventadas: as inf?ncias de Manoel de Barros?. Temos como objetivo geral investigar a recep??o est?tica das crian?as a leitura das poesias de Manoel de Barros. Especificamente, buscamos entender os sentidos elaborados pelas crian?as a partir da abordagem dos aspectos mel?dicos, imag?ticos e sem?nticos das narrativas po?ticas lidas; identificar os sentidos: sem?nticos, emocionais e sensoriais, que as crian?as atribuem ?s poesias do autor, principalmente, aquelas que abordam tem?ticas relativas ? inf?ncia; assim como tamb?m, estudar a compreens?o das narrativas po?ticas por esses aprendizes, considerando o destaque evidenciado pelo pesquisador para as met?foras presentes no texto. Metodologicamente, a pesquisa ? de natureza descritiva, anal?tica e qualitativa, dentre as t?cnicas empregadas para a constitui??o dos dados de an?lise, destacamos a observa??o explorat?ria (L?DKE, ANDR?, 1986, ANDR? 2005) e a interven??o (BARBIE, 2002). O corpus analisado comp?e-se de sete encontros de leitura com recorr?ncia aos protocolos da experi?ncia de leitura por andaime (GRAVES; GRAVES, 1995). Elegemos o Col?gio de Aplica??o: N?cleo de Educa??o da Inf?ncia (NEI/ CAp/ UFRN), vinculado a Universidade Federal do Rio Grande do Norte, na cidade de Natal, como locus de pesquisa, tendo como sujeitos crian?as do terceiro ano do Ensino Fundamental, anos iniciais. Constatamos que desenvolver conhecimentos que promovam a compreens?o sobre o processo de recep??o est?tica ao texto po?tico pelas crian?as pode favorecer a promo??o de saberes formativos na constru??o da compet?ncia leitora e, por consequ?ncia, a constitui??o de leitores sens?veis ? poesia, especialmente as de Manoel de Barros. / This dissertation is pertaining to the importance of poems on forming readers in the early years of elementary school, it presents as object of the study the aesthetic reception from children toward a poem book titled "Mem?rias inventadas: as inf?ncias de Manoel de Barros? (Invented memories: the childhood of Manoel Barros). Having as main target investigate how the children receive the poems aesthetically, and the reading of the poems written by Manoel Barros indeed. Spacially, searching for understanding the meanings elaborated by the children from the approach of the melodic, imagery and semantics aspects of poetic narratives that have been read: identify the meanings: the semantic, emotional and sensorial values that are attributed to the author?s poems, mainly, those whose approuch the theme of childhood; and also study the comprehension of those beginners on poems? narratives, considering the emphasis evidenced by the researcher about the metaphors present in the text. Methodologically, the research is descriptive analytical and qualitative, among the techniques used for the constitution of the data from analysis, has been highlighting the exploratory observation (L?DKE, ANDR?, 1986, ANDR? 2005) and the intervention (BARBIE, 2002). The corpus analyzed consists of seven reading meetings with recurrence to the protocols of the reading experience by scaffold (GRAVES; GRAVES, 1995). The chosen school of the Application: N?cleo de Educa??o da Inf?ncia (NEI / CAp / UFRN), linked to the Federal University of Rio Grande do Norte, in the city of Natal, as research locus, having as sample the third year of elementary school, beginning years. Having been found that developing knowledge that promotes the understanding of the process of aesthetic reception to the poetic text by children can favor the promotion of formative knowledge in the construction of reading competences and, consequently, the constitution of readers sensitive to poetry, especially those of Manoel de Barros.

