A radiocirugia estereotáxica é uma técnica que fornece altas doses de radiação utilizando campos pequenos para conformação da dose no volume alvo do tratamento. Devido à complexidade desta técnica torna-se necessária a verificação da distribuição de dose no volume de tratamento. Neste trabalho, as distribuições tridimensionais (3D) de doses de casos clínicos de neoplasias cranianas foram estudadas utilizando-se um objeto simulador de cabeça. A reconstrução das distribuições de doses nos volumes alvo e nas regiões adjacentes a estes foram avaliadas com o código de simulação PENELOPE, o dosímetro MAGIC-f gel e com o sistema de planejamento iPlan. Filmes radiocrômicos também foram empregados para a determinação das distribuições de dose em planos do tratamento. As respostas obtidas com as ferramentas dosimétricas utilizadas foram analisadas através de distribuições de índices gama, comparando-se os mapas centrais das distribuições de dose obtidas com as quatro ferramentas dosimétricas utilizadas. Usando-se critérios de tolerância de 3% e 3mm, a análise realizada na região da prescrição de dose (isodoses de 95%) mostrou-se equivalente para todas as ferramentas dosimétricas utilizadas; resultado diferente foi observado para isodoses menores, com uma equivalência máxima de 76,5%. As distribuições volumétricas, obtidas através do PENELOPE, MAGIC-f gel e o iPlan, foram comparadas, ainda, através dos histogramas dose-volume, para cada caso estudado, mostrando que 95% da dose absorvida relativa encontra-se dentro do volume alvo para todos os planos estudados. A probabilidade de controle tumoral, TCP, foi avaliada para os casos de radiocirurgia estudados, a partir das distribuições volumétricas de dose, resultando em uma probabilidade de controle tumoral máxima de 72%, para todos os casos, conforme o modelo matemático de TCP utilizado. Das comparações realizadas pode-se inferir que o dosímetro MAGIC-f gel e o código de simulação PENELOPE-Monte Carlo podem ser utilizados para determinar as distribuições de dose em 3D para a técnica de radiocirurgia estereotáxica. Essas ferramentas dosimétricas podem, dessa forma, auxiliar no comissionamento de unidades de terapia e em verificações 3D de doses do tratamento dos pacientes, permitindo avaliações dentro e ao redor do volume alvo e podendo se tornar ferramentais de rotina nos serviços de radioterapia. / Stereotactic radiosurgery is a technique which delivers high radiation doses using small fields to conform the absorbed dose into the target volume. Due to the complexity of this technique it is necessary to verify the dose distribution in the treatment volume. Thus, in this study the three-dimensional (3D) dose distributions of selected clinical cases of cranial tumors were obtained using a head phantom. The the dose distributions of target volumes and adjacent regions were evaluated with PENELOPE Monte Carlo simulation code, MAGIC-f dosimeter and iPlan® treatment planning system. Radiochromic films were also used to determine the dose distribution on selected plans of the treatment. The obtained results for the proposed dosimetric tools were analyzed by the gamma index distributions, comparing the maps of the central dose distributions obtained with the four dosimetric tools. Using the dose criteria of 3% in 3 mm, the gamma index test showed equivalence in the region of dose prescription (95% isodose) and a different result was observed for lower isodoses, with maximum accordance of 76.5%. The volumetric dose distributions obtained with PENELOPE, MAGIC-f and iPlan were also compared using the dose-volume histograms for each studied case, showing that 95% of the absorbed dose yield within the target volume. The tumor control probability, TCP, was evaluated for the studied radiosurgery cases, from the dose distributions-volumetric, resulting in a maximum probability of tumor control of 72% for all cases, for the used mathematical model of TCP. From the results it can be inferred that the MAGIC-f gel dosimeter and the PENELOPE Monte Carlo simulation code can be used to determine 3D dose distributions for stereotactic radiosurgery. These dosimetric tools can assist the commissioning of treatment units and 3D dose verifications of patients treatments, allowing assessments in and around the target volume and may become routine in radiotherapy services.

