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Made available in DSpace on 2014-06-12T23:02:26Z (GMT). No. of bitstreams: 2 arquivo8254_1.pdf: 2270880 bytes, checksum: 5edaaf72bf2cef331adbf1e812da32c2 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2007 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho foi realizado em uma gamboa do estuário do rio Catuama, Pernambuco, Brasil. Com o intuito de caracterizar a comunidade de peixes que, em suas fases iniciais de vida habitam essas áreas intertidais estuarinas, mensalmente foram realizadas coletas diurno-noturnas utilizando uma rede de espera adaptada (1 mm nas laterais e 500μm no centro) para coleta de larvas e jovens em canais de maré. Os parâmetros temperatura, salinidade e oxigênio dissolvido na água foram aferidos durante as amostragens. Após um ano de coletas foram amostrados 11.457 larvas e 8.216 jovens de peixes. No ictioplâncton foram identificadas 27 famílias, destacandose Atherinopsidae, Gerreidae e Gobiidae como as famílias mais abundantes. Algumas famílias esporádicas constituídas por peixes marinhos como Triglidae, Pomacentridae e Lutjanidae estiveram presentes. A abundância das larvas não diferiu entre os períodos diurno e noturno, sazonalmente, porém, muitas delas foram contínuas ao longo do ano, como Atherinopsidae ou exibiram um padrão geralmente relacionado à época de desova, tal como os Centropomidae. O estágio de pós-flexão foi dominante entre as larvas representando o momento em que muitas espécies marinhas estuarino-dependentes migram para estes habitats Foram identificadas 39 espécies de peixes juvenis sendo Lile piquitinga, Lycengraulis grossidens, Ctenogobius boleosoma, Atherinella brasiliensis, Ulaema lefroyi e Poecilia vivipara as mais abundantes. Apenas P. vivípara exibiu uma abundância significativamente maior em um dos períodos estudados, predominando durante o dia. A associação entre as espécies demonstrou uma segregação temporal e espacial no uso do habitat, o que favorece o desenvolvimento dos peixes em fases iniciais através da redução da competição. A partir da elevada abundância e freqüência temporal de peixes capturados no presente estudo, tanto na fase larval como juvenil, ressalta-se a importância desses ambientes na manutenção da ictiofauna estuarina e da zona costeira adjacente

Un tournant s'est opéré dès la fin du XXème siècle dans la littérature hispano-américaine, après quelques tentatives inachevées de recherche d'une « totalité » à travers le mouvement du boom latino-américain des années 60.Une nouvelle littérature postmoderne s'est alors développée, opposée aux objectifs « utopiques » du boom (tel que celui de « roman total », qui embrassait tous les genres, proposait un érotisme exalté, une réflexion métatextuelle et un engagement politique). Les écrivains nés dans les années 1950 se sont appropriés de nouveaux procédés qui visaient à « morceler » la littérature. Parmi ces procédés figurent des voix narratives multiples, des univers parallèles, l'hybridité générique, une écriture « cinématographique » (visuelle et sonore), fragmentée, parsemée d'analepses et de prolepses.Afin de pouvoir analyser les limites de la totalité littéraire – plus précisément, romanesque – et de définir cette écriture postmoderne « éclatée », « antitotale », je me suis centrée sur trois œuvres qui englobent les années 1995-2010, écrites par des auteurs hispano-américains d'origine diverse (bien qu'appartenant à la même génération post-moderne ou post-nationale), imprégnées d'une esthétique propre, mais parsemées de personnages, d'une réflexion sur la littérature et d'une atmosphère/tonalité communs.Le roman fragmentaire, bref et polyphonique Flores (2004), du Mexicain Mario Bellatin, raconte de nombreuses histoires qui s'entrecroisent, dans un espace indéterminé et claustrophobique, dans lesquelles les personnages sont réduits à leur « Corps ».Vidas perpendiculares (2008), du Mexicain Álvaro Enrigue, utilise la même stratégie du « puzzle », de la fragmentation et simultanéité des récits. Ici, le narrateur relate cinq histoires d'amour qui ont marqué la vie d'un même personnage, Jerónimo, sous la forme de « réincarnations » successives, sur un ton ironique et plaisant.Quant au long roman (anti)total et apocalyptique du Chilien Roberto Bolaño, 2666 (2004), il évoque le destin de nombreux personnages – liés dans leur majorité au monde de la littérature- dans la ville fictive de Santa Teresa (Ciudad Juárez).Le Mexicain Jorge Volpi a intitulé l'un de ses articles les plus polémiques « La literatura latinoamericana ya no existe », mais le fait que la littérature se déconstruise, rompe avec les codes qui la définissaient, joue avec eux et/ou les réinvente, n'est-ce pas finalement une forme de littérature (et non pas d'absence de littérature), celle de l'éclatement, de la dislocation ?C'est justement