Cette thèse porte sur l'examen psychologique de l'enfant marocain d'âge scolaire qui consiste à copier et reproduire de mémoire deux figures géométriques complexes à savoir la Figure Complexe de Rey (1941), constituée de formes géométriques majoritairement droites et la Figure Complexe en Arabesque, modélisée lors de cette étude et constituée avec un nombre de formes géométriques courbées égal à celui des droites. L'efficience au niveau de la rétention mnésique des sujets est définie par la réalisation d'un score élevé relatif à la qualité graphique de la figure géométrique complexe, l'utilisation des stratégies de réalisation évoluées, et sa réalisation en un temps minimal ayant des représentations mentales vis-à-vis de cette figure traduites par une production langagière avec un lexique mental riche par le nombre, par les thèmes qui reflètent son identité culturelle et par les systèmes linguistiques utilisés.Les 360 enfants âgés de 6 à 13 ans, en plus d’avoir été soumis à un questionnaire sociodémographique et de compétences linguistiques, ont participé à une épreuve de latéralité et à une passation interindividuelle de la Figure Complexe de Rey (Rey, 1941) et de la Figure Complexe en Arabesque dans deux ordres inversés avec deux modes d'évaluation classique et dynamique (Kirkwood et al., 2001) dans une perspective intra individuelle.Les résultats montrent que l'efficience d'un enfant marocain d'âge scolaire lors d'un examen psychologique se développe en fonction de ses compétences linguistiques, de l'évolution de son âge, de l'avancement de son niveau scolaire et de l'appartenance de son école à un milieu urbain. Cependant, cette efficience n'est pas liée à son genre (fille/garçon), à son profil de latéralité (droitier/gaucher), à la directionnalité du tracé qui domine ses productions graphiques (haut/bas ; droite/gauche) et à l'ordre de passation (FCR/FCA ; FCA/FCR). Cette même efficience se manifeste davantage par l'intermédiaire de l'évaluation dynamique à l'encontre de l'évaluation classique et légèrement liée à la passation de la FCA. / This thesis focuses on the psychological examination of Moroccan school-age children, which consists of copying and reproducing from memory two complex geometric figures, namely Rey Complex Figure (1941), comprised mainly of straight lines, and Arabesque Complex Figure, modeled in this study and incorporated with a number of geometric shapes equal to straight lines. The efficiency level of the memory retention of topics is defined by the achievement of a high score on the graphical quality of the complex geometrical figure, the use of advanced implementation strategies, and its implementation in the shortest time with mental representation of this figure translated into a language production with a rich mental lexicon by numbers, by theme reflecting its cultural identity and the linguistic systems used.This study samply is composed of 360 children aged 6 to 13 years, who, in addition to having been subject to a sociodemographic and language skills questionnaire participated in a test of laterality and interindividual placing of the Rey Complex Figure (Rey, 1941) and the Arabesque Complex Figure in two orders reversed with two assessment methods classic and dynamic (Kirkwood et al., 2001) in an intra individual perspective.The results show that the efficiency of a Moroccan school-age child during a psychological examination develops according to his/her language skills, the development of his/her age, the advancement of his/her school grade and the belonging to his school to a urban environment. However, this efficiency is not gender related (girl / boy). Similarly, it is not related to his/her lateral profile (right / left), the directionality of the plot that dominates its graphic productions (up / down, right / left) and the order of execution (RCF / ACF, ACF / RCF). This same efficiency manifests itself more through dynamic assessment against the conventional assessment and slightly related to the award of the ACF. / تركز هذه اللأطروحة على الاختبار النفسي للطفل المغربي في سن التمدرس والذي يخص نسخ شكلين من الأشكال الهندسية، المعقدة باعتماد التذكر، وإعادة إنتاجهما. يتعلق الأمر بالشكل الغرافي المركب لراي (Rey, 1941) الذي يتألف أساسا من الخطوط المستقيمة؛ والشكل الغرافي المركب بالأرابيسك والذي تمت نمذجته خلال هذه الدراسة حيث يتألف بدوره من الأشكال الهندسية المستقيمة والأشكال الهندسية المنحنية على حد سواء.