Made available in DSpace on 2016-04-26T18:17:25Z (GMT). No. of bitstreams: 1 Marcelo Moreira Santos.pdf: 756567 bytes, checksum: acdeb10eaafcc8251d17f132e1cff21c (MD5) Previous issue date: 2008-09-29 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This present work focuses on Movies as a hybrid form of representation, as the result of the union of three indissoluble, mixed, though distinct languages: the sound, the visual and the verbal ones. It seeks to understand the gearing of those languages in the signic construction of cinematographic works, notably in the case of Hitchcock. It is also the opportunity to highlight the profound signic revolution determined by the advent of images in movement in the end of the XIX century and by seeing, in the hybridism of the cinematographic discourse, a culmination of the esthetics of the fragmentary eighteenth century, notably the Baudelairean one, as it is armed by the fluctuating attention of the poet flâneur, in his dream of Modernity. We took as our main theoretical reference the Semiotics of Charles Sanders Peirce (1839-1914), who supplies the grounds for one to reflect on the epistemology of Movies, thus making possible the development of the analysis of the signic construction of Movies which, in the end, would constitute our understanding of the hybrid language of which they are made up of. Markedly limited by mixtures and juxtapositions of fragments, the cinematographic sign has its genesis delineated by the poetics of movement, by a poetics of inter-relations and exchanges between languages, which dialogs with the metropolitan environment in the end of the XIX century. With the objective of understanding this esthetics and such logic, found both in Movies and the Metropolis, one has sought the reflections of German philosopher Walter Benjamin on the flâneur and the phenomenological experience of the fragment, and the poetry of Charles Baudelaire, the flânerie and his modern dream of fluency amid the multitude, in his giving himself to fast-flowing, cut, abrupt phenomena of the chock. In the first chapter, we shall discuss to what extent the development of Movies is tied to the modern environment of the metropolis. On this path of reflection on the signic genesis of the Movies, it is a must that one investigates and questions the phenomenological nature of its hybrid language. In the second chapter, we shall observe the construction of the hybrid cinematographic sign and clarifies the triad that grounds it: its syntax, its form and its discourse. The third chapter analysis the film Vertigo by Alfred Hitchcock, and shows how, through the weaving of the visual, sound and verbal languages, this director creates, with a masterly hand, the thriller. In the Conclusion, besides reviewing all we have seen, the paper points at new ways one can understand the language of Movies, thus opening new inroads of questionings and hypotheses and deepening the theme and elaborating the horizons for the continuation of the research / O presente trabalho enfoca o cinema como forma híbrida de representação, resultante da junção de três linguagens indissociáveis, mescladas, mas distintas: a sonora, a visual e a verbal. Busca-se compreender o entrosamento dessas linguagens na construção sígnica das obras cinematográficas, notadamente no caso específico do cinema de Hitchcock. Trata-se também de assinalar a profunda revolução sígnica determinada pelo advento das imagens em movimento, no final do século XIX, vendo no hibridismo do discurso cinematográfico uma culminância das estéticas oitocentistas fragmentárias, notadamente a baudelairiana, tal como é armada pela atenção flutuante do poeta flâneur, em seu sonho de modernidade. Tomamos como referência teórica principal a Semiótica de Charles Sanders Peirce (1839-1914), que dá base para se refletir sobre a epistemologia do cinema objetivando, com isso, o desenvolvimento da análise da construção sígnica dos filmes, que no fim, constituiria em entender a linguagem híbrida pelo qual o cinema é composto. Marcadamente pautado pelas misturas e justaposições de fragmentos, o signo cinematográfico tem sua gênese delineada por uma poética do movimento, por uma poética de inter-relações e intercâmbios entre as linguagens, que dialoga com o ambiente metropolitano no fim do século XIX. Com o objetivo de se compreender essa estética e essa lógica, encontrada tanto no cinema quanto na metrópole, é que se buscou as reflexões do filósofo alemão Walter Benjamin sobre o flâneur e a experiência fenomenológica do fragmento, e a poesia de Charles Baudelaire, a flânerie e seu sonho moderno de fluência em meio a multidão, em sua entrega aos fenômenos fugidios, entrecortados e abruptos do choque. No primeiro capítulo, discute-se em que medida o desenvolvimento do cinema está atrelado ao ambiente moderno da metrópole. Neste caminho de reflexão sobre a gênese sígnica do cinema, torna-se necessário investigar e questionar a natureza fenomenológica de sua linguagem híbrida. No segundo capítulo, observa-se a construção do signo híbrido cinematográfico, esclarecendo a tríade que o fundamenta: a sintaxe, a forma e o discurso. O terceiro capítulo analisa o filme Um corpo que cai de Alfred Hitchcock, mostrando como, através da tessitura das linguagens visual, sonora e verbal, este diretor confecciona com mão de mestre, o suspense. Na conclusão, além de retomar o todo anterior, o trabalho aponta novos caminhos para se entender a linguagem do cinema, abrindo um novo leque de questionamentos e hipóteses, aprofundando o tema e traçando os horizontes para a continuidade da pesquisa

