A obra de Marina Lima e Antonio Cicero, durante a década de 1980, destacava-se das demais expressões do pop rock no Brasil pois, apesar de estar voltada evidentemente ao mercado, possuía uma elaboração estética diferenciada. O presente trabalho visa identificar, nas canções, por um lado, traços de diferenciação dentro do mercado hegemônico e, por outro, a incorporação de uma estrutura de consumo. Para abordar o objeto em suas múltiplas dimensões, mobilizam-se instrumentos teóricos das áreas de comunicação, teoria crítica, psicanálise, musicologia e estudos de gênero. Chega-se à percepção de que Marina Lima e Antonio Cicero compreendem tão bem o mercado que, em vez de alienarem-se das lógicas mercadológicas, utilizam-nas deliberadamente para criar um espaço possível de autonomia artística. / Marina Lima and Antonio Cicero\'s artistic work, during the 1980s, stood out from the other expressions of pop/rock music in Brazil because it had a different aesthetic development, despite being clearly focused on the market. The present study aims to identify, through their songs, differentiating aspects in the hegemonic market and the incorporation of a consumption structure. In order to approach the object in its multiple dimensions, this study mobilizes theoretical instruments of different areas, such as communication, critical theory, psychoanalysis, musicology and gender studies. As results, it is realized that Marina Lima and Antonio Cicero understand so well the market that, rather than alienate themselves from marketing logic, they use it deliberately to create a possible space of artistic autonomy.

[pt] O relato brevíssimo é um espaço particular que vem experimentando um crescimento sustentado desde meados do século XX, especialmente na América Latina. Uma plétora de escritores e de antologias organizadas nesse formato invadiu o mercado editorial hispano-americano nos últimos anos. Trata-se da microficção, uma narrativa que cabe no espaço de uma página. Muitas das ferramentas narrativas dos pequenos relatos provêm do conto, do qual herda a capacidade de criar uma tensão, um ritmo que se traduz na sua pulsão interna, embora nelas também haja ressonâncias de outros gêneros. Na economia da linguagem da microficção esconde-se um olhar lúdico com forte presença do humor e da paródia no tratamento de certas temáticas. Situações do cotidiano, contos populares ou versões corriqueiras de clássicos da literatura misturam-se com ângulos inéditos da condição humana. Vozes aparentemente anônimas trazem de um lugar de não-tempo e de não-espaço histórias que provocam um despertar dos sentidos sobre aquilo que, em princípio, parece inexplicável. A perspectiva de análise a que nos propomos é a da recriação da tendência atual da praxis cultural de desintegração dos gêneros, examinando alguns de seus antecedentes, várias das características que constituem as microficções, como também a idéia de resistência que a atomização da narrativa em pequenos blocos (fragmentos) acarreta. A dissertação aborda a microficção como uma forma de escrita fragmentária e faz algumas leituras sobre a sua relação com a geometria de fractais a partir da obra de Ana María Shua, Luisa Valenzuela e Marina Colasanti. / [en] The very short stories belong to a particular narrative space which has been experiencing a sustained growth since the middle of XX century, especially in Latin America. During the last years, many writers and anthologies around this narrative form have appeared in hispano-american book market. It`s the microfiction, a narrative that fits in a single page. Many narrative tools of these fictions arise from the short stories, from which they inherit the capacity of recreate tension. A rhythm that is translated in an internal pulse, even though resonances of other genres can be identified in these minimum stories. Microfiction´s language economy hides a ludic glance with a strong presence of humor and parody in the treatment of certain themes. Everyday situations, popular tales or hilarious versions of literature`s classics are blended with unknown perspectives of the human condition. Stories are told by apparently anonimous voices from a field of no-time and no-space inducing the awakening of senses over those things that in principle seem unexplainable. The analytical perspective that this study proposes is the recreation of the current cultural praxis trends of genre disintegration, by looking at some of its previous manifestations, its constitutive characteristics, as well as the implications of the resistance that the atomization of narrative in small fragments brings about. This thesis embraces microfiction as a fragmentary narrative, also analysing its relationship with fractal geometry throughout Ana Maria Shua, Luisa Valenzuela and Marina Colasanti`s work.

