Universiẗat, Diss., 2002--Hohenheim.

280f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-22T19:48:43Z No. of bitstreams: 4 Tese Rosana Nascimento4.pdf: 5751370 bytes, checksum: 8d53ddb1b003a9f7136a4f70f65bab0e (MD5) Tese Rosana Nascimento3.pdf: 5659205 bytes, checksum: ed672c6a7c8333bc90efafaeeed6ba92 (MD5) Tese Rosana Nascimento2.pdf: 5786944 bytes, checksum: 8823dee29fa7f434751f6e05cd243d45 (MD5) Tese Rosana Nascimento1.pdf: 5635316 bytes, checksum: 873f546d1c0daac4188605a098d87ef0 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-24T11:26:34Z (GMT) No. of bitstreams: 4 Tese Rosana Nascimento4.pdf: 5751370 bytes, checksum: 8d53ddb1b003a9f7136a4f70f65bab0e (MD5) Tese Rosana Nascimento3.pdf: 5659205 bytes, checksum: ed672c6a7c8333bc90efafaeeed6ba92 (MD5) Tese Rosana Nascimento2.pdf: 5786944 bytes, checksum: 8823dee29fa7f434751f6e05cd243d45 (MD5) Tese Rosana Nascimento1.pdf: 5635316 bytes, checksum: 873f546d1c0daac4188605a098d87ef0 (MD5) / Made available in DSpace on 2013-05-24T11:26:34Z (GMT). No. of bitstreams: 4 Tese Rosana Nascimento4.pdf: 5751370 bytes, checksum: 8d53ddb1b003a9f7136a4f70f65bab0e (MD5) Tese Rosana Nascimento3.pdf: 5659205 bytes, checksum: ed672c6a7c8333bc90efafaeeed6ba92 (MD5) Tese Rosana Nascimento2.pdf: 5786944 bytes, checksum: 8823dee29fa7f434751f6e05cd243d45 (MD5) Tese Rosana Nascimento1.pdf: 5635316 bytes, checksum: 873f546d1c0daac4188605a098d87ef0 (MD5) Previous issue date: 2008 / A Exposição do Mundo Português em 1940 foi um evento idealizado pelo Estado Novo portugues para marcar oito séculos de história dos portugueses no mundo. Diferentemente das Exposições Internacionais realizadas até então, o Estado Novo realizou uma exposição de caráter nacional para contar uma história de glórias do passado aos portugueses do presente. O nosso estudo tratou da participação do Brasil, nessas Comemorações Centenárias, na exposição denominada “Brasil Colonial”. Seu objetivo foi investigar o papel do Museu Histórico Nacional (MHN), por meio de seu acervo, na reconstrução histórica do Brasil Colonial na Exposição do Mundo Português (EMP). Foram definidos os seguintes objetivos específicos: investigar a EMP como um evento marcante das Comemorações Centenárias que contavam oito séculos de história dos portugueses no mundo; identificar o acervo do MHN selecionado para compor o Pavilhão do Brasil Colonial na Exposição do Mundo Português; analisar os fatos históricos do Brasil Colonial considerados representativos para a definição do circuito da exposição a partir do acervo do MHN; e estudar a influência de Gustavo Dott Barroso nas decisões para a exposição do Brasil Colonial. A metodologia empregada foi a análise histórica e historiográfica, realizada com base na documentação iconográfica, documental e fotográfica existentes nos arquivos, museus e bibliotecas de instituições públicas e privadas brasileiras e portuguesas. A análise dos dados coletados permitiu desmistificar alguns pontos, tais como: a periodização da história do Brasil Colonial definida para a Exposição; o acervo do MHN, escolhido para narrar a História do Brasil Colonial; conhecer os caminhos percorridos por um acervo museológico, no caso, o do MHN, usado para a construção de um discurso expositivo que objetivava a representação da herança portuguesa na construção do Brasil Colonial. Os resultados permitiram concluir-se que, em 1940, a Exposição do Mundo Português foi um momento de afirmação da nacionalidade portuguesa usando o passado de glórias e de expansão no mundo. Sobre o Brasil e a sua participação, houve uma condução por intelectuais brasileiros e portugueses, por meio de cartas codificadas, cifradas, com registros de confidenciais que atravessaram o Atlântico em conchavos e conluios para possibilitar a representação brasileira. Com relação à montagem da exposição do Pavilhão Brasil Colonial com o acervo do MHN, foram marcantes as atitudes de Gustavo Barroso à frente da construção dessa narrativa, realizando uma exposição para enaltecer, através dos objetos, a epopéia do paraíso - o Brasil Colônia. Assim, em 1940, o Brasil é Português. / Salvador