Indivíduos não relacionados apresentam apenas 1% de diferenças entre seus genomas. Estas variações ocorrem na forma de substituições, inserções, deleções, rearranjos complexos ou até estruturais. Dentre essas variações, aquelas que apresentam uma frequência populacional acima de 1% são denominadas de polimorfismos. Tais variações são responsáveis por diferenças que vão desde a resposta imunológica até o tratamento com drogas, incluindo sensitividade das células tumorais, níveis de plasma, efeitos colaterais e toxicidade. A forma mais comum de polimorfismo genético entre humanos são os polimorfismo de base única ou Single Nucleotide Polymorphisms (SNPs), sendo mais de 47 milhões descritos no dbSNP, um banco de dados de pequenos polimorfismos do NCBI. No presente estudo, foi estabelecida uma abordagem computacional, com etapas de exclusão de regiões parálogas ou de baixa qualidade, com o objetivo de identificar variantes genéticas em sequências expressas gerados pelo método de Open Reading Frame ESTs (ORESTES) durante o Projeto Genoma Humano do Câncer. Diferentemente de outros softwares de detecção de polimorfismos, a abordagem computacional descrita neste estudo leva em consideração a informação a priori do número de bibliotecas distintas que reportaram a mesma variação. Foram identificadas 1900 mutações (853 sinônimas e 1047 não-sinônimas) presentes em duas ou mais bibliotecas distintas, que foram validados in-silico contra o dbSNP v130. O resultado da análise identificou 901 mutações já descritas no dbSNP (47,42%). Para confirmação da análise, foram selecionadas 10 mutações (6 novas e 4 já presentes no dbSNP) para validação pelo método de High Resolution Melt (HRM), seguido da caracterização por sequenciamento de DNA. Nesse caso, o resultado foi a validação de 50% das mutações selecionadas. A análise de interação protéica, Protein-Protein Interaction (PPI), realizada com as mutações não-sinônimas localizadas em domínios funcionais, revelou redes gênicas mais complexas em tecidos tumorais do que nos tecidos normais. Esta observação ratificou a literatura a respeito da transformação tumorigênica ser desencadeada pela combinação de mutações que ativam uma série de processos biológicos, para isso, afetando genes, vias gênicas e networks de vias gênicas relacionados. Em resumo, o presente estudo descreve uma abordagem computacional eficiente para identificação de mutações em dados de sequências expressas, além de avaliar o papel das mutações na tumorigênese. / Unrelated humans have only 1% of non-simularity in their genome. These variations occur as substitutions, insertions, deletions, or even complex structural rearrangements. Among these variations, those which show a population frequency above 1% are called polymorphisms. Such variations are responsible for differences ranging from the immune response to treatment with drugs, including sensitivity of tumor cells, plasma levels, toxicity and side effects. The most common form of genetic polymorphism among human are Single Nucleotide Polymorphisms (SNPs), with more than 47 million reported in dbSNP, a database of small polymorphisms from NCBI. In this study, we established a computational approach, with steps to exclude low quality and paralogous regions, aiming to identify genetic variants in expressed sequences generated by the method of Open Reading Frame ESTs (ORESTES) for the Human Cancer Genome Project. Unlike other polymorphisms detection softwares, the computational approach described in this study takes into account the a priori information about the number of different libraries that reported the same variation. We identified 1900 mutations (853 synonymous and 1047 nonsynonymous) present in two or more different libraries, these mutations were in-silico validated against the dbSNP V130. The analysis result showed 901 mutations already described in dbSNP (47.42%). To confirm the analysis, we selected 10 mutations (six new and four already present in dbSNP) for validation by the method of High Resolution Melt (HRM), followed by characterization by DNA sequencing. In this case, the result was the validation of 50 % of the selected mutations. The Protein-Protein Interaction analysis (PPI), performed with non-synonymous mutations located in functional domains, showed more complex gene networks in tumor tissues than in normal tissues. This observation confirmed the literature regarding the tumorigenic transformation is triggered by the combination of mutations that activate a number of biological processes, thereby, affecting genes, gene pathways and networks of related gene pathways. In summary, this study describes an efficient computational approach to identify mutations in expressed sequence data, besides to evaluate the role of mutations in tumorigenesis.