Este trabalho propõe um estudo da poética e da vida literária de Marina Tsvetáieva com base em uma seleção de suas obras em prosa consideradas representativas de seu pensamento artístico, bem como de seus principais procedimentos compositivos. Para tanto, foi empreendida uma análise de forma e conteúdo dessas obras, integrada ao contexto histórico e literário em que foram produzidas, à luz dos recursos teóricos e interpretativos oferecidos por Tzvetan Todorov, Véronique Lossky, Joseph Brodsky e Walter Benjamin, entre outros. / This work proposes a study of Marina Tsvetaevas poetry and literary life based in a selection of her prose works considered representatives of her artistic thought as well as her main compositional principles. Therefore, it was done an analytic study of these works integrating them into historic and literary context that they were produced, in light of the theoretical and interpretative resources of Tzvetan Todorov, Véronique Lossky, Joseph Brodsky and Walter Benjamin, among others.

Esta dissertação contempla a produção artística e autobiográfica da escultora Marina Núñez del Prado (19081995), importante nome do modernismo boliviano e uma das protagonistas do indigenismo andino no campo das artes plásticas em seu país. O objetivo geral da pesquisa é elucidar de que maneira a artista dialogou com os movimentos artísticos de sua época, atuando a partir de um lugar específico, de uma mulher pertencente à elite boliviana, buscando inserirse nos cânones da escultura moderna ocidental, ao longo do século XX. Além disso, também é objetivo da pesquisa analisar como ela trabalhou pela perpetuação de sua memória e legado artístico através de três principais ações: a abertura de duas fundações com seu nome, responsáveis pela administração de duas casasmuseus a publicação da autobiografia Eternidad en los Andes, em 1973 e a organização de seu arquivo pessoal. Para além da autobiografia e do acervo pessoal da artista, outras fontes privilegiadas desta pesquisa são suas obras, em grande maioria esculturas o espaço expositivo da CasaMuseo Marina Núñez del Prado, localizada na cidade de Lima e, por fim, comentários de críticos e historiadores em jornais, revistas, livros e catálogos acerca da produção da artista / This dissertation contemplates the artistic and autobiographical production of the sculptress Marina Núñez del Prado (19081995), an important name of Bolivian modernism and one of the protagonists of andean indigenism in the field of plastic arts in her country. The general objective of the research is to elucidate how the artist interacted with the artistic movements of her time, acting from a specific place, from a woman belonging to the Bolivian elite, seeking to insert herself in the canons of western modern sculpture, along of the 20th century. In addition, it is also goal of the research to analyze how she worked for the perpetuation of her memory and artistic legacy through three main actions: the opening of two foundations under her name, responsible for the administration of two museumhouses the publication of her autobiography Eternidad en los Andes, in 1973 and the organization of her personal archive. In addition to the autobiography and the personal archive of the artist, other privileged sources of this research are her works, mostly sculptures the exhibition space of the CasaMuseo Marina Núñez del Prado, located in the city of Lima and, finally, comments from critics and historians in newspapers, magazines, books and catalogs about the artist\'s production.

Este trabalho propõe um estudo da poética e da vida literária de Marina Tsvetáieva com base em uma seleção de suas obras em prosa consideradas representativas de seu pensamento artístico, bem como de seus principais procedimentos compositivos. Para tanto, foi empreendida uma análise de forma e conteúdo dessas obras, integrada ao contexto histórico e literário em que foram produzidas, à luz dos recursos teóricos e interpretativos oferecidos por Tzvetan Todorov, Véronique Lossky, Joseph Brodsky e Walter Benjamin, entre outros. / This work proposes a study of Marina Tsvetaevas poetry and literary life based in a selection of her prose works considered representatives of her artistic thought as well as her main compositional principles. Therefore, it was done an analytic study of these works integrating them into historic and literary context that they were produced, in light of the theoretical and interpretative resources of Tzvetan Todorov, Véronique Lossky, Joseph Brodsky and Walter Benjamin, among others.