Made available in DSpace on 2014-06-11T19:35:15Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-02-25Bitstream added on 2014-06-13T21:07:40Z : No. of bitstreams: 1 rotundo_m_dr_ilha.pdf: 1427510 bytes, checksum: fd9f2e2aae52aa3472867b502aa325c9 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nas últimas décadas a consciência ecológica despertou a atenção de governos e da sociedade para o problema dos resíduos dos pesticidas nos alimentos e no ambiente, onde os amostradores de pragas agrícolas se enquadram dentro de um grupo de risco. A exposição dérmica de amostradores foi avaliada na reentrada em lavoura de algodoeiro após pulverização de três inseticidas. Aos 3 minutos após a aplicação quatro equipes vestiram um conjunto de vestimentas amostradoras (calça, camisa e luvas), entrando e permanecendo nas áreas tratadas por 30 minutos, simulando uma amostragem de pragas. O procedimento foi repetido aos 60 e 300 minutos e aos 1, 3, e 7 dias após a aplicação. As vestimentas amostradoras contaminadas após as exposições foram seccionadas em campo em 6 regiões distintas mais as luvas, embaladas e levadas ao Laboratório. Os inseticidas foram extraídos das vestimentas amostradoras com acetato de etila e a determinação quantitativa foi realizada por meio de cromatografia gasosa. As exposições dérmicas foram extrapoladas para uma jornada de trabalho de oito horas. Para classificar a segurança das condições de trabalho foram estimadas a margem de segurança (MS) e o tempo de trabalho seguro (TTS). O conjunto correspondente aos antebraços/braços/mãos concentrou 35% dos resíduos presentes nas vestimentas amostradoras. Partes correspondentes ao tronco (frente), coxas, pernas e tronco (atrás) alcançaram 19; 19; 10 e 16% dos resíduos, respectivamente. Constatou-se que o intervalo de reentrada estabelecido para os inseticidas comerciais Thiodan 350 CE (endosulfan) e Tamaron 600 BR (metamidofós) estão subestimados, enquanto que para o Marshal 200 SC (carbosulfan) o mesmo está superestimado, em relação aos intervalos de reentrada estabelecidos na legislação em vigor / The objective of this work was to study the dermal exposure of workers to residues of the pesticides, applied in cotton crop. After 3 minutes of application four people dressed a group with cotton clothes (pants, shirt and gloves), entered and stayed in the treated area by 30 minutes, simulating a sampling. The procedure was repeated after 60 and 300 minutes and 1, 3, and 7 days after application. The clothes were cut and put in plastic bags, and stored cold at -18oC until analyses was performed. The analytical method consisted on the extraction of pesticides residues with ethyl acetate and the quantitative determination was done by gas chromatography. Exposure was extrapolated to a work day of 8 hours. To evaluate safety conditions at work was estimated the Working Condition Unsafe (margin of safety – MOS <1) and the estimate of Safe Work Duration (SWD). The corresponding group for the forearms/arms/hands concentrated 35% of present residues in the clothes. The residues found on the clothes, trunk, lame, legs and trunk-back, were 19, 19, 10, and 16%, respectively. Results of carbosulfan amounts trapped on cotton clothes showed that 24h as a reentry interval is overestimated. For methamidophos and endosulfan a reentry interval is underestimated