تم تحديد مستوى كفاءة احتفاظ الأطفال بالشكل الهندسي المعقد في الذاكرة ارتباطا بتحقيق درجة عالية من الجودة الرسومية له، واستخدام استراتيجيات التنفيذ المتقدمة، وتنفيذها في أقصر وقت ممكن مع التمثل الذهني للصورة المركبة وترجمتها إلى إنتاج لغوي موسوم بمعجم ذهني غني بالوحدات المعجمية، وبالمواضيع التي تعكس هوية الطفل الثقافية، وبالأنظمة اللغوية المستخدمة عددا وعدة.تهم هذه الدراسة 360 طفلا تتراوح أعمارهم ما بين 6 سنوات و 13 سنة، تم استبيان وضعيتهم الاجتماعية والديموغرافية، ومهاراتهم اللغوية. كما شاركوا في اختبار التجانب واختبار بين-فردي خاص بالشكل الغرافي المركب لراي (Rey, 1941) والشكل الغرافي المركب بالأرابيسك وفق ترتيبين معكوسين ومع أسلوبين اثنين من أساليب التقييم: الأول كلاسيي، والثاني ديناميي (Kirkwood et al., 2001) ومن منظور داخل-فردي.لقد أظهرت النتائج أن كفاءة الاحتفاظ في ذاكرة عند الطفل المغربي في سن التمدرس، خلال اختبار نفسي ما، تتطور ارتباطا بكفاياته اللسانية، وتقدمه في السن، وتطور مستواه الدراسي، وبمدى انتماء مدرسته إلى سياق حضري. لكن هذه الكفاءة لا علاقة لها بمتغير الجنس (ذكر / أنثى)، ولا بمتغير الجانبية (أيمن / أيسر)، ولا باتجاهية الرسم المهيمن على الإنجازات الغرافية (أعلى / أسفل، يمين / يسار)، ولا حتى بترتيب تنفيذ مهام إنتاج الأشكال (الشكل الغرافي المركب لراي/ الشكل الغرافي المركب بالأرابيسك؛ الشكل الغرافي المركب بالأرابيسك/ الشكل الغرافي المركب لراي).غير أن هذه الكفاءة نفسها (كفاء الاحتفاظ في الذاكرة) تتمظهر بشكل أقوى وأوضح بموجب التقييم الديناميي في مقابل التقييم الكلاسيي، وبعلاقة طفيفة بإنتاج الشكل الغرافي المركب بالأرابيسك.

This dissertation seeks to interpret Gideon's response in Judg 8:23 and Jotham's fable in Judg 9:7-15 within the context of the book of Judges. The book of Judges has recently been seen as an apology for the Davidic monarchy. Studies that have advocated this perspective have focused on the prologue (Judg 1:1-3:6) and epilogue (Judg 17-21) where there appears to be a focus on the tribe of Judah and an explicitly pro-monarchial refrain. These studies have largely neglected Gideon's response and Jotham's fable, which have been described by some scholars as two of the most anti-monarchial texts in the entire Old Testament. This dissertation analyzes both the book of Judges as a whole and these two texts in particular, with the aim of establishing the notion that the book of Judges contains a coherent message concerning monarchy from start to finish. Chapter 1 establishes the methodology used in the present study. The methodology employed is a literary-exegetical and theological analysis of the text from a synchronic perspective. Chapter 2 surveys the history of interpretation of the book of Judges with a focus on Gideon's response and Jotham's fable. Chapter 3 places the composition of the book within its life-setting arguing that the book was likely composed during David's early reign. Chapter 4 looks at the ideology of monarchy within the entirety of the book of Judges. Chapter 5 provides a detailed literary analysis of the plot of the Gideon narrative and the characterization of Gideon. This is done to establish the Gideon is an unreliable character and that his response in 8:23 cannot be considered as a theological axiom that is to be trusted. Chapter 6 provides a detailed literary analysis of the plot of the Abimelech narrative along with a discussion of the characterization of both Jotham and Abimelech. This chapter argues that the purpose of Jotham's fable is to serve as a curse against Abimelech and the lords of Shechem and is not anti-monarchial in nature. Chapter 7 provides a summary of the contents of the dissertation with final reflecting thoughts.

