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El presente proyecto “Fancy Rent Bag” tiene por finalidad desarrollar un modelo innovador y escalable que permita contribuir sosteniblemente a la sociedad, de tal manera que este pueda hacer frente a nuestros competidores del mercado nacional a través de diferentes estrategias de marketing enfocadas en optimizar nuestros procesos operativos y de venta; y así posicionar a la empresa y aumentar su participación de mercado para llegar a al segmento objetivo y clientes potenciales de manera efectiva. Asimismo, nuestro público objetivo se divide en dos segmentos. Por un lado, el primer segmento o también “consumidoras que desean alquilar carteras de marca” se enfoca en mujeres peruanas modernas residentes de Lima Metropolitana de 18 a 39 años de edad de los niveles socioeconómicos AB y C. La propuesta brindada para el segmento 1 es ofrecer un espacio digital en el cual las usuarias puedan encontrar diversas carteras de marca a precios accesibles. Por otro lado, el segundo segmento de mercado o “propietarias”, son aquellas mujeres que desean rentar sus carteras de marca y ganar dinero adicional; este segmento comprende a mujeres peruanas de estilo sofisticado residentes de Lima Metropolitana de 20 a 40 años de edad pertenecientes a un nivel socioeconómico A y B. Ante ello, durante el transcurso del proyecto fue posible percibir una acogida incremental por la renta de las carteras de marca, lo cual también fue validado con las impresiones e interacciones en redes sociales, Google Ads y Google Analytics. / "The present project “Fancy Rent Bag” aims to develop an innovative and scalable model, which allows contributing sustainably to society, so that it can face our national competitors through different marketing strategies focused on optimizing our operational and sales processes. Thus, the company will be able to position in the market and increase its market share to reach its target segment and potential customers effectively. Likewise, our target audience is divided in two segments. On the one hand, the first segment or also called ""consumers who want to rent luxury or designer bags"" focuses on modern peruvian women residing in Metropolitan Lima from 18 to 39 years of age from the socioeconomic status A, B and C. The proposal for segment 1 is to offer a digital space in which users can find different exclusive bags at affordable prices. On the other hand, the second segment or also called “owners” are those women who want to rent their luxury bags and earn extra money. This segment includes Peruvian women of sophisticated style residing in Metropolitan Lima from 20 to 40 years of age from the socioeconomic status A and B. Given this, during the course of the project it was possible to notice an incremental reception of the rent of luxury bags, which was with the impressions and interactions on social networks, Google Ads and Google Analytics. / Trabajo de investigación

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Vorzustellen ist ein kurioses Werk aus der Kartensammlung der SLUB, das in bibliophilen Kreisen nicht ganz unbekannt ist: In einer pittoresken „Karte des Bücherlandes“ stellte der Münchner Graphiker und Illustrator Alphons Woelfle (1884 –1951) 1938 das deutsche Buch- und Verlagswesen dar, in barocker Manier mit Kartusche, Allegorie und antiken Lettern. Schon 1941 neu aufgelegt, erlebte die ursprünglich handkolorierte Lithographie auf Büttenpapier bis heute zahlreiche Nachdrucke, sogar im Postkartenformat: Dabei misst das Blatt im Original 40 mal 29 cm.

Thesis (MTech (Fashion Design))--Cape Peninsula University of Technology, 2009. / The focus of the Fibre-Arts Design Project (FADP) was to address issues of ageism in South Africa, particularly focusing on addressing the elderly's socio-economic well-being in Cape Town. This was achieved through the creation and implementation of a socially designed programme that was specifically aimed at empowering the elderly through the implementation of craft skills-training, as well as through the development and fabrication of a marketable women's accessory range. The FADP, which is a socially driven, income-generating model, improved the elderly's craft skills and revived hands-on creativity, as well as preserved and restored some of the elderly's disused and forgotten traditional craft skills and techniques. The success of the FADP is also attributed largely to its investment in people, whilst simultaneously and actively promoting strategies of knowledge and skills creation as a preferred and viable path to sustaining a community's creative and economic life. This is an important aspect when implementing social design programmes amongst similar particular disadvantaged communities and ensuring their sustainability.

