With increasing meat goat production in the United States, it is necessary to examine carcass composition and quality parameters of goats at various stages of growth. In this study, intact male Boer and Kiko Goats (n = 48) were harvested after 0, 4, 8, or 12 wk on feed. Increased feeding duration led to increased final live and carcass weight, and increased dressing percent. Leg and shoulder circumferences and body wall thickness increased, but 12th rib fat and Longissimus muscle area did not change across all feeding durations. Percent carcass fat increased and percent bone decreased, but percent muscle did not differ across feeding durations. Boer carcasses were composed of more fat and less muscle than Kiko carcasses. Increased feeding duration increased the weight of all primal cuts, but also increased the percentage of fat in the shoulder, breast, rack, loin, sirloin, leg, hindshank, ribs, neck, and trim. Shoulder composition produced the strongest correlations with entire side composition compared to all other primal cuts and may be useful for predicting carcass composition. Increasing feeding duration led to decreased Warner-Bratzler shear force of Longissimus, Semitendinosus, and Infraspinatus muscles, suggesting that cold shortening may have caused toughening of these muscles in smaller, leaner carcasses. Entire boneless carcass sides were ground, mixed, and formed into patties to evaluate cook loss, texture profile analysis, and descriptive sensory characteristics. Increasing feeding duration increased percent fat and decreased moisture in raw ground meat, but breed and feeding duration did not affect cook loss. Springiness, hardness, and cohesiveness were not affected by breed or feeding duration. Increased feeding duration increased aroma intensity and goaty, bloody, musty, and liver/organy aromas; salty, bitter, umami, grassy, goaty, fat, liver/organy, metallic, earthy, and chemical tastes; and juiciness and oiliness, while decreasing chewiness and crumbliness. Results indicate that younger, smaller goats produced leaner carcasses with less intense aroma and flavor attributes, however muscles from smaller carcasses may be tougher.

Orientador: Edson do Prado Pfutzenreuter / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T14:06:50Z (GMT). No. of bitstreams: 1 Piaia_JadeSamara_M.pdf: 10133956 bytes, checksum: e5fe42ea820a8aa61d425c8382cdf799 (MD5) Previous issue date: 2012 / Resumo: O início desta pesquisa se dá através da Associação dos Designers Gráficos do Brasil e da 9ª Bienal Brasileira de Design Gráfico, a partir da qual objetivou-se realizar um levantamento a respeito da participação de projetos gráficos voltados para o circuito cultural artístico. A partir deste levantamento, foi enfocado para análise dois estudos de caso que compreendem projetos voltados à disseminação de produtos do circuito cultural artístico, mais precisamente a instituições artísticas, relacionadas diretamente às artes da música e da dança. Fazem parte deste recorte o designer Kiko Farkas, com doze cartazes de divulgação cultural e artística voltados à música, para a Orquestra Sinfônica do Estado de São Paulo - OSESP e o designer Vicente Gil, com a identidade visual, compreendida na mostra pela marca e cartaz projetados para a instituição voltada à dança, São Paulo Companhia de Dança - SPCD. São observados separadamente os elementos visuais básicos que compõem a materialização das peças gráficas, divididos mais especificamente em: forma, cor e tipografia. Sobre as formas gráficas inclui-se aqui questões relacionadas aos grafismos, desenhos, fotografias, disposição dos elementos, grids, entre outras. A análise dos aspectos formais dos estudos de caso procede principalmente a partir do método de classificação da linguagem visual proposto por DONDIS (2003). Sobre os aspectos cromáticos, os estudos abordam o levantamento dos principais conjuntos de cores, através de softwares específicos, ressaltando as maneiras de utilização das cores praticadas pelos designers nos projetos. As questões tipográficas visam o levantamento, através de softwares específicos e bibliografia, das principais famílias de tipografias utilizadas nos projetos, ressaltando o modo como suas características e diferenciais foram utilizados pelos designers. Na sequência, serão exploradas algumas contribuições discursivas para a compreensão das estratégias e percursos criativos dos estudos de caso de design gráfico no circuito