Submitted by WINNIE WOUTERS FERNANDES MONTEIRO null (winniewouters@hotmail.com) on 2017-11-08T21:01:23Z No. of bitstreams: 1 tese pronta completa 1.pdf: 2472614 bytes, checksum: da42f98d281866ea35811f45ece6ae0e (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-11-21T13:55:11Z (GMT) No. of bitstreams: 1 monteiro_wwf_dr_sjrp.pdf: 2472614 bytes, checksum: da42f98d281866ea35811f45ece6ae0e (MD5) / Made available in DSpace on 2017-11-21T13:55:11Z (GMT). No. of bitstreams: 1 monteiro_wwf_dr_sjrp.pdf: 2472614 bytes, checksum: da42f98d281866ea35811f45ece6ae0e (MD5) Previous issue date: 2017-07-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente pesquisa tem como objetivo investigar a “figura” e a sua importância enquanto ser da escrita de Maria Gabriela Llansol. As “figuras” surgem nesse “texto” enquanto “nós construtivos” (LLANSOL, 2011, p. 121), que diferem da categoria de personagem por não se limitarem ao conceito de pessoa ou à semelhança com o humano. Elas se fazem enquanto “imagem” dotadas de um princípio de vida e a busca a que se dirigem visa encontros nos quais haja um crescimento recíproco entre os seres. É nesses encontros também que se dá o modo pelo qual o espaço textual, que é o próprio meio em que as “figuras” caminham, se amplia, simultaneamente à compreensão que passam a ter sobre ele. Em vista do vínculo entre a “figura” e o espaço textual, este trabalho parte da tese de que a “figura” é tanto o ponto de partida como o limiar do “texto” de Maria Gabriela Llansol, na medida em que a ela convergem os principais processos que distinguem a obra da autora, ao mesmo tempo que é a “figura” a responsável por dar a ver, ou não, os caminhos por essa escrita. Como alicerce para tal afirmação, discorreu-se acerca da dinâmica entre a ética e a estética, trazida pela denominação que a autora dá a sua escrita – “textualidade” –, e sobre a direção à qual o “texto” se abre enquanto caminho para as “figuras” – o “há” –, na qualidade de “verdade” pertinente a cada ser. A partir dessas análises foi possível notar que é de acordo com a disposição do “olhar” de cada “figura”, da abertura que cada uma dá ao Belo, que as diversas vias dessa escrita se abrem. / This study seeks to examine the “figure” and its importance as being in the writing of Maria Gabriela Llansol. The “figures” emerge in this “text” as “constructive selves” (LLANSOL, 2011, p. 121, my translation) that differ from the character as a category for neither being limited to the concept of person nor to the resemblance with the human. They come into being as “images” with a principle of life of their own and their search is for encounters in which there is mutual growth between these beings. Also, it is in these encounters that the textual space, which is the medium where the “figures” roam, is widened simultaneously to their understanding of it. Considering the links between the “figure” and the textual space, this study defends the thesis that the “figure” is both the starting point and the brink of Maria Gabriela Llansol’s “text”, since it is towards the “figure” that the main defining processes of her work converge, at the same time that the “figure” is responsible for revealing or not the ways through that writing. To form the background for this assertion, the present study looked into the dynamics between ethics and aesthetics, brought into being by the author’s calling her writing “textuality” and the direction towards which the “text” opens itself up as the path to these “figures” – the “there is” – seen as the “truth” belonging to each being. These analyses showed that it is according to the disposition of the “look” of each “figure”, to the opening of each one of them to beauty, that the various paths of this writing are opened.