Le concept de lieu intéresse l’analyse littéraire non seulement dans une acception thématique mais aussi en ce qu’il traduit et symbolise la relation du sujet lyrique au monde et au langage, que l’œuvre de Reverdy reconstruit de manière originale. On se propose, dans une première partie, de décrire la structuration du monde imaginaire de Reverdy, ce paysage — au sens où le définit Michel Collot — que son œuvre instaure, construit, recompose. S’il est riche de lieux qui se distribuent de manière polysémique, il rend également compte d’une expérience originale de l’existence, en traduit les données les plus personnelles, celles d’un « je » poétique immergé dans un monde qu’il recompose par des lois imaginaires et dont il éprouve l’instabilité essentielle. Ce monde éminemment subjectif — nous sommes, rappelle Jean-Pierre Richard, « en poésie » — et par là-même lacunaire et mouvant, présuppose une place du sujet ancré au monde, et donc lieu exclu du monde tel un point aveugle. Une seconde partie étudie le travail de l’écriture poétique reverdyenne qui conteste et subvertit cette relation. Sous l’influence du cubisme, elle entre en lutte contre l’unité/unicité d’un sujet dont elle mine la vérité, détruit la cohésion, dont elle rêve la diffraction et la dispersion dans un paysage qu’elle investit de manière massive, jusqu’à l’y confondre. L’écriture poétique est donc un moyen privilégié de repenser le lieu, ce Dasein qui concrétise l’existence, et apparaît ainsi comme un lieu de nouage, de fusion, un carrefour où sujet et monde imaginaires se constituent en un lieu de l’œuvre, véritable figure du sujet lyrique, territoire au sens où l’entend Jean-Marie Gleize et dont une troisième partie expose l’essence. C’est là l’occasion de comprendre comment fonctionne l’écriture reverdyenne, quelles sont les grandes forces de l’imaginaire qui s’y met en œuvre, pour en tirer des conclusions sur sa spécificité. / The concept of place is of special interest for literary analysis not only thematically but also in so far as it translates and symbolizes the relation of the lyrical subject to the world and to language, which is reconstructed by Reverdy’s literary work in an original way. The first part of this thesis is devoted to the structuration of Reverdy’s imaginary world, this landscape — as defined by Michel Collot — elaborated, built and recombined. This landscape, made of polysemous places, also translates an original existential experiment, through most personal data, the data of a poetical « I » submerged in a reconstructed world based on imaginary laws and experienced by the author as essentially unstable. This extremely subjective world — we are, as Jean-Pierre Richard reminds us, « in poesy » — thus on a land of gap and constant change, is based on the principle of a subject rooted in the world and thus a place excluded from the world like a blind spot. The second part studies the work of the Reverdian poetic writing that rejects and subverts this relation. Under the spell of Cubism, it fights against the unity/uniqueness of a subject by distorting reality, destructing coherence and dreaming of its diffraction and blurring into a landscape it massively invests in, till melting. Poetic writing is thus a privileged way of rethinking the concept of place, this Dasein materializing existence, and is revealed as a place of binding, of fusion, a crossroad where the subject and the imaginary world are intertwined in a place of the work, true self of the lyrical subject, territory as defined by Jean-Marie Gleize and whose third part presents the essence. We have the opportunity to understand the way the Reverdian writing works, the great forces of the imagination at work in it, so as to be able to conclude on its specificity.

