Apresento um conjunto de figuras - construídas através do desenho, fotografia e gravura- que movem um imaginário de seres e lugares, em trânsito entre o olhar, a memória e o sonho. A forma é proposta em sua materialidade e em correspondência a seus referentes. O enfrentamento de questões técnicas e poéticas está presente necessariamente na realização de cada trabalho e no trânsito entre eles. Da necessidade de invenção das figuras operam o entendimento e as ações em sua construção. O estudo e experimentação dos meios empregados no trabalho constituem-se nesse escopo. Proponho que toda manifestação se singularize e abra-se ao cotejamento, no tempo, entre diversas manifestações. Nesse sentido, permeiam-se as figuras, os meios construtivos e seu imaginário. Imaginar e figurar como sentimento e ação em si e no mundo. / I present a body of artwork - build through drawing, photography and printmaking -that move an imagery of beings and places in transit between the perception, the memory and the dream. The form is proposed in its materiality and in correlation to its referents. The confrontation between technical and poetic matters is necessarily present in the making of each work and the movement among them. It is from the need for the invention of each piece of work that the understanding and the actions through the construction work. The study and experimentation with the media applied in the process are within the scope of this work. I propose that each manifestation is singled out and then cross analyzed, in time, with the other manifestations. This way each work permeates imagination and media. Imagining and figuring as feeling and action in itself and the world.

Esta pesquisa investigou microfósseis neoproterozoicos em forma de vaso (\"vase-shaped microfossils - VSMs\") da Formação Urucum (Grupo Jacadigo) e Formação Bocaina (Grupo Corumbá), ambas inseridas na Faixa Paraguai Sul, Brasil. Estes microfósseis foram comparados a outras ocorrências neoproterozoicas no mundo. O objetivo foi contribuir com o conhecimento de aspectos paleobiológicos, evolutivos e bioestratigráficos relacionados ao aparecimento de eucariontes unicelulares tecados em ecossistemas anteriores ao surgimento dos metazoários. Os VSMs podem ser atribuídos a quitinozoários, tintinídeos e foraminíferos, porém, características diagnósticas importantes apontam o grupo Amoebozoa como afinidade biológica mais próxima. A variedade morfológica e composicional observada em VSMs neoproterozoicos, inclusive nos exemplares brasileiros, documenta a mais antiga diversificação da vida unicelular eucariótica, presumivelmente heterotrófica, preservada no registro geológico. As diferentes fácies sedimentares contendo VSMs fornecem informações valiosas sobre fatores ambientais que podem ter sido importantes na diversificação bem como no seu possível desaparecimento entre o Neoproterozoico e o Mesozoico. Além disso, a ampla distribuição e variedade desses microfósseis sugerem uma possível aplicação bioestratigráfica. Microscopia petrográfica (MP) e Eletrônica de Varredura (MEV), Espectrometria de Energia Dispersiva de Raios X (EDS), Microscopia Confocal (MC), Espectroscopia Raman (ER), Catodoluminescência (CL) além de técnicas geoquímicas e geocronológicas foram aplicadas para caracterizar a composição e morfologia dos microfósseis, bem como para a rocha encaixante, visando inferir a natureza e paleoecologia dos organismos responsáveis pelas produção das tecas e o ambiente em que viveram, se diversificaram e desapareceram. / This research investigated vase-shaped microfossils (VSMs) from the Urucum Formation (Jacadigo Group) and Bocaina Formation (Corumbá Group), both inserted in the Southern Paraguay Fold Belt, Brazil. These microfossils were compared to other neoproterozoic occurrences in the world. The aim was to contribute to the knowledge of paleobiological, evolutionary and biostratigraphic aspects related to the appearance of unicellular eukaryotes in the ecosystems that preceed the appearance of metazoans. VSMs can be attributed to quitinozoan, tintinids and foraminifera, but important diagnostic features point to the Amoebozoa group as the closest biological affinity. The morphological and compositional variety observed in neoproterozoic VSMs, including Brazilian specimens, documents the earliest diversification of eukaryotic unicellular life, presumably heterotrophic, preserved in the geological record. The different sedimentary facies containing VSMs provide valuable information about environmental factors that may have been important in the diversification as well as their possible disappearance between the Neoproterozoic to the Mesozoic. In addition, the wide distribution and variety of these microfossils suggest a possible biostratigraphic application. Petrography, Scanning electron microscopy, Confocal microscopy, Energy-dispersive X-ray spectroscopy, Raman spectroscopy, Cathodoluminescense, besides geochemical and geochronological techniques, were applied to characterize the composition and morphology of the microfossils, as well as for the host rock, in order to infer the nature and paleoecology of the organisms responsible for the production of the test and the environment in which they lived, diversified and probably disappeared