Throughout an adult life that witnessed drastic cultural upheaval between the Civil War and World War I, Bertha Honoré Palmer (1849-1918) was continually called on to deploy her Victorian values in response to modern events. Being a woman only complicated this negotiation. But being a child of the American frontier granted her a latitude and mobility that were rare for women of her class and era – allowing her to challenge gender boundaries and occupy more than one cultural space at a time. Most of what has been written about Bertha Palmer’s life has been exceptionalist in approach and tone, ascribing her outsized social and political successes to her physical beauty and perfection of temperament. I believe Bertha Palmer’s importance as a crucial transitional bridge between True Woman and New Woman has been underestimated in this discourse. Near the end of her life, a move to Florida offered her the potential to resolve the inside/outside, domestic/public, feminine/masculine dialectics that lay at the heart of her restless movements. These contradictions and dichotomies that Bertha Palmer embodied on a grand scale do more to make her knowable to us today than the record of her words and actions can accomplish. Both her Victorian reticence and her modernistic construction of a seamless public façade have a way of hindering our best efforts to understand her motivations – especially the choice to move to Florida – despite a wealth of biographical material, including her correspondence housed in Chicago and Sarasota history centers, and contemporary news accounts. In the end, the cultural history of the Gilded Age gives us the only reliable lens for penetrating the veneer of Bertha Palmer.

Orientador: Geraldo Papa / Banca: Enes Furlani Júnior / Banca: Marineide Rosa Vieira / Banca: Joaquim Gonçalves Machado Neto / Banca: Gilberto Casadei de Baptista / Resumo: Nas últimas décadas a consciência ecológica despertou a atenção de governos e da sociedade para o problema dos resíduos dos pesticidas nos alimentos e no ambiente, onde os amostradores de pragas agrícolas se enquadram dentro de um grupo de risco. A exposição dérmica de amostradores foi avaliada na reentrada em lavoura de algodoeiro após pulverização de três inseticidas. Aos 3 minutos após a aplicação quatro equipes vestiram um conjunto de vestimentas amostradoras (calça, camisa e luvas), entrando e permanecendo nas áreas tratadas por 30 minutos, simulando uma amostragem de pragas. O procedimento foi repetido aos 60 e 300 minutos e aos 1, 3, e 7 dias após a aplicação. As vestimentas amostradoras contaminadas após as exposições foram seccionadas em campo em 6 regiões distintas mais as luvas, embaladas e levadas ao Laboratório. Os inseticidas foram extraídos das vestimentas amostradoras com acetato de etila e a determinação quantitativa foi realizada por meio de cromatografia gasosa. As exposições dérmicas foram extrapoladas para uma jornada de trabalho de oito horas. Para classificar a segurança das condições de trabalho foram estimadas a margem de segurança (MS) e o tempo de trabalho seguro (TTS). O conjunto correspondente aos antebraços/braços/mãos concentrou 35% dos resíduos presentes nas vestimentas amostradoras. Partes correspondentes ao tronco (frente), coxas, pernas e tronco (atrás) alcançaram 19; 19; 10 e 16% dos resíduos, respectivamente. Constatou-se que o intervalo de reentrada estabelecido para os inseticidas comerciais Thiodan 350 CE (endosulfan) e Tamaron 600 BR (metamidofós) estão subestimados, enquanto que para o Marshal 200 SC (carbosulfan) o mesmo está superestimado, em relação aos intervalos de reentrada estabelecidos na legislação em vigor / Abstract: The objective of this work was to study the dermal exposure of workers to residues of the pesticides, applied in cotton crop. After 3 minutes of application four people dressed a group with cotton clothes (pants, shirt and gloves), entered and stayed in the treated area by 30 minutes, simulating a sampling. The procedure was repeated after 60 and 300 minutes and 1, 3, and 7 days after application. The clothes were cut and put in plastic bags, and stored cold at -18oC until analyses was performed. The analytical method consisted on the extraction of pesticides residues with ethyl acetate and the quantitative determination was done by gas chromatography. Exposure was extrapolated to a work day of 8 hours. To evaluate safety conditions at work was estimated the Working Condition Unsafe (margin of safety - MOS <1) and the estimate of Safe Work Duration (SWD). The corresponding group for the forearms/arms/hands concentrated 35% of present residues in the clothes. The residues found on the clothes, trunk, lame, legs and trunk-back, were 19, 19, 10, and 16%, respectively. Results of carbosulfan amounts trapped on cotton clothes showed that 24h as a reentry interval is overestimated. For methamidophos and endosulfan a reentry interval is underestimated / Doutor