Neste trabalho foram analisados 49 diamantes coloridos da coleção Luiz Paixão incorporados 1954 ao acervo do Museu de Geociências do IGc-USP. Os diamantes foram pesados, medidos, fotografados e alguns foram escolhidos para análise espectroscópica no UV-VIS com a finalidade de auxiliar no estudo de centros de cor e distinção sobre a origem da cor nos diamantes quanto esta ser natural ou artificialmente induzida. Pelo resultado da interpretação dos espectros obtidos, uma parte desta coleção de diamantes coloridos sofreu tratamentos de cor por irradiação, demonstrando que no Brasil na época da formação desta coleção já era possivel de encontrar diamantes tratados o que é um fato interessnte considerando os poucos reatores nucleares existentes na época. / This work presents results of an analysis of 49 colored diamonds from the Luiz Paixão Collection, donated 1954 to the Geological Museum of Geoscience Institute of University of São Paulo. They have been measured, photographed and some have been selected for detailed spectroscopic analysis by UV/VIS spectroscopy. By this method it is possible to detect if the color of the diamond is natural or produced by treatment. The presence of specific absorption peaks and their intensity in the spectrograms revealed that all blue and green diamonds indeed showed signs of treatment and their color is not natural. This is a very interesting fact and shows that already in times before the donation treated diamonds were apparently easily available in Brasil. Considering the paucity of nuclear reactors in the United States or in Europe in those times this result is very surprising.

Neste trabalho foram analisados 49 diamantes coloridos da coleção Luiz Paixão incorporados 1954 ao acervo do Museu de Geociências do IGc-USP. Os diamantes foram pesados, medidos, fotografados e alguns foram escolhidos para análise espectroscópica no UV-VIS com a finalidade de auxiliar no estudo de centros de cor e distinção sobre a origem da cor nos diamantes quanto esta ser natural ou artificialmente induzida. Pelo resultado da interpretação dos espectros obtidos, uma parte desta coleção de diamantes coloridos sofreu tratamentos de cor por irradiação, demonstrando que no Brasil na época da formação desta coleção já era possivel de encontrar diamantes tratados o que é um fato interessnte considerando os poucos reatores nucleares existentes na época. / This work presents results of an analysis of 49 colored diamonds from the Luiz Paixão Collection, donated 1954 to the Geological Museum of Geoscience Institute of University of São Paulo. They have been measured, photographed and some have been selected for detailed spectroscopic analysis by UV/VIS spectroscopy. By this method it is possible to detect if the color of the diamond is natural or produced by treatment. The presence of specific absorption peaks and their intensity in the spectrograms revealed that all blue and green diamonds indeed showed signs of treatment and their color is not natural. This is a very interesting fact and shows that already in times before the donation treated diamonds were apparently easily available in Brasil. Considering the paucity of nuclear reactors in the United States or in Europe in those times this result is very surprising.

Effect of soil moisture potential (?), temperature (T), genotype, seeding depth (SD) and rate (SR) on seedling emergence (SE), emergence velocity (EV), root yield and grades of cut and peel carrots were studied. SE was reduced at –120 kPa and totally inhibited at -156 kPa. EV was the lowest at – 5 kPa and – 90 kPa. SE was delayed by 33 d at 5°C, reduced at 30°C and totally inhibited at 35 and 40 °C. Heat units 99.75 and 159.60°Cd were the lowest to initiate and complete SE respectively while the optimum was 300 – 350 °Cd. There was no interaction effect between ? and T on SE. Honey snax at 85 seeds/ 30 cm showed the best SE whereas, Triton recorded the highest total yield at 2.54 cm SD and Fancy yield at 85 seeds/ 30 cm implying certain crop ecological and management factors can influence SE, root yield and quality.

Vorzustellen ist ein kurioses Werk aus der Kartensammlung der SLUB, das in bibliophilen Kreisen nicht ganz unbekannt ist: In einer pittoresken „Karte des Bücherlandes“ stellte der Münchner Graphiker und Illustrator Alphons Woelfle (1884 –1951) 1938 das deutsche Buch- und Verlagswesen dar, in barocker Manier mit Kartusche, Allegorie und antiken Lettern. Schon 1941 neu aufgelegt, erlebte die ursprünglich handkolorierte Lithographie auf Büttenpapier bis heute zahlreiche Nachdrucke, sogar im Postkartenformat: Dabei misst das Blatt im Original 40 mal 29 cm.