Orientador: Milton Terumitsu Sogabe / Banca: Antonio José Saggese / Banca: Cecília Almeida Salles / Resumo: Esta pesquisa surge da reflexão sobre uma experiência pessoal em fotografia baseada no uso de duas câmeras fotográficas diferentes. As características destes aparatos, impressas na imagem, gerou um questionamento o qual serviu de motivação ao aprofundamento no tema do dispositivo fotográfico e da poética da imagem. A pesquisa se desenvolve pela via teórico-prática, sendo que é neste contexto que ocorre a criação do trabalho fotográfico "Fonte". As questões referentes ao dispositivo fotográfico, analisadas sob a perspectiva de Vilém Flusser e Gilbert Simondon, servem como fio condutor para uma reflexão do processo criativo, onde se evidenciam elementos como a poética, a relação corporal entre fotógrafo e câmera e a construção de narrativas / Abstract: This research arises from a reflection on a personal photography experience based on using two different cameras. The characteristics of these devices, printed on image, generated a questioning which served as motivation to deepen the theme of the photographic device and poetic of image. The research develops through theoretical and practical way, and it is in this context that takes place the creation of the photographic work "Fonte". The issues related to the photographic device, analyzed from the perspective of Vilém Flusser and Gilbert Simondon, serve as a guide to reflect the creative process, to make evident elements like poetic, body relationship between photographer and camera and the construction of narratives / Mestre

A patinação artística se desenvolveu ao longo dos anos, até tornar-se o esporte de competição visto atualmente. Contudo, existe pouca informação na literatura a respeito da intensidade das sessões de treino desta modalidade e se existiria uma maneira de expor o atleta a um menor número de impactos dos saltos durante o treino, mas atingir os mesmos benefícios. Sendo assim, o objetivo do presente estudo foi comparar os efeitos de dois tipos de sessão de treino de patinação sobre parâmetros fisiológicos e neuromusculares de atletas da patinação artística sobre rodas. Nove atletas (17,7 ± 2,96 anos) realizaram dois diferentes tipos de sessão de treino, de forma randomizada: uma sessão convencional (conv) (na qual o número de saltos e os intervalos realizados foram determinados pelo técnico das atletas, conforme o treinamento normalmente realizado pelas mesmas, resultando em uma média de 139 ± 31,2 saltos) e uma sessão sistematizada (sist) (na qual foram realizados 96 saltos, com intervalo de 6 s entre cada salto, 2 a 3 min entre cada repetição (conjunto de oito saltos) e 5 min a cada quatro repetições). As atletas foram avaliadas antes, imediatamente após, 5 min, 10 min, 15 min, 30 min, 24h, 48h e 72h após a realização das sessões, em parâmetros relacionados à atividade muscular, taxa de produção de força, altura e potência dos saltos squat jump (SJ), counter movement jump (CMJ) e drop jump (DJ) e concentração sanguínea de creatina quinase e de lactato. Foi utilizado o Teste T para amostras pareadas para a comparação entre as sessões nos diferentes momentos, sendo adotado um α=0,05 como significância (SPSS v. 17.0). Foram observadas algumas diferenças significativas entre as sessões, dentre elas, na concentração sanguínea de lactato no momento 15 min após (conv: 1,47 ± 0,45 mmol; sist: 1,03 ± 0,25 mmol; p=0,044) e na altura dos saltos SJ, no momento 72h após (conv: 0,20 ± 0,06 m; sist: 0,18 ± 0,06 m; p=0,012), e CMJ, também no momento 72h após (conv: 0,21 ± 0,06 m; sist: 0,20 ± 0,06 m; p=0,008). Porém, de maneira geral, foram observadas poucas diferenças significativas entre as sessões de treino avaliadas no presente estudo, o que indica que ambas representaram uma intensidade semelhante de treino. No caso da sessão sistematizada, os achados confirmam a hipótese de que uma sessão de treino com número de saltos e tempo de intervalo definidos seria uma alternativa interessante de expor menos o atleta a uma grande quantidade de impacto e, ainda assim, atingir os mesmos resultados de uma sessão convencional. / Artistic roller skating has been developed over the years to become the competitive sport currently seen. However, little information exists in the literature regarding the intensity of the practices of this sport and if there could be a way to expose the athlete to a lower number of impacts of the jumps during training, but at the same time to achieve the same benefits. Therefore, the objective of this study was to compare the effects of two types of skating training session on physiological and neuromuscular parameters of roller figure skaters. Nine female athletes (17.7 ± 2.96 years) realized two different types of skating training session: a conventional session (conv) (in which the number of jumps and the intervals were determined by the athlete’s coach, according to their normal training scheme, resulting in a mean of 139 ± 31,2 jumps) and a systematized session (syst) (in which 96 jumps were performed with intervals of 6 s between each jump, 2 to 3 min between each repetition (set of eight jumps) and 5 min every four repetitions). Evaluations were done before, immediately after, 5 min, 10 min, 15 min, 30 min, 24h, 48h and 72h after the sessions in parameters related to muscular activity, rate of force development, height and power of squat jump (SJ), counter movement jump (CMJ) and drop jump (DJ) and blood concentration of creatine kinase and lactate. Paired T Test was utilized for the comparison between sessions at the different time points, with an α=0,05 as significance (SPSS v. 17.0). Some significative differences between sessions were observed, as in the blood concentration of lactate at the moment 15 min after (conv: 1,47 ± 0,45 mmol; syst: 1,03 ± 0,25 mmol; p=0,044) and in the heights of SJ at the moment 72h after (conv: 0,20 ± 0,06 m; syst: 0,18 ± 0,06 m; p=0,012), and CMJ, also at the moment 72h after (conv: 0,21 ± 0,06 m; syst: 0,20 ± 0,06 m; p=0,008). However, there were overall few significant differences between the sessions evaluated in the present study, what indicates that both represent a similar training intensity. For the systematized session, the findings support the hypothesis that a training session with defined number of jumps and rest intervals could be an alternative to expose less the athlete to a large amount of impact and yet get the same results of a conventional session.