Made available in DSpace on 2016-04-26T18:17:36Z (GMT). No. of bitstreams: 1 Henrique Bartkevicius da Costa.pdf: 5181205 bytes, checksum: 3e41749c6437f5303bfb6b3ac0701900 (MD5) Previous issue date: 2008-12-19 / Contemporaneity is full of symbolic and imaginary products that can be called "surreal". In fact throughout the twentieth century surrealism extrapolated the sphere of the arts and left marks in many spheres of social behavior. This study aims to examine the gaze inaugurated by the film Un Chien Andalou, and investigate the relationship of certain cultural products with the unconscious. The approach is based on the surrealist movement, its meaning production techniques, its context and its historical vicissitudes, to understand in which way, and especially by means of which strategies, the "surreal" manifests itself in our everyday life. Based on the ideas of Giulio Carlo Argan and Elisabeth Roudinesco among others, this study investigates the context that gave rise to the movement. The theoretical work of André Breton and the psychoanalytic concepts of Jacques Lacan, a contemporary of Breton s, will contribute to a better understanding of the movement. An articulation is then made with Peirce´s semiotics to analyze surrealism, understood as a noun or as an adjective, specifically in the field of images. As regards the methodology used, a bibliographic review was carried out, followed by exercises in digital video after analyzing the decoupage of the sliced eye scene in the film Un Chien Andalou (1929), by Salvador Dalí and Luis Buñuel, which is considered a paradigm. The study also sought to link the sliced eye with the packed eye, the zombie eye, an eye-shaped candy found in shops in Brazilian large cities, which is a perfect example of the surrealist aesthetic assimilated to daily life / A contemporaneidade está repleta de produtos imaginários e simbólicos que podem ser chamados de surrealistas . De fato, ao longo do século XX o surrealismo extrapolou o âmbito da arte, e deixou marcas em diversas esferas do comportamento social. O presente estudo tem por objetivo analisar o olhar inaugurado pelo filme Um Cão Andaluz e, conseqüentemente, investigar as relações de alguns produtos culturais com o inconsciente. Na abordagem do tema, partimos do movimento surrealista, das suas técnicas de produção de sentido, do seu contexto histórico e de suas vicissitudes, para compreender de que forma, e principalmente por meio de quais estratégias, o surreal se manifesta no nosso dia-a-dia. Contamos com Giulio Carlo Argan e Elisabeth Roudinesco, entre outros, para investigar o contexto do surgimento do movimento. Para entendê-lo, passamos pelo edifício teórico de André Breton e pelos conceitos psicanalíticos de Jacques Lacan, contemporâneo ao anterior. A seguir, articulamos com a semiótica peirciana para analisar o surrealismo, entendido como substantivo ou como adjetivo, especificamente no campo das imagens. Do ponto de vista metodológico, realizaram-se pesquisas bibliográficas e exercícios em vídeo digital, depois da análise e decupagem da cena do olho cortado do filme Um Cão Andaluz (1929), de Salvador Dali e Luis Buñuel, considerado como paradigma. Outrossim, buscou-se relacionar o olho cortado com o olho embalado, o olho zumbi, uma guloseima em forma de olho, facilmente encontrada nos comércios das grandes metrópoles brasileiras, um exemplo perfeito da estética surrealista assimilada à vida cotidiana

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-02-20T13:58:14Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_CrisePalavraCentro.pdf: 3817964 bytes, checksum: 5fa05f214e61ee9f828458f754562e8a (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-02-20T14:03:58Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_CrisePalavraCentro.pdf: 3817964 bytes, checksum: 5fa05f214e61ee9f828458f754562e8a (MD5) / Made available in DSpace on 2017-02-20T14:03:58Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_CrisePalavraCentro.pdf: 3817964 bytes, checksum: 5fa05f214e61ee9f828458f754562e8a (MD5) Previous issue date: 2012 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A literatura e o cinema constituem dois campos de produção sígnica distintos cuja relação pode se tornar possível em razão da visualidade presente nas duas linguagens. Não é de hoje que o cinema se utiliza de outras linguagens e/ou outros signos para a construção, reconstrução, criação e recriação fílmica, provocando, dessa forma, o aparecimento de uma matéria