cette nouvelle esthétique qui se cherche, en pleine quête identitaire, qui constitue à mon sens un grand intérêt. Et ce, particulièrement à une époque de « l'entre-deux » (siècles, générations, mondes).Pour approfondir ces aspects de la littérature contemporaine de langue hispanique, je me focaliserai essentiellement sur quatre aspects de l'esthétique élaborée par les écrivains qui conforment mon corpus : je définirai tout d'abord le concepts de totalité, d'unité, de modernité et de postmodernité, essentiels à toute réflexion ultérieure ; puis j'examinerai la structure à la fois totalisante et détotalisante de l'Œuvre de Bolaño, Bellatin et Enrigue ; et enfin, je m'intéresserai à la nature paradoxale et dichotomique de la littérature postmoderne latino-américaine, toujours à travers le prisme des trois auteurs.C'est seulement grâce à une étude comparative, théorique et analytique que je pourrai prétendre apporter un plus au domaine de la critique littéraire. Il s'agit donc pour moi de déterminer les caractéristiques (communes ou différentielles) de la littérature contemporaine, post-moderne, d'en souligner les desseins, les limites et les contradictions, tout en prenant en compte un contexte (politique, social, culturel, économique etc.) de plus en plus (omni)présent. / A turning point was apparent from the end of the twentieth century in Latin-American literature, after a few uncompleted attempts to search for “totality” through the literary movement of the Latin-American boom of the ‘60s.Then, a new postmodern literature developed, opposed to the “utopian” objectives of the boom (such as the “total novel”, which embraced all the genres, proposed exhilarated eroticism, a metafictional reflection and a political commitment). The writers born in the ‘50s took over new processes which aimed for “dislocate” literature. Among these processes figure numerous narrative voices, parallel universes, generic hybridity, a “cinematic” (visual and sonorous), fragmented writing, scattered with flashbacks and flash-forwards.In order to analyze the limits of literary totality –more accurately, novelistic totality– and to define this postmodern “dislocated”, “antitotal” writing, I focused on three works which cover the years 1995-2010, published by Spanish-American writers from diverse countries (even though they belong to the same postmodern or postnational generation), being spread through a proper aesthetics, but sprinkled with communal characters, reflection on literature and atmosphere/tone.Mario Bellatin's fragmentary, short and polyphonic novel Flores (2004) relates many criss-crossed stories, in an indeterminate and claustrophobic space, in which characters are come down to their “body”.Vidas perpendiculares (2008), by the Mexican Álvaro Enrigue, uses the same strategy as a “puzzle”, as stories' fragmentation and simultaneity. Here, the narrator recounts five love stories which left a mark on the life of one character, Jerónimo, in the form of successive “reincarnations”, on an ironic and pleasant tone.As for the long (anti)total and apocalyptic novel of the Chilean Roberto Bolaño, 2666 (2004), it evokes the destiny of many characters –most of them related to the literary world– in the fictional city of Santa Teresa (Ciudad Juárez).The Mexican Jorge Volpi entitled one of his most polemical article ”La literatura latinoamericana ya no existe”, but the fact that literature disintegrates itself, breaks with the codes that defined itself, plays with them and/or reinvents them, isn't it after all a form of literature (and not of lack of literature), such as the form of splitting, dislocation?It is precisely this new aesthetics that tries to find itself, in pursuit of identity, that constitutes, according to me, a major interest. And even more in an intervening period (between two different centuries, generations, worlds).To deal with these aspects of contemporary Latin-American literature in depth, I will principally focus on four angles of the aesthetics elaborated by the writers of my corpus : I will define first the concepts of totality, unity, modernity and postmodernity, essential to any later reflection ; then, I will examine the structure both totalizing and distotalizing of Bolaño, Bellatin and Enrigue's work ; and finally, I will be interested in the paradoxical and dichotomous nature of postmodern Latin-American literature, always through the prism of the three authors.This is only thanks to a comparative, theoretical and analytical study that I could try to provide the literary criticism field with other approaches. Therefore, I will attempt to determine contemporary, postmodern literature's (differential and similar) features, to underline its intents, limits and contradictions, while I will take a political, social, cultural, economic context each time more (omni)present.

S’inscrivant à la croisée de l’histoire des expositions et des relations culturelles internationales, la thèse a pour principal objectif l’étude de la construction d’une certaine image de la nation mexicaine à l’étranger à travers l’art et de la manière dont celle-ci a été perçue par des audiences diverses dans différentes contrées. Pour ce faire, la thèse propose une étude de la présence de l’art mexicain dans l’espace transnational analysant des phénomènes de circulation, médiation et réception autour de la première grande exposition d’art mexicain itinérante en Europe. Entre 1952 et 1953, l’exposition Art mexicain du précolombien à nos jours a été présentée successivement à Paris, Stockholm, Londres et Mexico. Cette manifestation culturelle participe d’une longue génèse qui remonte aux années 1920. Après plusieurs tentatives échouées, l’idée de présenter une exposition d’art mexicain en Europe émerge à nouveau dans le monde de l’après-guerre, impulsée par le gouvernement mexicain et une constellation d’acteurs européens étatiques et non-étatiques qui ont fait que le projet se concretise en 1952. La thèse étudie les enjeux que cette manifestation a répresentés pour ses promoteurs, ainsi que la manière dont son discours curatorial consacre une certaine rhétorique nationaliste qui insiste sur la continuité du génie artistique mexicain à travers les époques. L’étude des réceptions et des va-et-vient au sein de l’espace euro-américain est alors menée à travers l’analyse des diverses représentations autour du Mexique exprimées par les publics européens, ainsi que par les manières dont la société mexicaine resignifie les réactions européennes vis-à-vis de l’art mexicain afin de les adapter au contexte local. Ensuite, ce travail se concentre sur les adhésions et les rejets exprimés au Mexique par rapport à ce portrait de lo mexicano impulsé depuis l’État. La thèse démontre comment cette exposition est devenue par la suite un modèle pour la présentation de l’art mexicain à l’étranger, décliné à plusieurs reprises dans les décennies suivantes comme le fer de lance de la diplomatie culturelle mexicaine. / Located in the intersection of the fields of History of Exhibitions and History of International Cultural Relations, this thesis studies the construction of a particular image of the Mexican nation abroad through the medium of art, and the ways in which this image was perceived by diverse audiences in different countries. The thesis analyzes the circulation, mediation and reception of Mexican art in a transnational context for the first major traveling exhibition of Mexican art in Europe.Between 1952 and 1953, the exhibition Art mexicain du précolombien à nos jours (Mexican art from pre-Columbian times to the present day) was successively presented in Paris, Stockholm, London and Mexico City. This cultural event draws upon a long prehistory that dates back to the 1920s. After several failed attempts, the idea of presenting an exhibition of Mexican art in Europe reemerges in the postwar period driven by the Mexican government and a constellation of European state and non-state actors, leading up to the opening of the exhibition in Paris on May 20, 1952.The thesis studies the stakes that various promoters had in the exhibition as well as the ways in which its curatorial discourse crystallized a nationalist rhetoric that stresses the continuity of the mexican artistic genius through the ages. It further investigates the different receptions and interactions within the Euro-American space by analyzing the various representations of Mexico articulated by the European publics; conversely, it examines the ways in which Mexican society resignifies the European reactions vis-à-vis Mexican art and adapts them to the local context. Moreover, this work scrutinizes the approvals and rejections expressed by the Mexican public with regard to the particular image of lo mexicano promoted by the state. The thesis demonstrates how this exhibition became a model for the display of Mexican art abroad, reappearing several times in various declensions over the following decades as a trademark of Mexican cultural diplomacy.

146f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-06T18:41:25Z No. of bitstreams: 1 Dissertacao Sante Scaldaferri.pdf: 2489378 bytes, checksum: d4f35f6283250d63ceb99a08f9b78a08 (MD5) / Approved for entry into archive by Valdinéia Ferreira(neiabf@ufba.br) on 2013-05-07T13:55:36Z (GMT) No. of bitstreams: 1 Dissertacao Sante Scaldaferri.pdf: 2489378 bytes, checksum: d4f35f6283250d63ceb99a08f9b78a08 (MD5) / Made available in DSpace on 2013-05-07T13:55:36Z (GMT). No. of bitstreams: 1 Dissertacao Sante Scaldaferri.pdf: 2489378 bytes, checksum: d4f35f6283250d63ceb99a08f9b78a08 (MD5) Previous issue date: 2009 / Este trabalho pretende discutir os processos educativos desenvolvidos a partir da capoeira Angola, na comunidade da Gamboa de baixo. Para isso, a coleta de dados foi realizada com a interferência direta do pesquisador no campo de investigação, seguindo, dessa maneira, caminhos que apontaram para uma pesquisa-ação. As concepções teóricas, que sustentam essa pesquisa visam além da capoeira Angola, os processos educativos não-escolares, os fundamentos da pesquisa-ação e as divergências no que tange à compreensão de comunidade. Procura entender o posicionamento dos mestres de capoeira naquilo que se refere ao processo educativo de sua arte. Acredita-se que a capoeira Angola pode contribuir para a formação de sujeitos participativos, seguros de si e mais conhecedores da contribuição que a matriz africana exerce em suas vidas. / Salvador

In 1969 curator Fernando Gamboa commissioned eleven abstract artists to paint a collective mural to be displayed in the Mexico Pavilion at the 1970 World’s Fair held at Osaka, Japan. He instructed the artists to paint large sized individual paintings on stretched canvases that when joined collectively would form a mural measuring 400 sq ft. The artists selected by Gamboa were working in a style that broke the conventions of traditional Mexican muralism. They were a generation of painters who abandoned the ideologies of José Vasconcelos and the conception that artists should be responsible for changing society. Instead they embraced the words of José Luis Cuevas and based their work on the individual’s subjectivity. The binary Gamboa raises by linking Mexican muralism and modern painting problematizes the conception of murals in Mexico. Traditional muralism focused on public spaces and state forums for social communication. In contrast, mural-sized stretched canvases, which hung on the walls of the pavilion intended to provoke an international audience, produced an alternative meaning of muralism and questioned what artistic attributes constituted a Mexican mural in the 1970s

The purpose of this study is to examine literary representations of religiosity and the spiritual realm in late nineteenth-century Mexico, in prose works by Manuel Gutiérrez Nájera (1859-1895), Federico Gamboa (1864-1939), and Amado Nervo (1870-1919). Through an analysis of selected texts by these authors, I will explore how they articulated the Roman Catholicism that permeated their cultural context, amid the processes of modernization. I will also show how they expressed subjective spiritual experiences, independent of the doctrinal precepts of the Church. All three of these writers devoted attention to the pervasive religiosity of their milieu, and wrestled with the question regarding the relevance of the Church in modernity. However, each one presents a distinct vision for the role that institutional religion should play. Each of these authors also portrays his own individual experiences of the metaphysical realm. Part One is based on an analysis of selected articles, chronicles, and short stories by Manuel Gutiérrez Nájera. This author utilizes the modernista aesthetic of the era to transform the religious impulse into subjective expressions of the Divine. In this regard, he presents a secular form of spirituality, although his texts often contain undertones of a lingering Catholicism. Part Two addresses the tension between religious orthodoxy and modernity in three novels by Federico Gamboa, narratives that reflect the author’s close adherence to Church dictates. In these stories the protagonists often come into conflict with the prevailing religious discourse that attempts to thwart their autonomy. Yet the narratives ultimately reaffirm and uphold Catholic values. In Part Three of this study I turn my attention to a selection of articles, chronicles, short stories, and novellas by Amado Nervo, the most spiritually inclined of the three authors. His early novellas present similar themes as Gamboa’s novels regarding the interference of the Church in the lives of the characters. However, Nervo’s later texts reveal that he did not feel compelled to remain within the limits of Church doctrine. Instead, he follows Nájera’s lead in exploring alternative perspectives of the Divine, such as spiritualist practices and the other religious traditions. / text

El siguiente trabajo se encuentra enmarcado en el Seminario de grado “El tema de la violencia en la literatura chilena del siglo XX” y se propone estudiar el primer libro de cuentos de Luis Cornejo (1925 – 1992): Barrio bravo, publicado en 1955. La razón por la que se ha escogido dicha compilación de cuentos es que las narraciones de Cornejo se encuentran enmarcadas en constantes hechos de violencia. Estos se expresan de manera explícita, tanto física como verbalmente: ya el título del libro nos anuncia que las acciones se desarrollan en un “barrio bravo”.