O presente trabalho tem por objetivo fornecer o embasamento teórico para o projeto de um amplificador de baixo ruído (LNA – Low Noise Amplifier) em tecnologia CMOS que opere em mais de uma faixa de frequência, de modo a permitir seu uso em receptores multibanda e de banda larga. A base teórica que este trabalho abrange desde a revisão bibliográfica do assunto em questão, passando pela análise dos modelos de transistores para alta-frequência, pelo estudo das especificações deste bloco e das métricas utilizadas em projetos de circuitos integrados de RF, bem como pela revisão de topologias clássicas existentes. Com os conhecimentos acima adquiridos, foi possível realizar o projeto de um LNA diferencial de banda larga utilizando tecnologia CMOS IBM 130nm, o qual pode ser aplicado ao padrão IEEE 802.22 para rádios cognitivos (CR). O projeto é baseado na técnica de cancelamento de ruído, sendo validado após apresentar efetiva redução de figura de ruído para banda de frequência desejada, com moderado consumo de potência e utilização moderada de área de silício, devido a solução sem o uso de indutores. O LNA banda larga opera em frequências de 50Mhz a 1GHz e apresenta uma figura de ruído abaixo de 4dB, em 90% da faixa, um ganho acima de 12dB, e perda de retorno na entrada e na saída maiores que 12dB. O IIP3 e a frequência de ocorrência de compressão a 1dB com a entrada em 580MHz estão acima de 0dBm e -10dBm respectivamente. Possui consumo de 46,5mWpara fonte de 1,5V e ocupa uma área ativa de apenas 0,28mm x 0,2mm. / This work presents the theoretical basis for the design of a low noise amplifier (LNA) in CMOS technology that operates in more than one frequency band, which enables its use in multi-band and wideband receivers. The theoretical basis that this work will address extends from the literature review on the subject, through the analysis of models of MOS transistors for high frequencies, study of specifications of this block and the metrics used in RF integrated circuit design, as well as the review of existing classical LNA topologies. Based on the knowledge acquired above, the design of a differential wideband LNA is developed using IBM 130nm RF CMOS process, which can be used in IEEE 802.22 Cognitive Radio (CR) applications. The design is based on the noise-canceling technique, with an indutctorless solution, showing that this technique effectively reduces the noise figure over the desired frequency range with moderate power consumption and a moderate utilization of silicon die area. The wideband LNA covers the frequency range from 50 MHz to 1 GHz, achieving a noise figure below 4dB in over 90% of the band of interest, a gain of 11dB to 12dB, and an input/output return loss higher than -12 dB. The input IIP3 and input P1dB at 580MHz are above 0dB and -10dB, respectively. It consumes 46.5mW from a 1.5V supply and occupies an active area of only 0.056mm2 (0.28mm x 0.2mm).