L’influence de la diversité génétique sur la stabilité démographique des populations constitue un paradigme de l’écologie évolutive. Au sein des populations naturelles, l’étude de cette relation est complexifiée par l’influence réciproque de la stabilité sur la diversité, et leur degré d’interconnexion. Ces interrelations ont été explorées chez la plante marine Zostera marina et les coraux d’eau froide Lophelia pertusa et Madrepora oculata, des espèces partiellement clonales. Ce trait d’histoire de vie, influençant profondément la dynamique démographique et la trajectoire évolutive des espèces, a constitué le fil d’Ariane de ce travail. L’échantillonnage dans l’espace (échelle régionale) et le temps (un pas de trois ans) d’herbiers de Zostère a permis de mieux comprendre la dynamique clonale de ces plantes. L’architecture et la diversité clonale apparaissent comme la résultante de l’équilibre entre dispersion/recrutement de nuages de graines dispersées collectivement, et la compétition pour l’espace entre clones. Les perturbations affectent localement l’équilibre de l’herbier. Cette dynamique originale rend impossible l’identification des contours populationnels. En revanche, nos résultats semblent indiquer que la diversité génétique au sens strict (hétérozygotie et nombre d’allèles) des herbiers de Zostères constitue un facteur de stabilité démographique, via sa potentielle influence sur les capacités de résistance aux perturbations saisonnières. Les coraux d’eau froide, quant à eux, présentent des patrons biogéographiques en accord avec l’hypothèse d’une extinction dans le Golfe de Gascogne, lors des derniers épisodes glaciaires. Les marques visibles des activités de pêche posent la question des capacités de résilience de ces écosystèmes, qui dépendent entre autres du potentiel de dispersion de ces espèces. L’absence de structure génétique observée chez L. pertusa suggère, au moins pour cette espèce, un fort degré d’interconnexion entre les récifs, tandis que M. oculata montre davantage de structure régionale. La sensibilité de ces espèces aux variations climatiques et à la pression des activités anthropiques souligne la nécessité d’études approfondies, pour leur conservation.Les résultats obtenus pendant cette thèse permettent de mieux comprendre la dynamique populationnelle des herbiers et récifs profonds, le taux de clonalité et la connectivité des populations. Ces informations sont essentielles pour avancer vers une meilleure compréhension de la dynamique et la résistance de ces espèces structurantes, et sont donc primordiales pour la conservation de ces écosystèmes clé. / The influence of genetic diversity on the demographic stability of populations constitutes a paradigm in evolutionary ecology. The complexity of this relationship within natural populations is enhanced by the reciprocal effect of stability on diversity, and the degree of interconnection among populations. This interaction was explored within the seagrass Zostera marina and the cold-water corals Lophelia pertusa and Madrepora oculata, three partially clonal species. This life history trait, deeply influencing the population dynamics and evolutionary trajectory of species, constituted the underlying theme of this work.The sampling in space (regional scale) and time (a three-years step) of eelgrass meadows allowed us to better understand the clonal dynamics of these plants. The clonal architecture and diversity may result from the equilibrium between dispersal/recruitment of collectively dispersed clouds of seeds, and the competition for space among clones. Perturbations locally affect the equilibrium of meadows. This original dynamic makes impossible the identification of population contours. Yet, our results suggest that the genetic diversity sensu stricto (heterozygosity and number of alleles) represents a factor of demographic stability, through its putative influence on resistance capacity for seasonal disturbances. Cold-water corals show biogeographic pattern in line with the hypothesis of glacial extinction, within the Bay of Biscay. The noticeable footprints of fishing activities question the capacity of resilience of these ecosystems, depending on dispersal potential of the structuring species, which showed low levels of clonality. The lack of genetic structure observed for L. pertusa suggest, at least for this species, a high degree of interconnection among reefs at large scale, while M. oculata revealed a stronger regional structure. Sensitivity of these two species to climatic variations and the pressures of human activities highlight the need of thorough studies for their conservation. Results obtained during this thesis allow a better understanding of the populations dynamics of both seagrass and deep reefs and their levels of clonality and connectivity. This information constitutes the first step toward a better understanding of dynamics and resistance of these structuring species, and is also primordial for the conservation of their key ecosystems.