híbrida. Porém, na atualidade, esse processo de influências/trocas também ocorre de forma contrária: se antes o cinema se valia da literatura como hipotexto, desta vez, a literatura pode valer-se do cinema para sua criação narrativo-verbal. O corpus de análise será o filme e romance homônimo EU SEI QUE VOU TE AMAR do cineasta, escritor, jornalista e crítico Arnaldo Jabor cujas obras exploram a linguagem cinematográfica de forma artística e também consegue, ao mesmo tempo, desenvolver seu cunho literário-poético, demonstrando assim, que a literatura pode sofrer influência do cinema. Os referenciais para análise se inserem nos estudos semiológicos que perpassam a teoria literária e fílmica. Far-se-á, portanto, análises das linguagens (literária e fílmica) empregadas pelo diretor/escritor e seu produto artístico final. / Literature and cinema are two distinct fields of sign production whose relationship may become possible because of visuality present in both languages. It is not today that the film makes use of other languages and/or other signs to the construction, reconstruction, creation and recreation film, causing thus the emergence of a hybrid material. However, at present, this process of influence/exchange also occurs in the opposite way: if before the film is worth of literature as hipotexto this time, the literature can make use of cinema for its creation narrative-verbal. The corpus of analysis will be the film and novel by I KNOW THAT I WILL LOVE YOU filmmaker, writer, journalist and critic whose works explore Arnaldo Jabor language cinematic art form and can also, at the same time developing his literary and poetic nature, thus demonstrating that literature can be influenced by the cinema. The references are included for analysis in semiotic studies that permeate the film and literary theory. Far will, therefore, analysis of language (literary and filmic) employed by the director/writer and his final artistic product.

Devido à alta toxicidade do mercúrio, os eletrodos contendo este metal vêm sendo substituídos por eletrodos modificados, dentre eles o filme de bismuto (f-Bi) tem demonstrado ser uma boa alternativa, pois apresentam comportamento e desempenho semelhante aos eletrodos de mercúrio, além de baixa toxicidade. A fim de se determinar os metais Cd2+ e Pb2+ em amostras de água do Rio Tietê, um eletrodo de f-Bi depositado de forma ex situ foi desenvolvido. As condições para a formação do f-Bi foram otimizadas e as melhores condições foram alcançadas utilizando uma solução de tampão acetato 0,2 mol L-1 pH 4,5 contendo 1,0x10-3 mol L-1 de Bi3+, aplicando um potencial de deposição de -0,50 V por 200 s. A determinação dos metais foi realizada através da voltametria de onda quadrada de redissolução anódica (SWASV - do inglês Square Wave Anodic Stripping Voltammetry), seus parâmetros foram otimizados e as melhores condições encontradas foram: frequência de 100 Hz; amplitude de pulso de 20 mV; step potential de 1 mV; potencial de pré-concentração de -0,925 V e tempo de pré- concentração de 450 s. Após a otimização dos parâmetros da SWASV foi construída uma curva analítica para os íons Cd2+ e Pb2+ na faixa de concentração de 5,0x10-8 a 3,0x10-6 mol L-1. As curvas analíticas apresentaram um aumento linear da corrente de pico em função da concentração dos metais com limite de detecção de 1,21 x10-7 e 1,13 x10-7 mol L-1 para o Cd e Pb, respectivamente. O método desenvolvido foi aplicado em amostras de água do rio Tietê e o f-Bi detectou Pb em concentração na ordem de 10-8 mol L-1. / Since Mercury is highly toxic, electrodes made with metal have been replaced by modified electrodes, among with bismuth film electrodes (f-Bi), and these latter ones have shown to be a good alternative, because they present both behavior and performance similar to the mercury electrodes, along with low toxicity. In order to determine Cd2+ and Pb2+ in water samples from the Tietê River, an f-Bi electrode laid up ex situ was developed. The conditions for the f-Bi formation were optimized and the best conditions were reached by using a solution of 0,2 mol L-1 acetate buffer with pH 4,5 containing 1,0 x10-3 mol L-1 of Bi3+, applying a deposition potential of -0,50 V for 200 s. Determinations of the metals was done by the square wave voltammetry anodic stripping voltammetry technique (SWASV), its parameters were optimized and the best conditions found were: 100 Hz frequency; 20 mV pulse amplitude; 1 mV step potential; -0,925 V pre-concentration potential and 450 s pre-concentration time. After the optimization of the technique an analytical curve was built with the addition of Cd2+ e Pb2+ metals in the concentration range between 5,0 x10-8 and 3,0 x10-6 mol L-1. The analytical curves showed a linear increase for the peak current in function of the concentration of the metals with detection limit of 1,21 x10-7 e 1,13 x10-7 mol L-1 for Cd and Pb, respectively. The developed method was applied in water samples from the Tietê River and the f-Bi detected Pb in a concentration of 10-8 mol L-1 order.