cultural artístico. Finalizando, são acrescentadas informações obtidas além das disponibilizadas pela 9a Bienal ADG, imagens, entrevistas e relatos de visitas, complementando a compreensão dos casos estudados. Estudos pontuais possibilitam ampliar a compreensão de processos em comum, ou de natureza semelhante, entre distintas áreas de produção de cultura. Assim, é possível iniciar o traçado de um paralelo entre a prática de atividades culturais e artísticas com a atividade exercida pelo designer gráfico, com projetos voltados à disseminação de produtos culturais e, estes próprios, tornarem-se produtos culturais / Abstract: The beginning of this research is done by the Graphic Designers Association of Brazil and the 9th Brazilian Biennial of Graphic Design, which aimed to conduct a survey regarding the participation of graphic design on the cultural artistic circuit. On this survey, the analysis were focused on two study cases regarding projects of cultural dissemination on the artistic circuit, specifically the art institutions, directly related to the music and dance arts. Included on this is designer's Kiko Farkas, twelve showing posters of culture and arts focused on music for the Symphony Orchestra of the State of São Paulo - OSESP and designer Vicente Gil, with the visual identity, seen in the showing by the brand and poster, designed for the institution and focused on dance. São Paulo Dance Company - SPCD. Separately are observed the basic visual elements that compose the materialization of graphic pieces, divided more specifically in shape, color and typography. On the graphic shapes, this includes questions related to graphics, drawings, photographs, layout of elements, grids, among others. The analysis of the formal aspects of the study cases comes mainly from the classification method of visual language proposed by Dondis (2003). On the chromatic aspects, studies addressing the lifting of the main sets of colors, through specific software, highlighting the ways to use the colors applied by designers on projects. The questions aimed the raising typographical, through specific software and bibliography, the main families of printers used in the projects, highlighting how their characteristics and differentials were used by designers. Following some contributions to the understanding of the discursive strategies and creative journeys of the case studies in graphic design on the artistic cultural circuit will be explored. Finally, supplemental information beyond the ones provided by the 9th Biennial ADG, images, interviews and visits, complementing the understanding of the cases studied. Punctual studies enable broader understanding of processes in common, or similar, between different areas of cultural production. Thus, it is possible to start drawing a parallel between the practice of cultural and artistic activities with the activity exerted by graphic designer, with projects aimed at dissemination of cultural products, and they themselves, become cultural products / Mestrado / Artes Visuais / Mestre em Artes

Cette thèse a pour ambition d’étudier le dialogue interartiel entre la musique et la littérature dans la prose de fiction espagnole contemporaine, depuis l’émergence de la « Génération X » au début des années 1990. Dans un contexte de massification culturelle, l’éclosion de ce groupe d’auteurs porté notamment par Ray Loriga ou José Ángel Mañas, a signalé un accroissement constant et durable de la perméabilité du roman à la musique. Une telle influence est ainsi notable dans certaines œuvres d’Agustín Fernández Mallo, l’un des principaux représentants du mouvement « mutant » qui a vu le jour en 2007, et dans celle d’auteurs non affiliés à un groupe littéraire particulier, tels Aixa de la Cruz, Belén Gopegui, Guillermo Aguirre, Pablo Gutiérrez, ou Kiko Amat. La mélomanie de ces écrivains est fondatrice d’un projet interartistique où l’invention littéraire boit à la source d’un imaginaire musical foisonnant, dont la textualisation aboutit à considérer le roman comme une forme esthétisée par la musique. Les romans étudiés sont ainsi traversés par une poétique de la dissémination qui a pour effet d’étendre la musicalité aux différentes composantes du récit, et d’accroître les dispositions perceptives du texte afin de stimuler l’imaginaire auditif du lecteur. La fascination pour la musique dessine donc une constellation d’œuvres dont les constantes sonores, musicales, génériques, thématiques, diégétiques et stylistiques seront analysées en éprouvant le concept d'amplification, que nous définissons comme les voies qu’emprunte la littérature de fiction pour accroître le pouvoir de la mimésis, créer du récit, et signifier hors des frontières du roman grâce à la musique. / The aim of this thesis is to study the interartistic dialogue between music and literature in contemporary Spanish prose fiction since the emergence of “X generation” at the beginning of the 1990s. In a context of mass culture, the rise of this group of writers, namely led by Ray Loriga or José Angel Manas, has revealed a constant and lasting permeability of novels to music. Thus, such an influence is visible in some of the works of Augustin Fernández Mallo, one of the main representatives of the “mutant” movement that appeared in 2007 and in that of writers who were not connected to any particular literary group, such as Aixa de la Cruz, Belén Gopegui, Guillermo Aguirre, Pablo Gutiérrez, ou Kiko Amat. The love of music in these writers is the basis of an interartistic project where literary invention is connected to an abundant musical imaginary world, and its textualisation brings us to consider the novel as a musical aesthetic form. Thus, the novels studied are filled with a poetics of dissemination, which expands musicality to different components of the story and increases the perceptive dispositions of the text, so that the auditory imagination of the reader is stimulated. So, the fascination for music gives birth to a constellation of works whose resonant, musical, generic, thematic diegetic and stylistic aspects will be analysed through the concept of amplification that we define as the paths used by fiction to increase the power of mimesis, create a story and signify something beyond the frontiers of the novel, thanks to music.

Il lavoro si propone come studio sul Cammino Neocatecumenale dalle sue origini ai giorni d’oggi attraverso l’analisi degli elementi caratteristici del movimento (la sua struttura, le pratiche liturgiche e i seminari Redemptoris Mater). Basata su fonti archivistiche conservate negli archivi diocesani di Madrid e Firenze, la ricerca ricostruisce la vicenda storica del movimento fin dalle sue primissime fasi, tanto nell’opera del fondatore Francisco “Kiko” Argüello, quanto nell’intervento di altre figure ecclesiali (l’arcivescovo di Madrid, Casimiro Morcillo, e don Dino Torreggiani, fondatore dei Servi della Chiesa). La ricerca è stata poi ampliata dall’utilizzo di fonti inedite interne al Cammino Neocatecumenale (Direttorio catechetico) e dai documenti curiali e pontifici che hanno regolato l’inserimento dell’esperienza Neocatecumenale nel contesto più ampio dell’atteggiamento della Chiesa cattolica nei confronti delle associazioni, movimenti e gruppi laicali nei decenni che fecero seguito al Concilio Vaticano II. In questo contesto la ricerca evidenzia inoltre alcune analogie tra l’intuizione originaria dell’Argüello e le espressioni del dissenso cattolico degli anni Sessanta e Settanta all’interno delle quali ha avuto luogo la ripresa di certi aspetti della teologia di Dietrich Bonhoeffer nel messaggio proprio del Cammino Neocatecumenale. / The research aims to study the Neocatechumenal Way from its foundation right up to nowadays through the movement’s peculiar aspects (its structure, liturgical practices and the Redemptoris Mater seminaries). Based on documents preserved in the diocesan archives of Madrid and Firenze, the survey reconstructs the movement’s history from its beginnings, so much in its founder’s (Francisco “Kiko” Argüello) work, as in the intervention of other ecclesial figures (the archbishop of Madrid, Casimiro Morcillo, and don Dino Torreggiani, founder of the Servi della Chiesa). The survey has been expanded using unpublished sources within the Neocatechumenal Way (Direttorio catechetico) and the curial and papal documents that set the insertion of the Neocatechumenal’s experience into the wider context of the Catholic Church’s attitude towards associations, movements and lay groups in the decades that followed the Second Vatican Council. In this context, the research also highlights some similarities between the Argüello’s original intuition and the expressions of Catholic dissent of the Sixties and Seventies in which the resumption of certain aspects of Dietrich Bonhoeffer’s theology took place in the message of the Neocatechumenal Way.