Esta dissertação contempla a produção artística e autobiográfica da escultora Marina Núñez del Prado (19081995), importante nome do modernismo boliviano e uma das protagonistas do indigenismo andino no campo das artes plásticas em seu país. O objetivo geral da pesquisa é elucidar de que maneira a artista dialogou com os movimentos artísticos de sua época, atuando a partir de um lugar específico, de uma mulher pertencente à elite boliviana, buscando inserirse nos cânones da escultura moderna ocidental, ao longo do século XX. Além disso, também é objetivo da pesquisa analisar como ela trabalhou pela perpetuação de sua memória e legado artístico através de três principais ações: a abertura de duas fundações com seu nome, responsáveis pela administração de duas casasmuseus a publicação da autobiografia Eternidad en los Andes, em 1973 e a organização de seu arquivo pessoal. Para além da autobiografia e do acervo pessoal da artista, outras fontes privilegiadas desta pesquisa são suas obras, em grande maioria esculturas o espaço expositivo da CasaMuseo Marina Núñez del Prado, localizada na cidade de Lima e, por fim, comentários de críticos e historiadores em jornais, revistas, livros e catálogos acerca da produção da artista / This dissertation contemplates the artistic and autobiographical production of the sculptress Marina Núñez del Prado (19081995), an important name of Bolivian modernism and one of the protagonists of andean indigenism in the field of plastic arts in her country. The general objective of the research is to elucidate how the artist interacted with the artistic movements of her time, acting from a specific place, from a woman belonging to the Bolivian elite, seeking to insert herself in the canons of western modern sculpture, along of the 20th century. In addition, it is also goal of the research to analyze how she worked for the perpetuation of her memory and artistic legacy through three main actions: the opening of two foundations under her name, responsible for the administration of two museumhouses the publication of her autobiography Eternidad en los Andes, in 1973 and the organization of her personal archive. In addition to the autobiography and the personal archive of the artist, other privileged sources of this research are her works, mostly sculptures the exhibition space of the CasaMuseo Marina Núñez del Prado, located in the city of Lima and, finally, comments from critics and historians in newspapers, magazines, books and catalogs about the artist\'s production.

A obra de Marina Lima e Antonio Cicero, durante a década de 1980, destacava-se das demais expressões do pop rock no Brasil pois, apesar de estar voltada evidentemente ao mercado, possuía uma elaboração estética diferenciada. O presente trabalho visa identificar, nas canções, por um lado, traços de diferenciação dentro do mercado hegemônico e, por outro, a incorporação de uma estrutura de consumo. Para abordar o objeto em suas múltiplas dimensões, mobilizam-se instrumentos teóricos das áreas de comunicação, teoria crítica, psicanálise, musicologia e estudos de gênero. Chega-se à percepção de que Marina Lima e Antonio Cicero compreendem tão bem o mercado que, em vez de alienarem-se das lógicas mercadológicas, utilizam-nas deliberadamente para criar um espaço possível de autonomia artística. / Marina Lima and Antonio Cicero\'s artistic work, during the 1980s, stood out from the other expressions of pop/rock music in Brazil because it had a different aesthetic development, despite being clearly focused on the market. The present study aims to identify, through their songs, differentiating aspects in the hegemonic market and the incorporation of a consumption structure. In order to approach the object in its multiple dimensions, this study mobilizes theoretical instruments of different areas, such as communication, critical theory, psychoanalysis, musicology and gender studies. As results, it is realized that Marina Lima and Antonio Cicero understand so well the market that, rather than alienate themselves from marketing logic, they use it deliberately to create a possible space of artistic autonomy.