Esta pesquisa busca, tendo como eixo principal Chris Marker e o filme Le fond de lair est rouge, fazer uma retrospectiva histórica dos principais debates na experiência do cinema-militante francês. Com um caráter introdutório e a partir daí construir alguns apontamentos iniciais para uma interpretação crítica do filme. Através desta aventura político-cinematográfica comentar um fragmento do que se oculta atrás das barricadas da memória. / This research aims, having as an leit-motif Chris Marker and the film Le fond de l\'air est rouge, making a historical retrospective of the major debates on the experience of French militant cinema, introductory in nature and serving as first notes to a critical interpretation of the film. Through this cinematics and politics adventure it trys to make a comment on a fragment of what is hidden behind the barricades of memory.

Orientador: Cláudia Valéria Seullner Brandão / Resumo: O objetivo deste estudo foi comparar e avaliar a aplicação de célula tronco mesenquimal de tecido adiposo (CTM-TA) e plasma rico em plaquetas aquecido alogênico (PRP-AA) perilacrimal em cães com ceratoconjuntivite seca (CCS), bem como, se há diferença na resposta segundo o grau de gravidade da afecção. Foram analisados 20 cães com produção lacrimal <15mm/min e distribuídos aleatoriamente em dois grupos (n=10). O grupo 1 tratado com CTM-TA (5x106 e 3x106 células) (GCTM-TA) e com grupo 2 PRP-AA (0,7mL e 0,3mL) (GPRP-AA), ambos injetados perilacrimal nas glândulas lacrimal principal e da terceira pálpebra, respectivamente. Todos os olhos foram avaliados em quatro momentos (M0 M15, M30, M60 dias). As variáveis avaliadas foram: osmolaridade da lágrima; teste lacrimal de Schirmer (TLS); sensibilidade corneal; tempo de ruptura do filme lacrimal (TRFL); pressão intraocular; espessura corneal; e biopsia da conjuntiva bulbar, além das variáveis clínico-oftalmológicas. Houve melhora nos dois grupos a partir de M15 (p<0,05) na qualidade do filme lacrimal, avaliada por meio da osmolaridade e TRFL, sem diferença entre os grupos. A produção de lágrima aumentou, entretanto notou-se diferença significativa nos animais com CCS discreta no GPRP-AA a partir do M30, e nos cães com CCS grave no GCTM-TA a partir do M30 e no GPRP-AA a partir do M60. Verificou-se melhora dos sinais clínicos da inflamação em ambos os grupos. Aplicação única perilacrimal de CTM-TA e PRP aquecido alogênicos normaliza a ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The aim of the study was to compare and evaluate the application of allogenic mesenchymal stem cell adipose tissue derived (MSCs-AD) and inativate platelet-rich plasma allogenic (PRP-IA), perilacrimal in dogs with keratoconjunctivitis sicca (KCS), and if there is difference in the response according to the degree of severity of the condition. Twenty dogs with lacrimal production <15mm/min randomly assigned to two groups were used. Group treated with MSCs-AD (5x106 and 3x106) (GMSCs-AD) and with PRP-IA (0.7ml and 0.3ml) (GPRP-IA), both intralacrimal in the main lacrimal glands and third eyelid, respectively. The eyes were evaluated in four moments after application (M0 M15, M30, M60). The variables evaluated were: tear osmolarity e; Schirmer's tear test (STT); sensitivity corneal; tear film break time (TBUT); intraocular pressure; corneal thickness; and biopsy of the bulbar conjunctiva, in addition to clinical-ophthalmologic variables. There was improvement in two groups at M15 (p <0.05) on tear film quality, assessed by osmolarity and TBUT, with there was no difference between groups. STT increased, however, statistical difference was only observed in animals with mild KCS in the GPRP-IA from the M30 and in the intense KCS at M30 in the G MSCs-AD and at M60 in the GPRP-IA. There was an improvement in the clinical signs of inflammation in both groups. The unique Intralacrimal application of MSCs-AD and PRP-IA normalizes tear film quality and improves clinical signs of inflamma... (Complete abstract click electronic access below) / Doutor