Esta dissertação trata da questão do significado da música segundo a filosofia da arte de G. W. F. Hegel e as problematizações musicológicas de E. Hanslick, tendo como principal objetivo apresentar o modo como cada autor tratou desse tema, mas apontando alguns aspectos referentes à maneira como Hanslick dialogou com Hegel, e que estariam diretamente vinculados a uma transformação do modo de conceber a música autônoma instrumental, principalmente no que se refere ao significado da forma musical, em função da maneira como cada autor concebeu sua relação com o conteúdo tendo em vista que Hegel se posicionou como filósofo da arte e Hanslick como musicólogo. O cerne do trabalho está fundamentado na análise do capítulo referente à música dos Cursos de Estética, de Hegel, e na análise de Do Belo Musical, de Hanslick, assim como no repertório musical a que cada autor esteve exposto. / This dissertation deals with the question of the meaning of music according to the philosophy of art of G. W. F. Hegel and the musicological problematizations of E. Hanslick. The main objective is to present the way in which each author deals with this theme, but pointing out some aspects referring to the way Hanslick dialogued with the Hegelian aesthetics and that would be directly linked to a transformation of the way of conceiving autonomous instrumental music, especially with regard to the meaning of the musical form, in function of the way each author conceived its relation with the content, in view of the fact that Hegel was a philosopher of art and Hanslick a musicologist. The core of this work is based on the analysis of the chapter on music of Hegel\'s Lectures on Aesthetics and Hanslick\'s essay On the Musically Beautiful, as well as on the musical repertoire that both authors were exposed to.

Dissertação apresentada para obtenção do grau de Doutor em Engenharia Mecânica, na Faculdade de Engenharia da Universidade do Porto, sob a orientação dos Professores José Dias Rodrigues e Mário Vaz

Este trabalho apresenta uma investigação das questões que envolvem a forma urbana na cidade de Juiz de Fora e suas transformações na virada do século XIX para o XX. Partimos do processo de urbanização - entendido como processo social -, e da ferrovia como elemento que não apenas compõe essa forma, mas que a modifica a partir das dinâmicas que dela se originam, como a implantação de estações, construções ferroviárias e indústrias. Também são abordadas as discussões advindas do pensamento higienista, medidas de saneamento que perpassam desde a infraestrutura urbana até os problemas de moradia, situações em que podemos analisar a postura do poder público através da organização administrativa que se altera com o fim do Império e início da República até a chamada Revolução de 1930. / This work presents an investigation of the questions that involve the urban form of the city of Juiz de Fora and its transformations at the turn of the XIX century to XX. We start from the urbanization process - understood as a social process -, and from the railroad as an element that not only composes this form, but which modifies it from the dynamics that originate from it, such as the implantation of stations, railway constructions and industries. We also discuss questions of hygienist thinking, sanitation measures ranging from urban infrastructure to housing problems, situations in which we can analyze the posture of public power through administrative organization that changes with the end of the Empire and the beginning of the Republican period until the considered Revolution of 1930.

O principal objetivo desse trabalho é o estudo da questão da existência de isomorfismos entre as classes de Baire sobre [0,1]. Para isso, desenvolvemos os principais resultados concernentes às relações entre as classes de Baire sobre [0,1]. A saber: (1) As classes de Baire são isométricas como álgebras de Banach a espaços da forma C(K); (2) As classes de Baire são subespaços próprios umas das outras, até o primeiro ordinal não enumerável, onde elas estabilizam; (3) As classes de Baire não são subespaços complementados umas das outras; (4) As classes de Baire não são isométricas umas às outras como espaços de Banach. Por fim, apresentamos as respostas conhecidas para a questão isomórfica, sendo que para tal, utilizamos os resultados mencionados acima. / The main purpose of this work is the study of the question about the existence of isomorphisms between the Baire classes on [0,1]. In order to do that, we develop the most important results concerning the relations between the Baire classes on [0,1]. Those results are: (1) The Baire classes are isometric as Banach algebras to spaces of the form C(K); (2) The Baire classes are proper subspaces each one of the others, until the first uncountable ordinal, when they stabilise; (3) The Baire classes aren\'t complemented subspaces each one of the others; (4) There aren\'t linear isometries between the Baire classes. Finally we presente the known answers to the isomorphic question, using for this the results mentioned above.