Esta pesquisa trata do desenho e do desenhar com linhas no campo da Educação e das Artes na perspectiva das Filosofia da Diferença, e, pensa com a vida do Professor-artista, que é aquele que experimenta o desenhar tanto em sala de aula/vida professoral quanto em sua vida de artista/criador. Toma como problema questões que levam a pensar, como produzir vazamentos na representação do desenhar da figura humana para criar fazendo uso de técnicas de desenho. Por isso tem-se por objetivo criar com o desenhar, com a intenção de mostrar como fazer uso dos acontecimentos, acidentes, erros e catástrofes como potência para a criação. Desse modo, busca-se metodologicamente investir na experimentação criando/pensando com linhas, tanto na escrita quanto no desenhar. Fala-se em “com” por pensar/criar com as próprias linhas que são produzidas em processos de experimentação. Seja, com Linhas DeZenhantes, dando forma, volume, textura ao compor Figuras que tentam não se fixar em modelos ou representações idealizadas. Linhas essas usadas na criação de desenhos que não se tratam de figuras humanas, mas que podem sugerir imagens de partes do corpo humano. Seja, também, com Linhas de Escrita, ao produzir escritas poéticas juntamente com as Linhas DeZenhantes, levando em consideração que a escrita neste processo de experimentação também vem a ser desenho. Criar/Pensar/Experimentar nesta pesquisa se dá com a noção de intercessores de Gilles Deleuze, além de outros de seus textos, produzindo nos encontros com obras variadas de Francis Bacon, Giacometti e Van Gogh, algumas pranchas de Frank H. Netter, Sandra Corazza, Paola Zordan, entre outros. Com isso compõem-se desenhos nomeados nesta pesquisa como Figura corpo. Assim, com o próprio desenhar em contato com os materiais escolhidos para a produção dos desenhos, se compõe com estas diferentes linhas, num devir-tecelão. São tecidas Figuras corpo com o traçar de linhas diagramáticas, rotas nômades sobre territórios que ziguezagueiam entre paisagens ora familiares, ora desconhecidas, criando e vindo a criar com os percursos de desenhar-escrever/escrever-desenhar. / This research deals with the drawing and draw with lines in the field of Education and the Arts in view of the difference of philosophy, and thinks with the life of the teacher-artist who is one who experiences the draw both in the classroom / life professorial as in your life of artist / creator. It takes as problem issues that lead to think, how to produce leaks in the representation of the human figure drawing to create making use of drawing techniques. So has the objective to create with drawing, with the intention of showing how to make use of events, accidents, mistakes and disasters like power to create. Thus, they seek to invest in methodological experimentation creating / thinking with lines, both in writing and in drawing. There is talk of “with” to think / create with their own lines that are produced in experimental processes. Be with Drawing lines, forming, volume, texture when composing figures that do not hold in models or idealized representations. These lines used in the creation of drawings that are not human figures, but that may suggest parts of the human body images. Also, with writing lines, to produce poetic written together with drawing lines, taking into account that writing in this experimentation process also comes to design drawing. All of this, produce drawings named in this research as body figure. In addition the text of this research made of lines that are crossing, intertwine, are interwoven, missives lines, invented and / or dissertative. Create / Think / Try this search is with the notion of intercessors of Gilles Deleuze, and other of his texts, producing in meetings with various works of Francis Bacon, Giacometti and Van Gogh, some planks of Frank H. NeWtter, Sandra Corazza , Paola Zordan, among others. With that consist drawings named in this research as Figure body. So with the draw itself in contact with the materials chosen for the preparation of the drawings, it is made with these different lines, a becoming-weaver. Figures are woven body with trace of diagrammatic lines, nomadic routes on territories that zigzag between landscapes sometimes family, sometimes unknown, creating and been creating with the paths of drawing-write / write-draw.

The human enters into the information age in 21st century; the computer science and technology are developed at full speed, and already infiltrate into various field extensively. Resultantly manual drawing gradually is phased out, for those designers who have no prior experience in the computer operation are concerned, they need to have a kind of two-dimensional graphical tool. Graphics editor system arose to the request for designing planar figures for people who have little knowledge in computer. This paper describes the development process of this system what is studied for the foundation, utilize object-oriented method to analyze, design with computer figure, and adopt Visual C ++ 6.0 as the developing platform. All these have been finished after 1 month or so. It designs to be two-dimensional graphical software with diverse function which operates simply, easy to study, mutual interface friendly graphics editor system and has satisfied some figure users at present with the new demand as well. The following main functions have been realized in this application: It can draw various figures, such as dot, line, circle, arc, parabola and curve, modify them and comprehensive editing. Figure editor includes translation, mirroring, rotating and some similar operations. Comprehensive drawing includes drawing polygon (sealed and arbitrary polygon), round tangent line, round circle contact, line circle contact, some circle contacts and so forth. Meanwhile obtain the point of intersect between the arbitrary crossing, and draw different figures basically according to the points of intersect. By the way, it is capable to cancel and redraw the editing.