L'étude du verre, entre Anse et Mâcon, dans le cadre d'un mémoire de master, avait mis en avant ses origines diverses et l’approvisionnement complexe des sites de consommation de la basse vallée de la Saône. Ces conclusions appelaient à élargir l'étude de ce mobilier à l'ensemble de la Gaule du Centre-Est. Carrefour de voies fluviales et terrestres de première importance, cette région apparaît comme un point névralgique et une plaque tournante des échanges et du commerce en Gaule. Située à la croisée de plusieurs zones productrices d'objets en verre, elle reçoit aussi bien les produits de l'aire méditerranéenne, par le Rhône, que ceux des provinces septentrionales, par la Saône, ou ceux de l'Italie du Nord, par les voies traversant les Alpes. Outre sa position extrêmement perméable aux importations, les recherches de ces dernières années ont permis de mettre au jour plusieurs ateliers de verriers, à Lyon, Aoste et Autun, attestant d'une production locale, bien implantée à partir du milieu du Ier s. de n. è. L'inventaire réalisé pour cette étude a révélé de nouveaux indices d'artisanat, à Clermont-Ferrand et Saint-Romain-de-Jalionas. Leur production est cependant totalement inconnue. La reprise du mobilier des ateliers d'Autun et de celui, tardif, de la rue des Colonnes, à Vienne, n'ayant pas permis de déterminer leur production, seule, celle des ateliers lyonnais fournit une base comparative. Mais, s'il existe des points communs entre les formes fabriquées par ces derniers et celles mises au jour sur les sites de la région alentour, des divergences importantes mènent à penser que la production d'un atelier n'était pas, a priori, totalement destinée au marché local. L'analyse du mobilier en verre révèle, au contraire, un approvisionnement complexe, composé de productions locales, ou supposées telles, et d'importations à moyenne (Italie du Nord, Narbonnaise, Côte atlantique, Nord de la France) ou longue distance (Orient, Rhénanie, Mer Noire). Ces origines diverses, non seulement se mêlent au sein des mêmes contextes, mais évoluent au cours du temps. Outre la production, la circulation et le commerce du verre, cette thèse a permis d’aborder les aspects fonctionnels et sociologiques que révèle son usage, soit au regard d’autres matériaux, comme la céramique ou le métal, soit au sein du mobilier en verre lui-même, à travers les catégories morpho-fonctionnelles qu’il adopte. La comparaison entre les matériaux s'est avérée souvent impossible en raison des écueils méthodologiques, dus soit aux contraintes archéologiques, soit à celles liés au matériau lui-même. A contrario, la répartition du mobilier en verre selon ses fonctions et son contexte a montré assez peu de variations, malgré la large gamme d'usage qu'il présente. Que l'on soit dans une riche domus, une villa ou un quartier artisanal aux habitats modestes, la vaisselle en verre est le plus souvent commune et dévolue principalement au service de table. Les thermes ont livré une répartition similaire, le nombre de flacons dits « à parfums » n'étant que trop peu supérieur pour être significatif. La seule différence notable, observée dans ce contexte est la présence accrue de fragments de vitre. Les deux nécropoles étudiées ont fourni une quantité certes plus importante de balsamaires, mais sans atteindre les proportions de certaines zones funéraires, notamment lyonnaises. Enfin, l'examen du mobilier en fonction des contextes ouvre des réflexions sur l'intégration du verre au vaisselier, entre le IIe s. av. et le début du Ier s. de n. è. L'étude du mobilier de Vienne et de deux villages proches, à Saint-Laurent-d'Agny et Saint-Romain-de-Jalionas, révèle, pour des contextes comparables, de fortes divergences dans la présence du verre. En contexte urbain, les productions dites « précoces » sont bien attestées, tandis que dans les deux contextes ruraux, pourtant aisés et en apparence romanisés dans leur architecture, la vaisselle en verre y est soit très anecdotique, soit absente. / The glass study between Anse and Macon, as part of a master's thesis, had put in front various origins and complex supply in consumer sites in the lower Saône valley. These findings called to extend the study of glass to the whole East Central Gaul. Intersection of primary importance rivers and land routes, this region appears as a focal point and a hub of trade and commerce in Gaul. Located at the crossroads of several producing glassware areas, it also receives many products in the Mediterranean area, through the Rhone, as the northern provinces, through the Saône, or Northern Italy, by routes through the Alps. In addition to its highly permeable import position, the recent research discovered several