In der vorliegenden Arbeit wurden die mikromagnetische Struktur sowie das Ummagnetisierungsverhalten epitaktisch gewachsener MnAs Filme auf dem Substrat GaAs untersucht. Im Mittelpunkt steht die mikromagnetischen Struktur von anisotrop erspannten MnAs Filmen auf GaAs(001). Die Verspannung führt zur selbstorganisierten Anordnung ferromagnetischer Streifen. Ihre Domänenstruktur wurde mittels MFM (magnetischer Kraftmikroskopie) bestimmt und mit den Resultaten der XMCDPEEM (X-ray magnetic circular dichroism photoemission electron microscopy) verglichen. Um eine vollständige Charakterisierung der mikromagnetischen Eigenschaften der Streifenstruktur zu erreichen, wurden die MFM Experimente in einem äusseren Magnetfeld durchgeführt. Die Beantwortung der zentralen Frage nach der Domänenstruktur ist mit der Entwicklung eines mikromagnetischen Simulators für dreidimensionale magnetische Strukturen auf mesoskopischer Skala gelungen. Die Stabilität der dreidimensionalen mikromagnetischen Struktur hängt von den Eigenschaften der selbstorganisierten Streifenstruktur ab, d.h. sowohl von der Filmdicke als auch vom Verhältnis ihrer Breite zur Filmdicke - und damit der Temperatur. Durch die Erkenntnis, dass eine magnetische Struktur in der Tiefe des Streifens vorhanden ist, können die verbleibenden Unterschiede in den XMCDPEEM- und MFM-Resultaten erklärt werden. Durch die Simulationsergebnisse in Kombination mit den Experimenten wird eine widerspruchsfreie Deutung der mikromagnetischen Struktur sowie deren Ummagnetisierungsverhalten ermöglicht. Zudem wird die mikromagnetische Struktur von MnAs auf GaAs(111) simuliert und damit das Verständnis der mikromagnetischen Strukturen auf alle vorhandenen Substratorientierungen vervollständigt. / In the present thesis the micromagnetic structure, as well as the magnetization reversal, of epitaxial MnAs films on GaAs substrates are studied. The investigation is focused on the micromagnetic structure of anisotropically strained MnAs films on GaAs(001). The strain originates a selforganized array of ferromagnetic stripes. The magnetic domains were investigated using MFM (magnetic force microscopy) and the results were compared with XMCDPEEM (X-ray magnetic circular dichroism photoemission electron microscopy). To completely characterize the micromagnetic properties of the stripe structure, MFM experiments were performed in the presence of an external field. To unambiguously determine the domain structure a three-dimensional micromagnetic simulator was developed capable to calculate magnetic structures with mesoscopic dimensions. The stability of the three-dimensional micromagnetic structure depends on the properties of the selforganized stripe structure, i.e., on the film thickness as well as on the ratio of the stipe width to thickness - and thus the temperature. Taking into account the magnetization distribution in-depth, the remaining differences between the XMCDPEEM and the MFM results can be explained by the disturbing effect of the MFM tip. The results of the micromagnetic simulations, in combination with the experimental results, allow for a determination of the micromagnetic structure in an applied field throughout the phase coexistence regime. Moreover, the micromagnetic structure of MnAs films on GaAs(111) is simulated and thus the understanding of the micromagnetic properties have been extended on all substrate orientations.