Die breite Anwendung von Modellsystemen, um heterogene katalytische Prozesse zu verstehen, basiert darauf, die Lücke der strukturellen Komplexität zu überbrücken zwischen heutigen technischen Katalysatoren, bestehend aus einem Metalloxid sowie einem darauf geträgerten Metall, sowie kristallinen Metallen und planaren Metall/Oxid-Systemen, welche dazu benutzt werden, Struktur-Reaktivitäts-Beziehungen mittels einer Fülle von Surface Science-Methoden zu untersuchen. In der vorliegenden Arbeit liegt das Hauptaugenmerk auf so genannten Vanadiumoxid-‚Monolagen’-Katalysatoren, die insbesondere für Oxidationsreaktionen von Methanol eingeführt wurden. Mittels eines ‚bottom-up’-Ansatzes wurden Silica-geträgerte Vanadiumoxid-Modellkatalysatoren untersucht. Durch Kombination einer Reihe experimenteller Techniken wurde die Oberfläche von Mo(112), die als Substrat für den Silica-Film diente, im Detail untersucht und die atomare Struktur des Silica-Films wurde ermittelt. Adsorption von Wasser und das Wachstum von Vanadiumoxid-Nanopartikeln auf dem Silica-Film und schließlich die Reaktivität von Vanadiumoxid/Silica-Systemen gegenüber Methanol wurden untersucht. Im Gegensatz zu früher vorgeschlagenen Modellen sollte eine Sauerstoff-induzierte p(2×3)-Überstruktur, die sich auf einer Mo(112)-Oberfläche ausbilded, angenommen werden als ein eindimensionales Oberflächenoxid, bei dem sich Mo=O-Gruppen bevorzugt entlang der [-1-11]-Richtung der Mo(112)-Oberfläche ausbilden. Monolagen-Silica-Filme, die auf Mo(112) gewachsen wurden, bestehen aus einem zweidimensionalen Netz von SiO4-Tetraedern. In Abhängigkeit der Bedingungen, unter denen der Film präpariert wurde, kann die Struktur durch zusätzlich auf dem Mo-Substrat adsorbierte Sauerstoff-Atome verändert werden. Die Defekt-Struktur schließt Antiphasen-Domänengrenzen ein, die durch eine Verschiebung um die halbe Gitterkonstante entlang der [-110]-Richtung gebildet werden, und eine geringe Dichte von Punkt-Defekten, die höchstwahrscheinlich Silizium-Fehlstellen darstellen. Wasser dissoziiert nicht auf dem Monolagen-Silica-Film. Eine Wasser-Struktur, die geordnet bezüglich des Silica-Films ist, wurde bei 140 K beobachtet, was der guten Übereinstimmung der Gitterkonstanten von Silica-Film und hexagonalem Eis geschuldet ist. Amorphe Lagen festen Wassers, die die Oberfläche bei 100 K homogen bedecken, wurden als reaktive Lagen für Vanadiumoxid-Partikel benutzt, um die ‚Nasschemie’ nachzubilden, wie sie in der Präparation technischer Katalysatoren zum Einsatz kommt. Die Ergebnisse verdeutlichen, dass die Eis-Lagen die Bildung von hydratisierten Vanadiumoxid-Nanopartikeln, welche teilweise von V=O und V-OH-Gruppen terminiert werden, begünstigen. Die Dehydratisierung geschieht oberhalb 500 K, wobei eine V-terminierte Oberfläche entsteht. Methanol dissoziiert auf dehydratisierten Vanadiumoxid-Partikeln, und Methoxy-Spezies sind auf der Oberfläche stabil bis 500 K, allerdings nur in der Gegenwart von V-Plätzen. Die Produktion von Formaldehyd, die bei etwa 550 K stattfindet, ist stark abhängig von der Struktur der Oberfläche der Vanadiumoxid-Partikel und weist ein Maximum bei einem spezifischen Verhältnis zwischen V- und V=O-Oberflächenplätzen auf. Die hier vorgestellten Ergebnisse könnten unser Verständnis von katalytischen Reaktionen auf molekularer Ebene bedeutend vorantreiben. / The widespread use of model systems for understanding the heterogeneous catalytic processes is based on bridging the structural complexity gap between present generation of supported metal and metal oxide technical catalysts and crystalline metal and planar metal/oxide systems, which are utilized to investigate structure-reactivity relationships by a large variety of surface science techniques. In this thesis, we focused on a concept of so-called ''monolayer'' vanadium oxide catalysts, which have been introduced particularly for methanol oxidation reactions. Following a bottom-up approach, silica supported vanadium oxide model catalysts were investigated. Combining a number of experimental techniques, the surface of Mo(112) used as a substrate for the silica films was characterized in detail and the atomic structure of the silica film was determined. Adsorption of water and growth of vanadium oxide nanoparticles on the silica films, and finally the reactivity of vanadium oxide/silica systems towards methanol were studied. In contrast to the previously suggested models, an oxygen induced p(2×3) superstructure formed on a Mo(112) surface should be considered as one dimensional surface oxide where Mo=O groups are formed preferentially along the [-1-11] direction of the Mo(112) surface. Monolayer silica films grown on Mo(112) surfaces are composed of two-dimensional network of SiO4 tetrahedra. Depending on the film preparation conditions, the structure can be altered by additional oxygen atoms adsorbed on the Mo substrate. The defect structure includes antiphase domain boundaries which form by a half-lattice shift along the [-110] direction and a low density of point defects, most probably silicon vacancies. Water does not dissociate on the monolayer silica film. An ordered structure