In the context of reading strategy research, the present study explores changes with passage difficulty in the frequencies of occurrence of responses and strategies identified in expert readers' think-aloud protocols. Data consisted of tape recorded think-alouds collected from ten university undergraduates reading to summarize three expository passages ordered from simple to difficult by independent raters. Tapes were transcribed and six categories of responses and strategies were identified in subjects' protocols. The six categories, in order of frequency of occurrence, were: Metastatement, Problem Solving, Repetition, Surface Response, Surface Structure, and Divergent. There were significant differences across passage difficulty in expert readers' evidence of responses and strategies. The frequency of occurrence of problem solving increased significantly as subjects read increasingly difficult expository text. Both surface reactions to text and subjects' comments on their own reading, were high in frequency of occurrence only for the most difficult text. Interpretation suggests expert readers seem to engage with text through problem solving more often in reading more difficult text and demonstrate the existence of a lack of comprehension through reactions to the text and to their own reading. Implications for practice and research are discussed. / Graduate

Depuis le début de leur reconnaissance artistique dans les années 1990, les photographes japonais Homma Takashi (né en 1962), Kawauchi Rinko (née en 1972), Sanai Masafumi (né en 1968) et Yamamoto Masao (né en 1957) ont publié de très nombreux ouvrages. En privilégiant le livre à l’exposition pour la présentation de leurs oeuvres, ils en ont fait un espace de confrontation entre des réflexions occidentales et des modèles nationaux traditionnels déjà existants, notamment esthétiques et littéraires. On observe aussi, chez ces photographes puisant leur inspiration dans leur environnement immédiat, des similitudes dans les thèmes photographiés, les démarches de production, tout comme dans les choix de mise en page des clichés.Au sein d’une étude élargie de l’histoire du livre de photographies au Japon, la démarche exemplaire de ces quatre artistes permettra de développer et d’analyser comment les pratiques de publication de la photographie ont pu nourrir, et nourrissent encore, le renouvellement de la photographie japonaise contemporaine. L’emploi du livre, objet aisément transportable, manipulable et reproductible, impose également de s’interroger sur la diffusion et sur la réception du travail de ces artistes, au Japon comme à l’étranger. En effet, le livre est aussi à envisager comme un médium qui matérialise les échanges entre l’Extrême-Orient et l’Occident. / Since the beginning of their artistic recognition in the 1990s, Japanese photographers Homma Takashi (born in 1962), Kawauchi Rinko (1972-), Sanai Masafumi (1968-) and Yamamoto Masao (1957-) have published numerous photobooks. By favouring the book over the exhibition to display their works, they turned it into a space where Western reflections and traditional Japanese models intersect, especially aesthetic and literary ones. The four photographers all take their inspiration from their own environment, but similarities can also be observed in the photographic subjects, production processes and page settings.In an expanded study of the history of photobooks in Japan, the exemplary approaches of these four artists will enable to develop and to analyse how photography publishing practices have fed – and are still feeding – the renewal of Japanese contemporary photography. Using the book (an object that can be easily carried, handled and mechanically reproduced) makes it necessary to wonder about the circulation and the critical reception of the artists’ work, both in Japan and abroad. Indeed, the book has to be considered as an artistic medium that materialises the relationships between the Far East and the West.