Gegenstand der vorliegenden Arbeit ist die Entwicklung, Synthese und Charakterisierung neuartiger oligofunktionalisierter Amphiphile mit potentiellen Sammler- und LB-Filmbildungseigenschaften. Basierend auf dem entwickelten Konzept der supramolekularen Strukturbildung zum Aufbau präorganisierter und gebündelter Sammleraggregate wurden zwei Typen neuartiger oligofunktioneller Tenside synthetisiert, die sich insbesondere in ihrer konformativen Flexibilität und Hydrophilie-Lipophilie-Balance unterscheiden. Ausgeprägte oberflächenaktive Eigenschaften wurden bei den bi-, tri- und tetrafunktionellen Aminosäure-analogen Zielverbindungen (Typ II) mit linearer, trigonaler und tetragonaler Molekülstruktur gefunden. Diese Verbindungen bilden auch stabile monomolekulare Filme geringer Heterogenität aus. Im mineralischen Flotationsprozess ergeben diese präorganisierten Tenside mit geometrisch kontrollierter Positionierung der lateralen Funktionseinheiten im Vergleich zu konventionellen Sammlern bei spezifischem Verhalten eine bemerkenswerte Steigerung der flotativen Effizienz.

Diblock-Copolymers (DBCs), created by covalently joining two chemically distinct polymer blocks, spontaneously form various nanoscale morphologies such as lamellae, cylinders, spheres, etc. due to the chemical incompatibility of its constituent blocks. This effect is called microphase separation in the literature. Because of this self-organizing property DBCs find applications in many areas e.g. in creating selective membranes, and in polymer based modern electronic devices like organic photovoltaics where the internal morphology plays an important role in determining the performance of the device. Many such modern devices are based on thin film technologies and uses copolymer nanocomposites as it exhibits advantageous electrical, optical, and mechanical properties. Also, DBC can direct the spatial distribution of nanoparticles (NPs) in the polymer matrix via microphase separation. Generally, two types of NPs are distinguished with respect to their monomer affinity: selective NPs which prefer one component of DBC, and non-selective NPs which interact equally with both components of DBC. In this work, using molecular dynamics simulations and analytical calculations, we explore the effect of adding both types of NP in the copolymer matrix considering a thin film (or confined) geometry. We consider a cylinder forming DBC melt confined by purely repulsive walls in slit geometry and study the behavior of the system upon adding non-selective NPs. Two models of non-selective interactions between the monomers and NPs are applied, i.e repulsive and weakly attractive interactions (athermal and thermal cases respectively). Spatial distribution of NPs in the copolymer matrix is sensitive to the NP-monomer interaction behavior. We focus on the thermal case and discuss, in particular, the following points: (1) role of diblock and polymer-wall interfaces, (2) spatial distribution of NPs, and (3) NP segregation and uptake behavior by the copolymer film. The uptake of NPs by the copolymer film in the thermal case displays a non-monotonic dependence on temperature which can be explained qualitatively using a mean-field model. In general, addition of non-selective NPs do not affect the copolymer morphology and the NPs are preferentially localized at the interface between microphase domains. Morphological transitions are observed when adding selective NPs to the copolymer matrix. By varying the amount of selective NPs and diblock composition we systematically explore the various structures formed by the nanocomposites under confinement and constructed the corresponding phase diagram in diblock composition and NP concentration. We also discuss the NP induced orientation transition of lamellar structure and study the stability of lamellar phases formed by the nanocomposites. To study the commensurability and wetting transition of horizontally oriented lamellar phase formed by the nanocomposites we have developed a mean field model based on the strong segregation theory. Our model predicts that it is possible to reduce the frustration in a film of fixed thickness by properly tuning the NP-monomer interaction strength. Furthermore, the model predicts a discontinuous transition between the non-wetted phase (where a dense NP layer is present in the polymer-substrate interface) and wetted phase (where the substrate is covered by polymers). Finally, we extend our study to non-equilibrium where we apply a shear flow field