In this essay I analyze the performative aspects relating to Marina Abramović's The Artist Is Present, which took place in spring 2010 at MoMA in New York, from the context of the artist and work, institution and documentation. In this performance work, for the duration of the exhibition, Abramović sits completely still opposite another chair where anyone from the audience may sit. The art arises through this participation. The audience are not only viewers, but also the observed, thus becoming part of the work and the negotiation of this exchange of living gazes. The performative pervades this work on multiple levels. The Artist Is Present reached a surprisingly large public, of over 500,000 visitors and continues to circulate in the form of blogs, documentary film and photography long after the exhibition duration. In order to conduct a performative analysis of The Artist Is Present I apply the theories of Peggy Phelan, regarding the relationships between the political and representative visibility in contemporary culture. Phelan's explanation of the unmarked field reveals the importance of the 'other' to see oneself. This is especially relevant in Abramović's performance which challenges and revolves around self reflection in the other. Phelan's theories are also pertinent in analyzing what Abramović as the performer and her work create for re-negotiations around positions and the gaze. The assertions of Carol Duncan in considering the Art Museum as a place of ritual are applied to the ritualistic context of The Artist Is Present, which may well build up a form of liminality. Duncan's claims of the museum as ritual in combination with Phelan's theories provide interesting grounds to further investigate the effect and eventual mythology of the performance work and artist. How do these contexts of institution, documentation, artist and art, which I propose contribute to a kind of myth creation, operate in a ritualized performance art work? This essay analyses these contexts together in order to find a connection between the performative aspects and the effect that they have on the viewer and receiver, which have contributed to the public success of this exhibition. Despite that we now live in an era of reproduction, perhaps the wishes of our era still revolve around a cult value? That even in this post industrial age of reproduction, new needs are recreated for mythology and cult? Or can it be that the reverse is true, that the rites and symbols speak to us before the mythology has fully arisen?

Publicación a texto completo no autorizada por el autor / Aplica el algoritmo de Cayula y Cornillon, a fin de determinar los frentes de turbidez usando las imágenes de Clorofila (Chl) para la evaluación de la calidad del agua en la bahía de Bayóvar en los años 2004-2014 obtenidas por el satélite MODIS. El área de estudio está comprendido entre la coordenada geográfica 82,15º W a 80,30º W de longitud y 5,15º S a 7,00º S de latitud en la Bahía de Sechura (Bayovar). El período de estudio se realiza para los once años 2004 y 2014. Los datos de Chl, proporcionados por el sensor MODIS, han sido obtenidos gratuitamente de la página web OCEAN COLOR, desde el enlace: http://oceancolor.gsfc.nasa.gov/. Se han utilizado programas fuentes desarrollado en IDL: “chlmodisbatch.pro” para el pre-procesamiento del productos Chl del sensor MODIS (Eche Ll, 2009). Para la detección de frentes, se ha utilizado el algoritmo de Cayula y Cornillon de 2005, aplicado a los datos pre-procesados. Los resultados permiten interpretar la respuesta espectral por medio de los mapas de coeficiente de atenuación disfusa k-490, desde el 1ro de enero del 2004 hasta el 31 de diciembre del 2014, y nos determina tres regiones para el primero, segundo y tercero cuyo intervalo son 0.01 – 1.50 m-1/km, 1.50 – 2.50 m-1/km y 2.50 – 6.40 m-1/km respectivamente, se obtiene en base al contenido de materia orgánico disuelto, sedimento y material particulado en suspensión como consecuencia de las interacciones de las corrientes de agua, por lo tanto logramos caracterizar los tipos de aguas en función a la respuesta espectral que coincide con los frentes de turbidez y la relación de las corrientes marinas en el océano Pacífico (Corriente Oceánica Peruana, Contra Corriente Costera Peruana, Corriente Costera Peruana y la Corriente de Sub-superficial Ecuatorial), así mismo el deterioro de la calidad de agua, puede presentar diversos factores o actividades productivas en dicho lugar pero el método no logra identificar el tipo de sedimento o material particulado ni tampoco las actividad que genera la perdida de la calidad de agua además dicho afirmación lo corroboramos con los informes de Instituto del Mar del Perú (IMARPE) la existencia de un ligero deterioro de la calidad de agua. / Tesis