of water with respect to silica film was observed at 140 K owing to good lattice matching between the silica film and hexagonal ice. Amorphous solid water layers homogenously covering the surface at 100 K were used as reactive layers for vanadium oxide particles in order to mimic ''wet chemistry'' used in preparation of technical catalysts. The results revealed that ice layer assisted the formation of hydrated vanadium oxide nanoparticles partially terminated by V=O and V-OH groups. The dehydration takes place above 500 K, thus exposing V-terminated surface. Methanol dissociates on dehydrated vanadium oxide particles and methoxy species are stable on the surface up to 500 K only in the presence of vanadium terminated surface sites. Formaldehyde production which takes place at ~550 K is strongly affected by the surface structure of the vanadium oxide particles and exhibits a maximum at specific ratio between V- and V=O sites on the surface. The results presented may have a strong impact on our understanding of the catalytic reactions at the molecular level.

Die vorliegende Arbeit befasst sich mit dem ferromagnetischen Kondo-Gitter-Modell (s-d-, s-f-Modell) für Filmstrukturen. Die Spin-Fermion-Wechselwirkung des Modells kommt in Materialien vor, in denen lokalisierte Spins mit beweglichen Ladungsträgern wechselwirken, wie etwa in (verdünnten) magnetischen Halbleitern, Manganaten, oder Seltene-Erd-Verbindungen. Die durch die Ladungsträger vermittelte, indirekte Wechselwirkung zwischen den lokalisierten Spins reicht von der langreichweitigen, oszillierenden RKKY-Austauschwechselwirkung im Falle schwacher Kopplung bis zur kurzreichweitigen Doppelaustausch-Wechselwirkung bei starker Spin-Fermion-Kopplung. Beide Grenzfälle werden in dieser Arbeit durch die Abbildung des Problems auf ein effektives Heisenberg-Modell erfasst. Der Einfluss von reduzierter Translationssymmetrie auf die effektive Austauschwechselwirkung und auf die magnetischen Eigenschaften des ferromagnetischen Kondo-Gitter-Modells wird untersucht. Curie-Temperaturen werden für verschiedene Parameterkonstellationen berechnet. Die Auswirkungen von Ladungstransfer und von Gitter-Relaxation auf die magnetische Oberflächenstabilität werden betrachtet. Die Diskussion bezieht sich auf die Modifizierungen der Zustandsdichte und der kinetischen Energie im dimensionsreduzierten Fall, da die effektiven Austauschintegrale eng mit diesen Größen verknüpft sind. Die Bedeutung von Spinwellen für den Magnetismus dünner Filme und an der Oberfläche wird gezeigt. Die Interlagen-Austauschkopplung stellt ein besonders interessantes und wichtiges Beispiel der indirekten Wechselwirkung zwischen lokalisierten Momenten dar. Im Rahmen einer RKKY-Behandlung wird die Kopplung zwischen Monolagen in dünnen Filmen untersucht. Sie wird entscheidend durch die Art der ebenen und senkrechten Ladungsträgerdispersion bestimmt und ist jenseits eines kritischen Wertes der Fermi-Energie stark unterdrückt. Schließlich wird die temperaturabhängige magnetische Stabilität von interlagen-gekoppelten dünnen Filmen behandelt und die Bedingungen für einen temperaturgetriebenen magnetischen Reorientierungsübergang werden diskutiert. / This thesis is concerned with the ferromagnetic Kondo lattice (s-d, s-f) model for film geometry. The spin-fermion interaction of this model refers to materials in which localized spins interact with mobile charge carriers like in (dilute) magnetic semiconductors, manganites, or rare-earth compounds. The carrier-mediated, indirect interaction between the localized spins comprises the long-range, oscillatory RKKY exchange interaction in the weak-coupling case and the short-range double-exchange interaction for strong spin-fermion coupling. Both limits are recovered in this work by mapping the problem onto an effective Heisenberg model. The influence of reduced translational symmetry on the effective exchange interaction and on the magnetic properties of the ferromagnetic Kondo lattice model is investigated. Curie temperatures are obtained for different parameter constellations. The consequences of charge transfer and of lattice relaxation on the magnetic stability at the surface are considered. Since the effective exchange integrals are closely related to the electronic structure in terms of the density of states and of the kinetic energy, the discussion is based on the modifications of these quantities in the dimensionally-reduced case. The important role of spin waves for thin film and surface magnetism is demonstrated. Interlayer exchange coupling represents a particularly interesting and important manifestation of the indirect interaction among localized magnetic moments. The coupling between monatomic layers in thin films is studied in the framework of an RKKY approach. It is decisively determined by the type of in-plane and perpendicular dispersion of the charge carriers and is strongly suppressed above a critical value of the Fermi energy. Finally, the temperature-dependent magnetic stability of thin interlayer-coupled films is addressed and the conditions for a temperature-driven magnetic reorientation transition are discussed.

Verdades e mentiras (Verités et mensonges / F for fake, 1973), de Orson Welles, parte da história de Elmyr de Hory, um grande falsificador de obras de arte, para propor uma reflexão sobre o mercado de arte e sobre o trabalho do artista no contexto da Indústria Cultural. O filme organiza-se como uma argumentação, que disserta sobre seu contexto sócio-histórico e capta a estrutura de sentimento do período em que é produzido, podendo ser considerado um precursor do filme ensaio. Entretanto, os argumentos nem sempre confirmam as teses propostas inicialmente. Há constantes contradições entre os diferentes elementos que compõem uma mesma cena, ou entre diferentes cenas e sequências do filme, tornando necessário ao espectador realizar uma leitura a contrapelo da obra. Orson Welles incorpora aspectos da tradição cinematográfica e de sua obra e combina-os com a experimentação, que é característica de seu trabalho artístico, para investigar as relações de produção no contexto da indústria cultural e de que forma o trabalho se constitui enquanto horizonte para superação das determinantes históricas da sociedade. Ao mesmo tempo em que faz isso, o filme evidencia a si mesmo como representação, constituída a partir de um ponto de vista determinado, e assim permite que analisemos e interpretemos a verdade desse trabalho artístico, para a compreensão dos temas e aspectos da realidade que ele configura. / F for fake (Verités et mensonges, 1973), by Orson Welles, introduces the story of Elmyr de Hory, a great Art forger, in order to discuss the determinations associated to the Art Market and the work of the artist submitted to the Cultural Industry. The movie is structured as an argumentative essay, which discusses its background and captures the structure of feeling of the period. Because of the way it is organized, F for fake is sometimes referred as a predecessor of what is called nowadays essay film. However, the arguments included do not necessarily confirm the initial thesis of the film. There are numerous contradictions between different elements of a scene, and also between different scenes and sequences. It keeps the audience alert and suggests the need to interpret the story against the grain, as Walter Benjamin advocates. Orson Welles incorporates some aspects of film tradition and of his oeuvre, and associates them with the experimentation of new aesthetics, as it is characteristic of his artistic work, in order to examine the relations of production in the context of the Cultural Industry. He also analyses how labor can represent some perspective of overcoming the social and historical determinations of the society. Whilst structuring these debates, the film exposes itself as a representation of a certain point of view, and allows the audience to analyse and interpret the truth of this work of art, as well as to try to understand the association of themes and aspects of reality that it constitutes.

O presente projeto tem como objetivo contribuir para o desenvolvimento de dispositivos para monitoração de pressão dinâmica do ar. Para isso, foram produzidos filmes sensíveis a pressão baseados na detecção de concentração de oxigênio por meio de processos de emissão fotoluminescente das moléculas de Azul de Metileno (MB) e Platina Octaetilporfirina (PtOEP). Nesse sentido, foi estudado o comportamento da emissão fotoluminescente dessas moléculas em interação com o gás de oxigênio. A concentração de oxigênio (do ar) sobre superfície sensível depende da pressão dinâmica de superfície. Desta forma, monitorando a fotoluminescência dos dispositivos submetidos a diferentes concentrações de oxigênio, pode-se determinar uma relação entre a pressão pontual da superfície analisada e a intensidade de emissão fotoluminescente do filme. Os dispositivos de monitoração de pressão dinâmica são constituídos de um filme de estado sólido contendo as moléculas sensíveis. Foram utilizados como substratos hospedeiros para o Azul de Metileno e para a Octaetilporfirina de Platina, os filmes de silício poroso oxidado e Poliestireno, respectivamente. É proposto um arranjo experimental que utiliza um fluorímetro para caracterizar as amostras produzidas e uma câmara de fluxo de gases. Os dispositivos apresentaram elevada sensibilidade e evidenciaram o potencial para desenvolvimento e integração de sensores baseados no silício poroso à microeletrônica. / This project aims to contribute to the development of devices for monitoring dynamic pressure of the air. In this sense, films were produced based on pressure-sensitive detection of oxygen concentration through processes of photoluminescence emission from the molecules of methylene blue (MB) and platinum octaethylporphyrin (PtOEP). Accordingly, it was studied the behavior of the photoluminescence emission of these molecules in interaction with the oxygen gas. The concentration of oxygen (of the air composition) on the sensitive surface depends on the surface dynamic pressure. Thus, monitoring the photoluminescence of the devices under different oxygen concentrations, it can be determined a relationship between the punctual pressure of the tested surface and the photoluminescence emission intensity of the film. The devices for monitoring dynamic pressure are made of a solid state film containing the sensitive molecules. Oxidized porous silicon and polystyrene films were used as hosts for the Methylene Blue and for the Platinum Octaethylporphyrin, respectively. It was proposed an experimental setup that uses a spectrofluorophotometer and a gas flow chamber to characterize the produced samples. The devices showed high sensitivity and potential for development and integration of the sensors based on porous silicon for microelectronics.

Perowskite und Perowskit-artige Materialien sind von großem Interesse, da sie eine Vielzahl von strukturellen und physikalischen Eigenschaften haben, welche die Möglichkeit bieten, sie für unterschiedliche Anwendungen einzusetzen. Die Methode der Liquid-Delivery Metal Organic Chemical Vapour Deposition (LD-MOCVD) wurde gewählt, da sie eine gute Kontrolle über die Zusammensetzung ternärer Oxide und eine hohe Homogenität der Filme ermöglicht. Darüber hinaus können mit dieser Methode Filme hergestellt werden, die aus Elementen bestehen, für welche nur feste Precursor oder welche mit niedrigem Dampfdruck zur Verfügung stehen. Ziel dieser Arbeit war es, mit Hilfe der LD-MOCVD Filme aus SrRuO3, Bi4Ti3O12 und (Na,Bi)4Ti3O12 abzuscheiden und den Einfluss der Wachstumsbedingungen auf die Eigenschaften der Filme zu untersuchen. Zusätzlich wurde die Wirkung der Verspannung, die durch die Gitterfehlanpassung zwischen Substrat und Film entsteht, auf die physikalischen Eigenschaften der Schichten untersucht. SrRuO3 Filme wurden auf gestuften SrTiO3(001), NdGaO3(110) und DyScO3(110) Substraten gewachsen, deren Oberflächenterminierung durch oberflächensensitive Proton-induzierte Auger-Elektronen-Spektroskopie (AES) bestimmt wurde. Die Substrate wurden unter verschiedenen Bedingungen durch Änderung der Temperdauer und -atmosphäre präpariert. Die systematische Untersuchung der Beziehung zwischen Verspannung und Curie-Temperatur von dünnen SrRuO3(100) Filmen erfolgte unter Verwendung von Substraten mit unterschiedlichen Gitterkonstanten. Die beobachtete Curie-Temperatur sank mit erhöhter kompressiver Verspannung und nahm mit erhöhter tensiler Verspannung zu. Um stöchiometrische und epitaktische Bi4Ti3O12(001) Filme zu wachsen, war aufgrund der Flüchtigkeit des Bismuts ein Bi Überschuss in der Precursor-Lösung notwendig. Die Substitution von Bi durch Na in Bi4Ti3O12 wurde zum ersten Mal in LD-MOCVD-Filmen erreicht. / Perovskites and perovskite-like materials are actually of great interest since they offer a wide range of structural and physical properties giving the opportunity to employ these materials for different applications. Liquid-Delivery Metal Organic Chemical Vapour deposition (LD-MOCVD) was chosen due to the easy composition control for ternary oxides, high uniformity and good conformal step coverage. Additionally, it allows growing the films, containing elements, for which only solid or low vapour pressure precursors, having mainly thermal stability problems over long heating periods, are available. The purpose of this work was to grow SrRuO3, Bi4Ti3O12 and (Na, Bi)4Ti3O12 films by LD-MOCVD and to investigate the influence of the deposition conditions on the properties of the films. Additionally, the effect of the strain due to the lattice mismatch between substrates and films on the physical properties of the films was also investigated. SrRuO3 films were grown on stepped SrTiO3(001), NdGaO3(110) and DyScO3(110) substrates, which were prepared under different conditions by changing the annealing time and atmosphere. The termination of the substrates was measured by surface sensitive proton-induced Auger Electron Spectroscopy (p-AES) technique. Another systematic study of the relation between epitaxial strain and Curie temperature of thin SrRuO3(100) films was performed by using substrates with different lattice constants. The observed Curie temperature decreased with compressive and increased with tensile strain. Thin films of Bi4Ti3O12 as well as (Na, Bi)4Ti3O12 were successfully deposited. In order to grow stoichiometric and epitaxial Bi4Ti3O12(001) films, Bi excess in the precursor solution was necessary, due to the volatility of Bi. Substitution of Bi with Na in Bi4Ti3O12 was achieved for the first time for the films deposited by LD-MOCVD.

Esta tese tem por objetivo discorrer sobre a representação dos afetos na obra literária Amar, verbo intransitivo (1927), de Mário de Andrade e na produção cinematográfica Miss Mary (1986), de María Luisa Bemberg. O método de pesquisa empregado é, além dos estudos comparados, o modo psicanalítico de leitura, que vê na metáfora seu formato linguístico, e na observação, o vínculo emocional que permite a leitura de afetos. Para tanto, vale-se dos conceitos de Sigmund Freud, Jacques Lacan e Antônio Imbasciati na área psicanalítica; das explicações de Roland Barthes, Tania Franco Carvalhal, Hans Robert Jauss para o ramo da literatura; dos estudos de Roman Jakobson para reportar-se à linguística; e das formulações de Robert Stam, Ismail Xavier e Christian Metz, para a teoria do cinema. São citados também autores e pesquisadores da Literatura Comparada: Eizirik, Gonçalves, Palmier e Vieira, da psicanálise; Allegro, Bonicci, Clüver, Espíndola, Marques, Moser, Pageaux, Rebello, Samoyault, Vieira, da literatura. Com esta análise, os afetos emergentes das relações sociais que surgem da atuação dos personagens de Amar, verbo intransitivo, foram enumerados; também se demonstrou o roteiro cinematográfico, de foco psicanalítico, que está implícito no texto, de cujo autor, as melhores análises feitas sobre cinema, na década de 20, provêm. Além disso, está claro, nesta tese, o modo pelo qual o viés psíquico é retomado em Miss Mary: na semelhança entre os enredos e na diferença resultante da adaptação dele à realidade argentina, dos anos 80. E, por último, pode-se afirmar que, este trabalho científico contribui para ampliar as fontes de pesquisa sobre as duas produções aqui citadas, que, por serem clássicas, fazem parte do patrimônio cultural da humanidade, além abrir a possibilidade de direcionar o assunto para outra investigação ou para outra criação artística. / This thesis aims to deal with the representation of affections in Amar, verbo intransitivo (1927), by Mário de Andrade, as well as in the movie Miss Mary (1986), by María Luisa Bemberg. The research method is the psychoanalytic way of reading, which sees in the metaphor its linguistic format, and in observation the emotional bond that allows the reading of affections. To support this research, we use the concepts of Sigmund Freud, Jacques Lacan and Antônio Imbasciati in the psychoanalytic area; the explanations of Roland Barthes, Tania Franco Carvalhal, and Hans Robert Jauss for the literature field; Roman Jakobson's studies to refer to linguistics; and of the formulations of Robert Stam, Ismail Xavier and Christian Metz, for the movie theory. Authors and researchers of Comparative Literature are also mentioned: Eizirik, Gonçalves, Palmier and Vieira, of psychoanalysis; Allegro, Bonicci, Clüver, Espindola, Marques, Moser, Pageaux, Rebello, Samoyault, Vieira, of literature. Based on this analysis, the emerging affections from social relations in the characters' performance of Amar, verbo intransitivo, have been named. It was also demonstrated that the psychoanalytic focus of the cinematographic script is also implicit in the author’s text, from which the best analysis of cinema in the 1920’s has been made. Moreover, it is clear in this thesis how the psychic bias is resumed in Miss Mary: in the similarity between the plots and in the difference resulting from its adaptation to the Argentine reality of the 80's. And finally, it is possible to affirm that this scientific work contributes to broaden the sources of research on the two productions mentioned here, for they are classical and a part of the cultural patrimony of humanity, making it possible to develop the subject in some other research or artistic creation.

A dissertação tem como objeto de estudo o uso do filme como recurso didático-pedagógico no processo ensino-aprendizagem de História. Tomamos como referência para o tratamento do tema nossa experiência com o uso dos filmes ―A História das Coisas” e ―Tempos Modernos‖. Aplicamos a proposta didática ―Mundo do Trabalho‖ sobre o uso desses filmes na Escola Municipal Zeca Barros, em Araguaína-TO, em uma turma de Educação de Jovens e Adultos – EJA. O estudo pretende contribuir com reflexões que possam auxiliar o professor em suas práticas em sala de aula quanto à utilização do filme como recurso didático para a construção do conhecimento histórico. Nossa proposta é apresentar experiências advindas do uso do referido recurso, com o objetivo de divulgar resultados que possam ser ajustados a outros ambientes educativos. O estudo foi conduzido a partir de incursões teóricas de autores que se debruçam sobre a temática do ensino de História no Brasil, como Abud (1998, 2009), Bittencourt (2011), em especial autores que se dedicam a relacionar o cinema e o ensino de História, como Fonseca (2009), Saliba (1993) e aqueles que se ocupam em desvelar os pressupostos da didática da disciplina de História como Rüsen (2011). A proposta didática referida foi ancorada nos pressupostos da Aula oficina (BARCA, 2004). Como estratégia metodológica, utilizamos os princípios da pesquisa-ação, cuja abordagem é de natureza qualitativa. Para a geração de dados, recorremos à aplicação de questionários. Sob uso desse aporte teórico e metodológico, os dados apontam para o fato de que o processo ensino-aprendizagem de História pode ocorrer a partir de diálogos teóricos que remetem para discussões acerca do uso de imagens, o que permite abordagens historiográficas que possam nortear a prática docente. / This dissertation has as study‘s object the use of movie as a didactic-pedagogic resource in the teaching-learning process of History. The experience using "The Story of Stuff" and "Modern Times" movies are reference for working the subject. The didactic proposal named ―Mundo do Trabalho‖ (World of Work) was applied by using these movies at the Escola Municipal Zeca Barros (Zeca Barros Municipal School) in Araguaína municipality, state of Tocantins, in a classroom of Educação de Jovens e Adultos (EJA) (Youth and Adult Education). This study aims to offer considerations for assisting teachers in their practices in the classroom, by using movies as a teaching resource for the construction of historical knowledge. It proposes to bring experiences and to disseminate results by using such resources that can be adjusted to other educational environments. This study was carried out based on theoretical incursions of authors that focus on the theme of History teaching in Brazil, as Abud (1998, 2009) and Bittencourt (2011), especially authors who are dedicated to relate the cinema and the teaching of History, as Fonseca (2009), Saliba (1993), and those who are engaged in uncovering the didactics assumptions of History subject, as Rüsen (2011). The mentioned didactic proposal was based on the aula-oficina (workshop) assumptions (BARCA, 2004). The principles of action research with qualitative approach were used as methodological strategy. Questionnaires were applyed to obtain data. Regarding to this theoretical and methodological approach, the data point to the fact that the teaching and learning process of History can occur through theoretical dialogues based on discussions about the images, allowing historiographical approaches that can guide teaching practices.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-26T10:03:55Z No. of bitstreams: 1 Natália Keiko de Carvalho Suguiyama.pdf: 1784993 bytes, checksum: a35d3dad535c11f72868d64d8280222a (MD5) / Made available in DSpace on 2018-09-26T10:03:55Z (GMT). No. of bitstreams: 1 Natália Keiko de Carvalho Suguiyama.pdf: 1784993 bytes, checksum: a35d3dad535c11f72868d64d8280222a (MD5) Previous issue date: 2018-08-24 / Focusing in the documentary cinema as a way of representing the testimony of traumatic experiences in cinema, this project emphasizes the creative procedures found in the film Shoah (1985), by Claude Lanzmann, and in the series Histoire(s) du Cinéma (1988/1998), by Jean-Luc Godard. More specifically, it reflects on how documentary films has put us in contact with painful historical events, understanding the creative procedures used in its conception. Our corpus is based notably on the works above mentioned. The most important theoretical frameworks are the studies who deal with documentary theory, as presented by Bill Nichols theory and, in Brazil, Fernão Ramos. Our research also counterpoints the issue of representation of the catastrophe, using the studies of both Georges Didi-Huberman and, in Brazil, Márcio Seligmann-Silva. The relevance of the research is related to the intense debates that surround today the testimony, assigning to the images a role in the representability of the extreme, previously interdicted / Este projeto enfoca o cinema documental voltado à temática do testemunho no campo da experiência traumática, com ênfase no documentário Shoah (1985), de Claude Lanzmann, e na série em vídeo Histoire (s) du cinéma (1988-98) de Jean-Luc Godard. Mais especificamente, trata-se de perguntar como o cinema documental nos tem colocado em contato com eventos históricos dolorosos, assinalando os procedimentos criativos de que se tem valido. O corpus da pesquisa compõe-se principalmente das obras acima referidas. Os principais referenciais teóricos envolvem estudos abalizados sobre o gênero documentário, como os de Bill Nichols e, no Brasil, Fernão Ramos, e trabalhos em contraponto sobre a questão da representação da catástrofe, como os de Georges Didi-Huberman e, no Brasil, Márcio Seligmann-Silva. A relevância da pesquisa liga-se aos intensos debates que voltam a cercar hoje o testemunho, atribuindo às imagens um papel na representabilidade do extremo, antes interditado

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-05T11:47:25Z No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) / Made available in DSpace on 2018-12-05T11:47:25Z (GMT). No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) Previous issue date: 2018-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that also frighten because of the overlooked practices and knowledge that preceded them. Does the novelty replace what comes previously or simply overlap it? What does one gain and what does one lose in this process? Among several examples, I focused on a technological transition and a professional category that symbolized this lack of communication between the new and what precedes it; they mirrored each other. The film-to-digital transition in the cinema was also the projectionist - IT technician transition. What other transitions exist within this one? From film to digital. From the 35mm projector to the digital projector. From the projectionist to the IT technician. From the analog to the digital. From the photochemical film to the computer. From the touch to the virtual. From the physics and chemistry to the mathematics. The research has aimed to understand the film-to-digital transition from the point of view of the cinema projectionist. For that, semi-structured interviews were conducted with three professionals in the city of São Paulo, with similar years of experience and involvement with cinema, similar belonging and affection feelings. In addition, the narratives of two other professionals who worked in the 1950s have been added. These interviews were transcribed in full, sequentially organized in order to identify the themes and later analyzed through thematic maps. The results of the analysis were presented in a narrative form, composed by the direct inscription of the interviews, historical passages about the cinema and testimonies of other professionals of the area, as well as of intellectuals who dialogue with the research proposal. These different points of view have been structured in a narrative form in this dissertation, as a conversation. The research has been anchored in the constructivist approach of discursive practices and production of meanings in everyday life. The analysis pointed out to the intrinsic relationship between death and life in technology and in professional relationships, with emphasis on the importance of registration and of cultural memory / A pesquisa surgiu da inquietação diante de tecnologias que fascinam por suas facilidades e possibilidades e assustam pelo descaso com práticas e saberes que as precederam. O novo substitui o anterior ou apenas se sobrepõe a ele? O que se ganha, o que se perde nesse processo? Entre diversos exemplos, focalizei uma transição tecnológica e uma categoria profissional que simbolizavam essa falta de comunicação entre o novo e o precedente; espelhavam uma à outra. A transição película / digital no cinema era também a transição projecionista / técnico de TI. Quais outras transições existem dentro dessas? Da película para o digital. Do projetor 35mm para o projetor digital. Do projecionista para o técnico de TI. Do analógico para o digital. Do filme fotoquímico para o computador. Do tato ao virtual. Da física e da química para a matemática. A pesquisa teve por objetivo entender a transição película / digital do ponto de vista do projecionista de cinema. Para tanto, foram realizadas entrevistas semiestruturadas com três profissionais na cidade de São Paulo, com tempo de ofício e envolvimento semelhantes com o cinema, de pertencimento e afeto. Além disso, somaram-se às narrativas destes as de outros dois profissionais que atuaram nos anos 1950. As entrevistas foram transcritas na íntegra, organizadas sequencialmente para identificação dos temas e posteriormente analisadas por meio de mapas temáticos. Os resultados da análise foram apresentados de forma narrativa, compostos com a inscrição direta das entrevistas, passagens históricas sobre o cinema e depoimentos de outros profissionais da área, bem como de intelectuais que dialogam com a proposta da pesquisa. Esses diversos pontos de vista foram estruturados em narrativa nesta dissertação, como uma conversa. A pesquisa foi ancorada na abordagem construcionista de práticas discursivas e produção de sentidos no cotidiano. A análise apontou para a relação intrínseca entre morte e vida na tecnologia e nas relações profissionais, com ênfase na importância do registro e da memória cultural