Esta pesquisa trata do desenho e do desenhar com linhas no campo da Educação e das Artes na perspectiva das Filosofia da Diferença, e, pensa com a vida do Professor-artista, que é aquele que experimenta o desenhar tanto em sala de aula/vida professoral quanto em sua vida de artista/criador. Toma como problema questões que levam a pensar, como produzir vazamentos na representação do desenhar da figura humana para criar fazendo uso de técnicas de desenho. Por isso tem-se por objetivo criar com o desenhar, com a intenção de mostrar como fazer uso dos acontecimentos, acidentes, erros e catástrofes como potência para a criação. Desse modo, busca-se metodologicamente investir na experimentação criando/pensando com linhas, tanto na escrita quanto no desenhar. Fala-se em “com” por pensar/criar com as próprias linhas que são produzidas em processos de experimentação. Seja, com Linhas DeZenhantes, dando forma, volume, textura ao compor Figuras que tentam não se fixar em modelos ou representações idealizadas. Linhas essas usadas na criação de desenhos que não se tratam de figuras humanas, mas que podem sugerir imagens de partes do corpo humano. Seja, também, com Linhas de Escrita, ao produzir escritas poéticas juntamente com as Linhas DeZenhantes, levando em consideração que a escrita neste processo de experimentação também vem a ser desenho. Criar/Pensar/Experimentar nesta pesquisa se dá com a noção de intercessores de Gilles Deleuze, além de outros de seus textos, produzindo nos encontros com obras variadas de Francis Bacon, Giacometti e Van Gogh, algumas pranchas de Frank H. Netter, Sandra Corazza, Paola Zordan, entre outros. Com isso compõem-se desenhos nomeados nesta pesquisa como Figura corpo. Assim, com o próprio desenhar em contato com os materiais escolhidos para a produção dos desenhos, se compõe com estas diferentes linhas, num devir-tecelão. São tecidas Figuras corpo com o traçar de linhas diagramáticas, rotas nômades sobre territórios que ziguezagueiam entre paisagens ora familiares, ora desconhecidas, criando e vindo a criar com os percursos de desenhar-escrever/escrever-desenhar. / This research deals with the drawing and draw with lines in the field of Education and the Arts in view of the difference of philosophy, and thinks with the life of the teacher-artist who is one who experiences the draw both in the classroom / life professorial as in your life of artist / creator. It takes as problem issues that lead to think, how to produce leaks in the representation of the human figure drawing to create making use of drawing techniques. So has the objective to create with drawing, with the intention of showing how to make use of events, accidents, mistakes and disasters like power to create. Thus, they seek to invest in methodological experimentation creating / thinking with lines, both in writing and in drawing. There is talk of “with” to think / create with their own lines that are produced in experimental processes. Be with Drawing lines, forming, volume, texture when composing figures that do not hold in models or idealized representations. These lines used in the creation of drawings that are not human figures, but that may suggest parts of the human body images. Also, with writing lines, to produce poetic written together with drawing lines, taking into account that writing in this experimentation process also comes to design drawing. All of this, produce drawings named in this research as body figure. In addition the text of this research made of lines that are crossing, intertwine, are interwoven, missives lines, invented and / or dissertative. Create / Think / Try this search is with the notion of intercessors of Gilles Deleuze, and other of his texts, producing in meetings with various works of Francis Bacon, Giacometti and Van Gogh, some planks of Frank H. NeWtter, Sandra Corazza , Paola Zordan, among others. With that consist drawings named in this research as Figure body. So with the draw itself in contact with the materials chosen for the preparation of the drawings, it is made with these different lines, a becoming-weaver. Figures are woven body with trace of diagrammatic lines, nomadic routes on territories that zigzag between landscapes sometimes family, sometimes unknown, creating and been creating with the paths of drawing-write / write-draw.