Le droit d’exposition comme la prérogative patrimoniale du droit d’auteur est l’objet de notre étude. L’exposition publique de l’œuvre est assimilée à un mode d’exploitation au sens du droit d’auteur, c’est une comme une utilité reconnue, réservée à l’auteur. Pourtant l’exercice de ce droit se caractérise par une confusion dans les pratiques contractuelles. L’objet d’art et l’œuvre de l’esprit se confondent. La primauté du droit de la propriété matérielle joue un rôle important dans la reconnaissance du droit d’exposition à une œuvre de l’esprit. Pourtant celle-ci s’incarne dans une matière afin d’être perceptible au sens. L’exposition publique de l’œuvre est le mode de communication d’une œuvre de l’esprit au sens du droit de représentation. / The right of public exhibition right like a copyright law for the artistic works is objective of our research. Public exhibition can be assimilated to a traditional mode of exploitation of artworks. This mode of exploitation of artworks can be recognised by the copyrights and reserved by artiste. But the exhibition right has been confused in the contract practice. The artistic work see like an objetct. The copyright can not be recognised for the artworks because of the material object. But the works of artistes like artistic work and they artistic expression are communicated to the public in exhibition. This is an exploitation of artistic work in the public exhibition.

Qu’est-ce que le curating ? Quel ensemble de pratiques et de représentations ce terme évoque-t-il ? Cette thèse se propose de répondre à ces questions en envisageant la pratique curatoriale sous l’angle du design, entendu ici comme discipline du projet. Face à la confusion des termes pour qualifier les acteurs du curating, il convient d’abord d’en préciser la définition en observant les différentes acceptions favorisées par la discipline et leurs effets. C’est pourquoi la première partie propose une archéologie de la pratique curatoriale en analysant la variété des dispositifs et des acteurs animés par le souci de l’art. Cette approche transhistorique permet de mettre en évidence la complexité des enjeux que soulève l’exposition à l’heure de la cohabitation des conservateurs, commissaires et curateurs. En s’appuyant sur une expérience de terrain en médiation, la seconde partie aborde la mise en œuvre de l’exposition comme une activité de projets portée de main de maître par la figure du curator. Occupé à proposer des bouquets d’œuvres aux couleurs variées selon les cahiers des charges et les contextes dans lesquels il intervient, ce dernier se comporte in fine comme un designer capable de proposer des réponses aux problèmes de l’hypermodernité. En tant que discipline, le design est ici d’un double secours : De la conception à la réception d’une exposition, il permet de mesurer le dessein essentiel à tout projet ; et dans un second temps, il permet de dessiner des portraits que ces acteurs véhiculent en variant les poses et les postures. La troisième partie propose enfin de comprendre le curating à travers le prisme du dispositif oraculaire delphique. Son but est d’élargir la réflexion en opérant un recul plus à même d’éclairer la problématique contemporaine de l’autorité curatoriale. Cette relecture à partir de l’oracle antique initie une nouvelle compréhension des expositions et des plis de la création contemporaine, en interrogeant le processus de transformation d'un display en produit touristique séduisant, capable de mobiliser des foules aux quatre coins de la planète autour de visions enjouées, pour un temps de l’art qui semble passé de la contemplation béate à une attention distraite. / What is curating? What kind of practices and representations does it bring up? This PHD propose to answer those questions by imagining curatorial practise under design perspective. Curating actors being hard to name from each others, a definition must be given while observing names used by different discipline and their effects. That is why the first part propose an archeology of curatorial practice analysing the diversity of displays and of caregivers. This transhistorical approach underlines the complexity of what's at stake in exhibition nowadays. As for the second part, a field work in museum public relations helps to analyse the set up ofan exhibition from a project point of view, the curator being the conductor. Busy proposing sets of pieces of art responding to contexts and shaped by constraints of the field in which he works, he finally behave just like a designer able to answer the different questions of an hypermodern world. As a study subject, design here can help in two different ways : From conception to final installment of an exhibition, it helps understand what lies beneath the very beginning of the project and draws portraits of curatorial actors. Finally the third part propose to understand curating through the lens of delphic oracular practices. It aims at widening the perpectives of study to better understand curatorial problematics. This reinterpretation from antic oracle perspective allows a new understanding of contemporary exhibition and creation and questions transformation processes that turns an exhibition into an appealing touristic product, in a time where art seems gone from mute contemplation to a zapping attitude.

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