glass workshops in Lyon, Aoste and Autun, attesting to local production in the first century.This study revealed new craft indices in Clermont-Ferrand and Saint-Romain-de-Jalionas. Their production, however, is completely unknown like those of workshops of Autun and Vienne. Alone those of Lyon workshops provide a comparative basis. But if there are common point, we notice some oppositions which lead to believe that the production of a workshop was not totally for the local market. Analysis of glasses reveals, on the contrary, a complex supply consisting of local productions and imports average distance ( northern Italy, Narbonne, Atlantic Coast , Northern France ) or long one ( East , Rhineland , Black Sea ). These various origins mingle not only in the same contexts but evolve over time.In addition to the production, distribution and trade of glass, this thesis is interested in the functional and sociological aspects that reveals its use, in relation to other materials, such as ceramic or metal, or within the glass itself, through the morpho - functional classes it adopts. The comparison between the materials has been often impossible because of methodological pitfalls, due to archaeological constraints or those related to the material itself. In contrast , the distribution of glass according to its functions and context showed relatively little variation, despite the wide range of use it offers.Whether you are in a rich domus , villa or a artisan district with modest habitats, glassware is the most often common and devoted mainly serving table. The baths have delivered a similar distribution , as the number of perfume bottles is too few to be significant. The only significant difference observed in this context is the increased presence of fragments of glass windows. Both cemeteries studied provided an admittedly larger amount of perfume bottles but without reaching the proportions of certain burial sites, like in Lyon.Finally, glass studies based on contexts open reflections on the integration of glass between the second century BC and the beginning of the first century AD. The glass study in Vienna and two Villae in Saint-Laurent-d'Agny and Saint-Romain-de-Jalionas reveals, for comparable context, strong differences in the presence of glass. In urban context, early productions are well documented, whereas in both rural contexts, romanized in appearance in their architecture, the glassware is very anecdotal or absent.

La détection précoce de foyers de scolytes est une étape déterminante des opérations phytosanitaires qui doivent permettre de réduire l’impact indirect des tempêtes sur les forêts de conifères, en particulier l’impact du typographe sur les pessières. Cette détection doit idéalement être efficace, précise et économique.<p>La présente thèse portait sur le typographe, Ips typographus, en pessière dans le massif vosgien. Elle visait à étudier et à comparer les performances en termes de précision (détection, localisation et inventaire), de coût et de rapidité de mise en œuvre de différentes méthodes de détection: la surveillance au sol, la détection aéroportée par un observateur embarqué (hélicoptère et ULM), et la télédétection (photographies aérienne infrarouge et imagerie satellitaire à haute et très haute résolution).<p>Dans le chapitre « techniques de détection au sol », nous avons évalué plusieurs méthodes de suivi (par transects, le long des routes carrossables et chemins forestiers, des courbes de niveau, à partir des foyers antérieurs, le long de parcours conditionnels liés aux foyers observés). Leurs performances ont été estimées via des simulations sous SIG (système d’information géographique) et les trajets qui ont présenté les meilleurs résultats ont ensuite fait l’objet d’une validation sur le terrain. Il en ressort que ce sont les trajets le long des routes carrossables et chemins forestiers ainsi que les trajets conditionnels qui présentent les meilleurs rapports efficacité/rendement dans la détection des foyers de scolytes. Le choix d’une de ces méthodes dépendra de la taille minimum des foyers que l’on veut observer.