to copolymer thin films. Here, we study the flow behavior, lamellae deformation and change of pair-wise interaction energy, and macroscopic response like kinetic friction coefficient and viscosity of the copolymer thin film with and without NPs. / Lösungen von Diblock-Copolymeren (DBC), welche durch die kovalente Bindung zweier chemisch unterschiedlicher linearer Polymerblöcke entstehen, können spontan mikroskopische Strukturen ausbilden, welche je nach dem Grad der chemischen Kompatibiliät der Blöcke beispielsweise lamellen-, zylinder- oder kugelartige Formen zeigen. Dieses Phänomen wird meist als Mikrophasenseparation bezeichnet. Aufgrund dieser selbstorganisierenden Eigenschaft finden DBCs Anwendungen in vielen Bereichen der Forschung und der Industrie. Beispielsweise zur Erzeugung selektiver Membranen oder in moderner polymerbasierter Elektronik, wie organischen Solarzellen, wo die innere Struktur eine wichtige Rolle spielt um die Leistungsfähigkeit zu erhöhen. Viele moderne Geräte basieren auf der Technologie dünner Schichten und nutzen Copolymer-Nanokomposite um elektrische, optische oder mechanische Eigenschaften zu verbessern. In Folge der Mikrophasenseparation kann man mit Hilfe von DBC die räumliche Verteilung von Nanopartikeln (NP) in der Polymermatrix kontrollieren. Man unterscheidet im Allgemeinen zwischen zwei Arten von NP: selektive NP, welche eine der beiden Komponenten der DBC bevorzugen und nicht-selektive NP, welche mit beiden Komponenten gleichartig wechselwirken. In der vorliegenden Arbeit nutzen wir molekulardynamische Simulationen und analytische Rechnungen um den Eigenschaften zu studieren, welche eine Zugabe von selektiven und nicht-selektiven NP auf eine dünnschichtige Copolymermatrix hat. Wir betrachten eine zylinderformende Schmelze aus DBC, welche in einem dünnen Film, zwischen zwei harten Wänden eingeschränkt ist, und untersuchen das Verhalten des Systems unter Zugabe nicht-selektiver NP. Zwei Modelle nicht-selektiver Wechselwirkungen werden angenommen: ausschließlich repulsive (athermische) Wechselwirkungen und schwach anziehende (thermische) Wechselwirkungen. Die räumliche Verteilung der NP ist abhängig von dem jeweiligen Wechselwirkungsverhalten. Wir konzentrieren uns hierbei auf den thermischen Fall und diskutieren speziell folgende Schwerpunkte: (1.) die Rolle der sich ausbildenden Grenzschichten, (2.) die räumliche Verteilung der NP und (3.) die Abscheidung der NP, sowie die Aufnahmefähigkeit derselben durch die Polymermatrix. Im thermische Fall zeigt die Aufnahme der NP durch die Copolymerschicht eine nicht-monotone Abhängigkeit von der Temperatur, was mit Hilfe eines Mean-Field Modells erklärt werden kann. Die Zugabe nicht-selektiver NP hat keinen Einfluss auf die Struktur der Copolymermatrix und die NP werden vorzugsweise an der Grenzschicht der jeweiligen Mikrophasen gefunden. Im Gegensatz dazu kann man durch die Zugabe selektiver NP eine Strukturveränderung in der Copolymermatrix feststellen. Durch Veränderung der Menge der NP und der Zusammensetzung der DBC können wir systematisch unterschiedliche Strukturen des räumlich eingeschränkten Nanokomposits erzeugen und ein entsprechendes Phasendiagram bezüglich der NP Konzentration und der DBC Zusammensetzung erstellen. Wir untersuchen auch die durch NP induzierte Orientierung der Lamellenstruktur und analysieren ihre Stabilität. Um den sogenannten Kommensurabilitäts- und Benetzungsübergang in horizontal orientierten Lamellenstrukturen zu untersuchen haben wir ein Mean-Field Modell entwickelt, welches auf der Annahme der 'starken Segregation' basiert. Unser Modell macht die Vorhersage, dass es möglich ist die Frustration in einem Kompositfilm zu reduzieren, indem man die NP-Monomer-Wechselwirkung entsprechend anpasst. Zusätzlich sagt das Modell einen diskontinuierlichen Übergang zwischen der unbenetzten Phase (Ausbildung einer dichten NP Konzentration an der Polymer-Substrat Grenzschicht) und der benetzten Phase (das Substrat ist ausschließlich vom Polymerkomposit bedeckt) voraus. Abschließend weiten wir unsere Untersuchungen auf Nicht-Gleichgewichtszustände aus und induzieren durch Scherung der Substratwände einen Strömungprofil im Kompositfilm. Dabei analysieren wir das Strömungsverhalten, die Lamellendeformation und die Änderung der paarweisen Wechselwirkungsenergie. Wir untersuchen auch makroskopische Größen, wie den kinetischen Reibungskoeffizienten und die Viskosität, je in An- und Abwesenheit von Nanopartikeln.

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.