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-02-06T15:57:09Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CaracterizacaoMolecularVirus.pdf: 4581267 bytes, checksum: ee0162884ca679c7419566551d00aa4a (MD5) / Approved for entry into archive by Ana Rosa Silva(arosa@ufpa.br) on 2014-02-10T12:08:40Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CaracterizacaoMolecularVirus.pdf: 4581267 bytes, checksum: ee0162884ca679c7419566551d00aa4a (MD5) / Made available in DSpace on 2014-02-10T12:08:40Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CaracterizacaoMolecularVirus.pdf: 4581267 bytes, checksum: ee0162884ca679c7419566551d00aa4a (MD5) Previous issue date: 2010 / FAPESPA - Fundação Amazônia de Amparo a Estudos e Pesquisas / Poucas informações estão disponíveis até o momento sobre os vírus do sorogrupo Gamboa (Bunyaviridae, Orthobunyavirus), desta forma, foi realizado, neste trabalho, estudo filogenético dos membros do sorogrupo Gamboa entre si e com outros orthobunyavírus ao nível gene Gn (M-RNA), além de infecção experimental em pintos recém nascidos da espécie Gallus gallus domesticus com a cepa Be AN 439546 do Vírus Gamboa (VGAM), e estudo sorológico em aves, outros animais silvestres e humanos de Tucuruí – Pará. A análise filogenética dos vírus do sorogrupo Gamboa demonstrou que esses vírus são geneticamente mais relacionados com membros do grupo Turlock e menos com os do grupo Simbu, e foram distribuídos em dois clados distintos (I e II), que estão de acordo com a atual classificação sorológica, de modo que o clado I inclui o complexo Gamboa e o clado II o complexo Alajuela. A cepa Be AN 439546 do VGAM apresentou tropismo pelo pulmão e fígado de pintos recém nascidos experimentalmente infectados, sendo a replicação viral nesses órgãos confirmada por imunohistoquímica, o que demonstra que o VGAM replica-se nessa ave. A detecção de anticorpos inibidores da hemaglutinação contra o VGAM e a confirmação por teste de neutralização em plasma de aves silvestres reforça a hipótese de que esses animais constituem o principal hospedeiro de amplificação no ciclo de manutenção do VGAM. Estudos moleculares do genoma completo dos vírus do sorogrupo Gamboa, assim como sobre a ecoepidemiologia do vetor e dos hospedeiros (principalmente aves), para o ciclo de replicação dos vírus, são importantes para confirmar as informações já existentes sobre esses vírus. / Presently, little information on Gamboa serogroup viruses (Bunyaviridae, Orthobunyavirus) is available. Thus, in this work, it was performed a comparative phylogenetic study on the members of the Gamboa serogroup and with other orthobunyaviruses to the level of the gene Gn (M-RNA); an experimental infections in the domestic bird (Gallus domesticus) using the strain Be AN 439546 of the Gamboa Virus (GAMV); and a serologic study using the Hemagglutination Inhibition (HI) test in serum samples of wild animals and humans collected in Tucuruí - Pará. The phylogenetic analysis of Gamboa group viruses demonstrated that they are genetically closely related to group Turlock viruses and less related to the Simbu group viruses. The group Gamboa viruses were distributed in two clades (I and II), that it is in agreement with the current serologic classification; the clade I correspond to the Gamboa complex and the clade II to the Alajuela complex. The strain Be AN 439546 presented tropism for chikens lung and liver, with viral replication in this organs confirmed by detection of viral antigens by immunohistochemistry. These results, demonstrate that this bird species is a susceptible host for GAMV replication. The detection of HI antibodies against GAMV, confirmed by neutralization tests were found in wild bird plasmas and reinforces the hypothesis that these animals constitute the main amplification hosts in the maintenance cycle of GAMV. Full length genome studies of the Gamboa serogroup viruses, as well as on the ecoepidemiology of their vectors and potential vertebrate hosts are needed to generate new data and to reinforce the understanding of the information already existent on those viruses.

(...) Esta tesis pretende, en primer lugar, ahondar en esta línea. Busca explorar, a través del recurso narrativo de las auctoritas, la dimensión política que la Historia de los Incas de Pedro Sarmiento de Gamboa trajo desde el viejo continente, más allá de su filiación toledana que- de todos modos- será vista en el primer capítulo. En segundo lugar, pretende indagar por primera vez en la relación existente entre una crónica indiana y un texto espurio, a entender, la Antiquitatum Variarum del fraile dominico Annio de Viterbo, un destacado miembro de la Curia Papal a fines del siglo XV. El propósito, más allá de los objetivos particulares de la tesis, es que esta investigación inicial se convierta en un precedente para futuros estudios acerca del tema que, aunque ha sido revisado en el contexto de las historias generales europeas, nunca ha sido objeto de análisis en el ámbito de la historiografía americana o andina.