<p>Nous avons ensuite évalué, dans le chapitre « détection aéroportée », les performances de techniques d’observations de foyers réalisées par un observateur embarqué à bord d’un hélicoptère et d’un ULM. Une première étape a consisté à optimaliser toute une série de paramètres de vol pour les deux types d’appareils afin de permettre à l’observateur embarqué d’être dans les meilleures conditions d’observation. Ensuite, nous avons évalué la précision de détection en fonction de divers types de trajets en ULM et hélicoptère. D’après nos résultats, les observations recueillies à l’aide des deux sortes appareils n’ont pas permis de détecter de manière satisfaisante les foyers de scolytes quelque soit le type de trajet utilisé. Ces résultats sont sans-doute dus, en partie, à la faible expérience des observateurs embarqués mais également aux caractéristiques spatiales des foyers d’infestation qui ne facilitent pas leur détection par ce genre de méthode. <p>Enfin, dans le chapitre « télédétection », nous avons évalué les performances qu’offrent (1) des séries temporelles d’images SPOT, (2) la photographie aérienne infrarouge et (3) des images Quickbird dans la détection de foyers de scolytes. Pour tous ces types d’images, nous avons estimé la précision d’une classification automatique des foyers d’infestation, réalisée à partir de leurs caractéristiques spectrales, texturales et environnementales, par rapport aux autres éléments présents sur l’image. Ces analyses ont mis en évidence qu’il est possible d’atteindre une précision de classification relativement bonne (>80%) des foyers d’infestation sur des photographies aériennes et sur des images satellites à très haute résolution spatiale (Quickbird) grâce à des techniques de segmentation et de classification par arbre de décision. Par contre, il ne nous a pas été possible de déterminer de façon satisfaisante la précision de classification des images SPOT (haute résolution spatiale). <p><p>Les résultats détaillés de chacune de ces méthodes de détections sont développés dans les différents chapitres de cette thèse. La discussion générale met ceux-ci en relation en abordant leurs avantages et inconvénients respectifs, et aborde les perspectives découlant de nos résultats. <p> / Doctorat en Sciences agronomiques et ingénierie biologique / info:eu-repo/semantics/nonPublished

Les peintures rupestres de l’Ontario font partie du grand ensemble de l'art rupestre du Bouclier Canadien. Ce terme recouvre une réalité géologique autant qu'ethnographique, puisque cette région est essentiellement habitée par les Algonquiens. La retraite des glaces laissa un paysage criblé de lacs et de cours d'eau dont les artistes amérindiens peignirent les roches riveraines. Les peintres élirent de préférence des rochers de granit ou de gneiss, lissés par les glaces et plongeant, le long des rivages, presque à la verticale dans l'eau. <p>Depuis une dizaine d'années, les recherches en art rupestre se développent de plus en plus :de nouvelles techniques, ainsi que des interprétations récentes, prenant plus en compte les autres domaines scientifiques font leur apparition. Toutes ces approches sont largement diffusées par des colloques, des congrès et des périodiques spécialisés. Néanmoins, elles sont encore peu appliquées dans de nombreuses régions, les représentations ne faisant généralement l'objet que d'un relevé succinct, d'une identification des principaux motifs et d'une chronologie relative incertaine. Dans les années '60, Leroi-Gourhan rejetait, à juste titre pour l'art pariétal européen, le comparatisme ethnologique et il préconisait de "recevoir directement du Paléolithique ce qu'il apportait spontanément". Les spécialistes européens se focalisèrent alors sur les peintures et gravures et les étudièrent de la même manière que n'importe quel artefact archéologique (typologie, chronologie, carte de répartitions, analyse quantitative…). Au contraire, en Amérique et en Australie, où l'approche ethnographique et ethnologique est possible, les chercheurs se concentrèrent principalement sur ce dernier axe de recherche. Les dernières recherches en Europe de l'art pariétal paléolithique ont démontré l'importance d'une approche à la fois plus objective, plus exhaustive et plus contextuelle, approche qui fait encore malheureusement très largement défaut dans les travaux consacrés aux art rupestres, notamment les peintures rupestres du Bouclier canadien. Or, ces manifestations "esthétiques" sont susceptibles de nous livrer des informations non seulement sur le fonctionnement mental et spirituel des hommes qui les ont réalisées, par l'analyse des contenus graphiques mais aussi sur leur fonctionnement social grâce à la reconstitution des diverses chaînes opératoires mises en œuvre pour leur obtention. Il est donc désormais indispensable de lier les deux approches et de traiter ces documents archéologiques, tant d’un point de vue anthropologique qu’archéologique. C’est-à-dire, en analysant les peintures dans leur contexte (importance du rocher et des fissures, position du rocher sur le lac et importance de la voie de communication) et en les reliant à ce que nous connaissons de la mythologie et des pratiques culturelles des sociétés amérindiennes. <p><p> / Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished