Submitted by Inácio de Oliveira Lima Neto (inacio.neto@inpa.gov.br) on 2017-05-29T14:22:31Z No. of bitstreams: 2 MSC_KAUENASCIMENTO_CFT.pdf: 3264146 bytes, checksum: 9a7127729916fc0775c3deec91756e4a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-29T14:22:31Z (GMT). No. of bitstreams: 2 MSC_KAUENASCIMENTO_CFT.pdf: 3264146 bytes, checksum: 9a7127729916fc0775c3deec91756e4a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-21 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The Amazon covers an extensive area with forests that are poorly managed. There are challenges to forest management, poor human resources training, lack of advanced technology and poor working conditions. This causes poor quality of logging, generating unsustainability. This activity requires large contingent and high physical load of workers. The thermal comfort at work in tropical regions is between 20 and 24 °C, in the Central Amazon the day averages exceed 28 °C. To worsen the situation, El Niño phenomena cause an increase in average temperatures in the region. The current thermal conditions and forecasts for the region are under the requirements of a controversial labor norm (NR-15). The need for well-being at work, to improve the quality, health and safety in the forest logging, justify the study. The objective of this research was to investigate the relationship between environmental thermal conditions and natural pauses and the performance of workers in forest logging. The data were collected by operation: cutting, pre-extraction, extraction and patio. The observed data were compared with the national standard (NR-15 Annex 03) and consulted NHO-06 and NIOSH standards. The WBGT variables and natural pauses (%/hour) were collected, comparing the pause patterns of the standard with that observed in the field. Data were collected on heart rate, personal variables (age, weight and height) and estimated the physical work load by two different methods: Annex C ISO 8996 and Apud (1989). Performance variables (operational cycle, productivity, mechanical interruption, hour and natural pauses) and safety (perception of heat and psychophysiological effects) were collected. These variables were analyzed using MANOVA and multiple regressions. Environmental variables of the El Niño phenomenon (November 2015), with the local climate and data of a time without phenomenon (November 2010), were collected and compared by means of t tests. Based on WBGT, at 8 a.m., it is necessary to apply pauses, according to NR-15. The pauses were intermittent, larger every 02 hours of work. The natural pauses represented about 30% of the pauses of the norm, and their behavior was not altered by the variation of WBGT. The method of Apud (1989) found physical load and pauses consistent with the norm. The ISO 8996 method found a very variable physical load, for the same occupation, related to personal variables. The variables productivity and natural pauses were strongly influenced by the mechanical interruption, with probable influence of the hour. All workers showed discomfort with the heat. The statistical differences between the environmental variables of the El Niño Godzilla with the climate and the 2010 study were virtually certain. The air temperature was higher and the relative humidity was lower. The adequacy of the working conditions in the heat exposure, would result in workers' welfare, with consequent improvements in health, safety, quality and performance of forest logging, essential requirements for the sustainability of forest management in the Amazon under the current and future scenario of climate change. / A Amazônia abrange uma área extensa com florestas ainda pouco manejadas. Há desafios para o manejo florestal, pela má formação de recursos humanos, falta de tecnologia avançada e condições de trabalho precárias. Isto causa a baixa qualidade da exploração florestal, gerando a insustentabilidade. Esta atividade exige grande contingente e alta carga física dos trabalhadores. O conforto térmico no trabalho em regiões tropicais está entre 20 e 24°C, na Amazônia Central as médias diurnas superam os 28°C. Para agravar a situação, fenômenos El Niño, causam aumento das temperaturas médias na região. As condições térmicas atuais e de previsões para a região, estão sob as exigências de uma norma trabalhista controversa (NR-15). A necessidade de bem estar laboral, para melhoria da qualidade, saúde e segurança na exploração florestal, justificam o estudo. Este trabalho teve como objetivo, investigar as relações das condições térmicas ambientais com o regime de pausas naturais e com o desempenho dos trabalhadores na exploração florestal. Os dados foram coletados por operação: corte, pré-arraste, arraste e pátio. Os dados observados foram confrontados com o estipulado pela norma nacional (NR-15 anexo 03) e consultadas NHO-06 e NIOSH. Foram coletadas as variáveis IBUTG e pausas naturais (%/hora), com isso, foi comparado o regimes de pausas da norma com o observado em campo. Foram coletados dados de frequência cardíaca, variáveis pessoais (idade, peso e altura) e estimada a carga física de trabalho por meio de dois métodos diferentes: anexo C ISO 8996 e Apud (1989). Foram coletadas as variáveis de desempenho (ciclo operacional, produtividade, interrupção mecânica, hora do dia e pausas naturais) e segurança (percepção de calor e efeitos psicofisiológicos). Estas variáveis foram analisadas por meio de MANOVA e regressões múltiplas. Foram coletadas e comparadas variáveis ambientais do fenômeno El Niño (Novembro 2015), com o clima local e com dados de uma época sem fenômeno (Novembro 2010), por meio de testes t. Com base em IBUTG, a partir de 08 horas é necessária aplicação de pausas, segundo a NR-15. As pausas foram intermitentes, maiores a cada 02 horas de trabalho. As pausas naturais representaram cerca de 30% das pausas da norma, e seu comportamento não foi alterado pela variação de IBUTG. O método de Apud (1989) encontrou carga física e pausas condizentes com a norma. O método da ISO 8996 encontrou carga física muito variável, para a mesma ocupação, relacionados às variáveis pessoais. As variáveis produtividade e pausas naturais foram muito influenciadas pela interrupção mecânica, com provável influência da hora do dia. Todos os trabalhadores demonstraram desconforto com o calor. Foram praticamente certas as diferenças estatísticas entre as variáveis ambientais do El Niño Godzilla com o clima e com o estudo de 2010. A temperatura do ar foi superior e a umidade relativa do ar foi inferior. As adequações das condições de trabalho na exposição ao calor, acarretariam no bem estar dos trabalhadores, com consequentes melhorias na saúde, na segurança, na qualidade e no desempenho da exploração florestal, requisitos essenciais para a sustentabilidade do manejo florestal na Amazônia, sob o cenário atual e futuro da mudança climática.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