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This thesis presents "Eurythmy as visible speech", the art of movement which was developed by Rudolf Steiner (1863-1925), as a tool which can enable architects to recognize and create architectural forms from the sources of all possible forms: formative forces that can be found in speech sounds, consonants and vowels of human languages. In 1912 R. Steiner began to develop the art of Eurythmy from its original ancient Grecian roots of movement in space. Simultaneously and related to Eurythmy, R. Steiner created the first Goetheanum, a building for talks and presentations of performing arts. This building burnt down in 1921. A year later he modelled the forms of a second Goetheanum. The relation of R. Steiner's artistic intention to artists and thinkers, is looked up through the development of observation. Among the examples of the modern movement is analysed the observation based in poetry of the group of architects "Amereida", Chile.Observation is fundamental in the artistic process, today is recognized as a common patrimony. Considering Eurythmy as a tool for observation and creation, the formal expression of the gestures of speech appears. Therefore time is introduced into space, process is introduced, the becoming of forms, the moving form of the speech sounds through the human body become architectural forms. To make this visually understandable, buildings are analysed from the point of view Resume of the thesis: "Towards a spiritualization of matter through architecture" This thesis presents "Eurythmy as visible speech", the art of movement which was developed by Rudolf Steiner (1863-1925), as a tool which can enable architects to recognize and create architectural forms from the sources of all possible forms: formative forces that can be found in speech sounds, consonants and vowels of human languages. In 1912 R. Steiner began to develop the art of Eurythmy from its original ancient Grecian roots of movement in space. Simultaneously and related to Eurythmy, R. Steiner created the first Goetheanum, a building for talks and presentations of performing arts. This building burnt down in 1921. A year later he modelled the forms of a second Goetheanum. The relation of R. Steiner's artistic intention to artists and thinkers, is looked up through the development of observation. Among the examples of the modern movement is analysed the observation based in poetry of the group of architects "Amereida", Chile.Observation is fundamental in the artistic process, today is recognized as a common patrimony. Considering Eurythmy as a tool for observation and creation, the formal expression of the gestures of speech appears. Therefore time is introduced into space, process is introduced, the becoming of forms, the moving form of the speech sounds through the human body become architectural forms. To make this visually understandable, buildings are analysed from the point of view of the sounds of speech. The form tendencies that can be observed in Eurythmy and architecture can also be found in forms of sculpture, painting, scientific experiment with substances in movement, as well as in manifestations of nature: in water, minerals, plants, clouds, animals, man, etc. which are illustrated with examples; for instance the archetypal form of the sound K can be seen in the crystallization of certain minerals, etc.The possibility of observation and creation out of what is process, is related to capacities that the artist himself can develop. In this sense the basis of Eurythmy is also the basis of Anthroposophy, which is a modern way of opening and expanding human capacities for perception and creation, based on R. Steiner's discovery of the Goetheanistic observation which asks the observer to be able to unite his own life forces with the observed object, to become one with the observed object, in order to be able to experience and recognize the forces from which it has been formed. R. Steiner developed the movements and gestures of Eurythmy from the observation of speech process, Goethe create his theory on the metamorphosis of the plant, and his Faust observing processes.This way of observation is vital for a modern experience of the world, includes the time and the invisible life sources from which all things become visible. Goethe observes the spirit concretely in what he has in front. This is new: the spirit is no more a matter of faith, abstract and far away but something concrete. After have described the formal tendencies of the sounds of speech according to the results from R. Steiner's research, are presented models as possible formal results of this specific dialog between word and form. The application of Eurythmy as a tool in architecture is an expansion of consciousness in the realm of the perception of form, and its possible effects on the development of the human beings that produce and live it.

In this work analyses the transition from UML class diagrams to XML schema. The main problems, such as - UML does not include all the features required to describe a XML schema - are explored. Also, the principles of XML schema normalization, resemblances and differences between applying normal forms to XML documents and relational data bases are presented.

Sandoriai patvirtinti galinų telekomunikacinių įrenginių ir el.pašto pagalba yra neatsiejama komercinės teisės dalis. Lyginant tarptautinius ir Lietuvos teisės aktus, nagrinėjami galimi tokių sandorių formos trūkumai bei jų, kaip rašytinių įrodymų reikšmė civiliniame teismo procese. / This magistrates thesis deals with theoretical and practical aspects of validity of transactions (contracts, confirmed by telecommunications and e-mails, particularly in its form. The purpose of this work was to analyse the possible lack of requisitions of such transactions. According to Lithuanian Civil Code Art. 1.71.2: documents signed by the parties and transmitted by means of telegraph, facsimile communication or over any other means of communication terminal equipment shall be conferred the same power as having been made in the written form, providing the protection of the text is guaranteed and the signature can be identified.