A patinação artística se desenvolveu ao longo dos anos, até tornar-se o esporte de competição visto atualmente. Contudo, existe pouca informação na literatura a respeito da intensidade das sessões de treino desta modalidade e se existiria uma maneira de expor o atleta a um menor número de impactos dos saltos durante o treino, mas atingir os mesmos benefícios. Sendo assim, o objetivo do presente estudo foi comparar os efeitos de dois tipos de sessão de treino de patinação sobre parâmetros fisiológicos e neuromusculares de atletas da patinação artística sobre rodas. Nove atletas (17,7 ± 2,96 anos) realizaram dois diferentes tipos de sessão de treino, de forma randomizada: uma sessão convencional (conv) (na qual o número de saltos e os intervalos realizados foram determinados pelo técnico das atletas, conforme o treinamento normalmente realizado pelas mesmas, resultando em uma média de 139 ± 31,2 saltos) e uma sessão sistematizada (sist) (na qual foram realizados 96 saltos, com intervalo de 6 s entre cada salto, 2 a 3 min entre cada repetição (conjunto de oito saltos) e 5 min a cada quatro repetições). As atletas foram avaliadas antes, imediatamente após, 5 min, 10 min, 15 min, 30 min, 24h, 48h e 72h após a realização das sessões, em parâmetros relacionados à atividade muscular, taxa de produção de força, altura e potência dos saltos squat jump (SJ), counter movement jump (CMJ) e drop jump (DJ) e concentração sanguínea de creatina quinase e de lactato. Foi utilizado o Teste T para amostras pareadas para a comparação entre as sessões nos diferentes momentos, sendo adotado um α=0,05 como significância (SPSS v. 17.0). Foram observadas algumas diferenças significativas entre as sessões, dentre elas, na concentração sanguínea de lactato no momento 15 min após (conv: 1,47 ± 0,45 mmol; sist: 1,03 ± 0,25 mmol; p=0,044) e na altura dos saltos SJ, no momento 72h após (conv: 0,20 ± 0,06 m; sist: 0,18 ± 0,06 m; p=0,012), e CMJ, também no momento 72h após (conv: 0,21 ± 0,06 m; sist: 0,20 ± 0,06 m; p=0,008). Porém, de maneira geral, foram observadas poucas diferenças significativas entre as sessões de treino avaliadas no presente estudo, o que indica que ambas representaram uma intensidade semelhante de treino. No caso da sessão sistematizada, os achados confirmam a hipótese de que uma sessão de treino com número de saltos e tempo de intervalo definidos seria uma alternativa interessante de expor menos o atleta a uma grande quantidade de impacto e, ainda assim, atingir os mesmos resultados de uma sessão convencional. / Artistic roller skating has been developed over the years to become the competitive sport currently seen. However, little information exists in the literature regarding the intensity of the practices of this sport and if there could be a way to expose the athlete to a lower number of impacts of the jumps during training, but at the same time to achieve the same benefits. Therefore, the objective of this study was to compare the effects of two types of skating training session on physiological and neuromuscular parameters of roller figure skaters. Nine female athletes (17.7 ± 2.96 years) realized two different types of skating training session: a conventional session (conv) (in which the number of jumps and the intervals were determined by the athlete’s coach, according to their normal training scheme, resulting in a mean of 139 ± 31,2 jumps) and a systematized session (syst) (in which 96 jumps were performed with intervals of 6 s between each jump, 2 to 3 min between each repetition (set of eight jumps) and 5 min every four repetitions). Evaluations were done before, immediately after, 5 min, 10 min, 15 min, 30 min, 24h, 48h and 72h after the sessions in parameters related to muscular activity, rate of force development, height and power of squat jump (SJ), counter movement jump (CMJ) and drop jump (DJ) and blood concentration of creatine kinase and lactate. Paired T Test was utilized for the comparison between sessions at the different time points, with an α=0,05 as significance (SPSS v. 17.0). Some significative differences between sessions were observed, as in the blood concentration of lactate at the moment 15 min after (conv: 1,47 ± 0,45 mmol; syst: 1,03 ± 0,25 mmol; p=0,044) and in the heights of SJ at the moment 72h after (conv: 0,20 ± 0,06 m; syst: 0,18 ± 0,06 m; p=0,012), and CMJ, also at the moment 72h after (conv: 0,21 ± 0,06 m; syst: 0,20 ± 0,06 m; p=0,008). However, there were overall few significant differences between the sessions evaluated in the present study, what indicates that both represent a similar training intensity. For the systematized session, the findings support the hypothesis that a training session with defined number of jumps and rest intervals could be an alternative to expose less the athlete to a large amount of impact and yet get the same results of a conventional session.