The work that I have produced during my graduate studies at the University of New Orleans addresses the impact that humans have on the environment in our contemporary world. A primary focus, but not exclusive, includes industrial materials or objects, their overwhelming presence that informs the juxtaposition of economic progress, and the reality of environmental disruption. Humor and metaphor are central themes of my work and reference my personal observations and experiences of living in the midst of these environments. Sources from Contemporary underground art have been filtered through my exposure to studio practice and art history, mainly the autonomous processes of Surrealism, resulting in a variety of influences that inform my work. I present imaginary images of architectural, biological, and mechanical transformations with the hopes of nudging the viewers' expectations and to create a better understanding of my opinion pertaining to the world and reality we all live in.

The Godzilla media franchise is one of the longest running media franchises, which means the character himself has gone through many changes throughout the years. However, in American pop culture, the characters of Godzilla is perceived as a hero, a friend of humanity and defender of Earth. This reputation comes from the Showa Era, where Godzilla often fought on the side of humanity, rather than trying to destroy them as depicted in the original Gojira. In recent years, Toho, Godzilla's corporate owners, have been steering the King of the Monsters back into the villain role. Despite this tone shift by Godzilla's owners, American Godzilla paratexts still generally depict Godzilla as a hero. These depictions of Godzilla are used to maintain his status as a family friendly heritage brand and keep a door open for parents to introduce their children to the brand. Such a strategy allows Godzilla to survive into the modern day as an international powerhouse franchise.

In 2007, popular mystery author Kyōgoku Natsuhiko attempted to adapt a collection of random stories known as the Mimi bukuro or Tales Heard into kaidan, tales of the strange and mysterious for today’s readership. The writing experiment ended with Kyōgoku questioning his own writing abilities and publishing his small collection of adapted stories into a book that was not considered very frightening. Although the experiment failed, Kyōgoku’s efforts raise the question, “if not kaidan, what is frightening in the twentieth century?” The reason why kaidan are no longer frightening is because their central characters, yōkai, have been displaced from the horror genre. Today the yōkai that were once popular in the Edo period have been “cutesified” for businesses, films, and children’s shows. What is frightening today is no longer the Edo period monster, but rather aliens, ghosts, scientific monsters, and serial killers that represent a fear of the unknown. While the unknown has been a fear of man since the beginning, how it is symbolized and interpreted changes over time based on society and individual experiences. Chapter one traces the development of yōkai’s transformation from traditional horror story icons to children’s characters and role models. Chapter two analyzes and compares four of the original stories from the Mimi bukuro to Kyōgoku’s adaptation to understand what was scary during the Edo period, and what Kyōgoku deemed frightening in modern times. Chapter three analyzes three different monsters and explains why they were frightening and what problems or unknown situations each monster represented for modern audiences.

Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.

No description available.

No description available.

This thesis explores the origins of the monster Godzilla as well as the link with the Atomic Bomb. Godzilla is like the metaphor of the Japanese post war and the nuclear threat. The main question of this research is: Is Godzilla a support tool to reflect the nuclear threat that humans being are living constantly? In spite of there are a lot of publications on Godzilla phenomenon, in the West, we have a little publications from first hand on what symbolize and what's the meaning of this monster. Through of an exhaustive filmic analysis on Godzilla (1954) with a several interviews to part of the original team of the film, we will understand the magnitude cinematic of this monster. We will see specially, the first Godzilla movie released in 1954, worked like a tool to criticize war and nuclear weapons. Is it not true that we are immersed in a monster movie after the nuclear disaster in Fukushima? / Esta tesis explora los orígenes del monstruo Godzilla así como su relación con la bomba atómica. Exponemos a Godzilla como metáfora de la posguerra japonesa y catalizador de la amenaza nuclear. La pregunta de investigación que planteamos es: ¿es Godzilla un instrumento para reflejar la amenaza nuclear que vive constantemente el ser humano? A pesar de haberse escrito mucho sobre el fenómeno Godzilla, en Occidente, disponemos de poca información de primera mano acerca de qué simboliza y qué significados tiene. A través de un exhaustivo análisis sobre la creación del film Japón bajo el terror del monstruo (1954), y con una serie de entrevistas a los autores supervivientes a la creación de dicho film, comprenderemos la magnitud cinematográfica de este monstruo. Observaremos como la primera película de Godzilla fue realizada tan sólo nueve años después de la guerra, y cómo sirvió de instrumento crítico a las armas atómicas. Este monstruo fue la advertencia al mundo de las consecuencias del poder nuclear. Y es que, ¿acaso no es cierto que estamos inmersos en una película de monstruos tras el desastre nuclear de Fukushima? / Aquesta tesi explora els orígens del monstre Godzilla i la seva relació amb la bomba atòmica. Exposem a Godzilla com una metàfora de la postguerra japonesa i catalitzador de la por nuclear. La qüestió d'investigació que plantem és: és Godzilla un instrument per a transmetre l'amenaça nuclear que l'ésser humà ha viscut? Sa escrit molt sobre Godzilla però, en Occident, disposem de poca informació de primera mà sobre la simbolització i significats de Godzilla. A través d'anàlisis sobre la creació de la pel·lícula Japó baix el terror del monstre (1954), i amb una sèrie d'entrevistes als autors de les pel·lícules del monstre, entendrem la magnitud cinematogràfica d'aquest personatge. Observarem com la primera producció de Godzilla, que va ser realitzada nou anys després de la Segona Guerra Mundial, ha sigut una pel·lícula que va servir com a instrument crític sobre les armes atòmiques. Aquest personatge ha sigut l'advertència al món sobre les conseqüències del poder nuclear. A cas no estem dins d'una pel·lícula de monstres després del desastre nuclear de Fukushima? / Bellés García, J. (2017). GODZILLA Y LA CRISTALIZACIÓN DE LA AMENAZA NUCLEAR. LA ÉPOCA DORADA DEL CINE KAIJU EIGA Y CIENCIA FICCIÓN JAPONESA (1954-1965) [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86132 / TESIS