Made available in DSpace on 2014-12-17T14:57:55Z (GMT). No. of bitstreams: 1 GetulioMS.pdf: 1235965 bytes, checksum: 2c47ca0471a5470d046cd558e9c9cca4 (MD5) Previous issue date: 2010-07-10 / The limits to inform is about the character stico of basic, quimica, mineralogical and mechaniques of matlaughed material used in the manufacturing process the product certified in economic region the Cariri, specifically in the city of Crato, Cear? state, motivated the development of this work, since in this region the exist ing economic context that a general appear as important in the production chains. Were made twentyfive soils-test specimen collection and the study was performed to differentiate the mat laugh materials of variaveis processing of mathing raw materials in the factory The product mica monkeys by extrusion and pressing. The results were obtained ap s as analyzes: grain size, index of plasticity, fluoresce incidence X-ray difration the X-ray, and analyzes thermicals and properties technological. through s of curves gresifica returned to was a comparison between the retro the linear, absorb to water, porosity and bulk density. the results show that the excellent distribution and character acceptable available for the processing of the structure color dark red. needing, therefore, of the mixture of a less plastic clay with thick granulation, that works as plasticity reducer. In spite of the different resignation forms for prensagem and extrusion, the characteristics of absorption of water and rupture tension the flexing was shown inside of the patterns of ABNT / A limita??o de informa??es sobre as caracter?sticas f?sicas, qu?micas, mineral?gicas e mec?nicas da mat?ria-prima usada no processo de fabrica??o dos produtos cer?micos na regi?o do Cariri, mais precisamente na cidade do Crato, estado do Cear?, motivou o desenvolvimento deste trabalho, visto que nesta regi?o existem cer?micas que num contexto geral figuram como cadeias produtivas importantes no estado. Foram confeccionados vinte e cinco corpos-de-prova da amostra coletada para cada m?todo de conforma??o e foi realizado o estudo das vari?veis de processamento das mat?riasprimas na fabrica??o de produtos cer?micos por extrus?o e prensagem. Os resultados foram obtidos ap?s as an?lises de: granulometria, ?ndice de plasticidade, fluoresc?ncia de raios X, difra??o de raios X, an?lises t?rmicas e propriedades tecnol?gicas. Atrav?s das curvas de gresifica??o obteve-se um comparativo entre a retra??o linear de queima, absor??o de ?gua, porosidade e massa espec?fica aparente. Os resultados mostram que a mat?ria-prima tem excelente distribui??o e caracter?sticas aceit?veis para o processamento de pe?as estruturais de cor escura a vermelha, necessitando, pois, da mistura de uma argila menos pl?stica com granula??o grossa, que funciona como redutor de plasticidade. Apesar das diferentes formas de conforma??o por prensagem e extrus?o, as caracter?sticas de absor??o de ?gua e tens?o de ruptura a flex?o mostrou-se dentro dos padr?es da ABNT

Eugène Ionesco est un «nouveau classique» dont la dramaturgie est à la fois en rupture avec la dramaturgie traditionnelle et en progrès sur elle, la dramaturgie ionescienne est alors labyrinthique. Les composants de cette dramaturgie sont également labyrinthiques : la construction dramatique, les personnages, le langage, le temps et l'espace. Ce labyrinthe total mène à une absurdité totale celle de l'indécision et de déséquilibre. Pour envisager cette absurdité, l'homme ionescien a recours à la révolte, à l'indifférence et au rêve, mais il se heurte toujours à sa condition tragique d'un errant sans racines ni buts. Il ne lui reste alors que le rire, d'où la naissance d'un comique à la recherche de son identité. C'est le comique problématique d'Eugène Ionesco. L'aspect problématique de ce comique est dû aux points suivants : premièrement, sa naissance dans une ambiance labyrinthique crée l'absurde qui rend incertaine même l'humanité de l'homme. Deuxièmement, ce nouveau comique s'inspire du comique classique de Molière, mais son essence n'est plus d'instruire, de corriger ou de plaire mais de réfléchir. Troisièmement, ce comique révèle la condition tragique de l'homme par des scènes qui augmentent l'angoisse au lieu de la dissiper. Par conséquent, c'est un comique problématique soit par rapport au tragique, soit par rapport au rire qui devient, à son tour, un effet du tragique. C'est pour cette raison que ce comique reste ouvert à de multiples hypothèses même celle de son inexistence. / Eugene Ionesco is a "new classic" which is both dramatic break with the traditional drama and progress on it, the ionesco's dramatic is so labyrinthine. The components of this dramatic are labyrinthine: the dramatic structure, personages, language, time and space. This total maze leads to the utter nonsense of indecision and imbalance. To consider this absurdity, the ionescien man uses the revolt, indifference and dreams, but he still faces his tragic condition of a rootless wanderer or goals. He is left while laughing, hence the birth of a comic in search of his identity. This is the comic problematic of Eugene Ionesco. The problematic of this comic appearance is due to the following points: first, his birth in a labyrinthine environment creates the absurd makes uncertain even the humanity of man. Second, this new comic inspired by the classic Molière comic, but its essence is not to instruct, correct or pleasing but to reflect. Thirdly, the comic reveals the tragic condition of man by scenes that increase anxiety rather than dissipate. Therefore, this problematic is a comic or tragic compared to or relative to laughter becomes, in turn, an effect of tragedy. It is for this reason that this comic remains open to many assumptions even of its nonexistence.

El plan de negocio pertenece al sector salud y consiste en la creación del primer Centro especializado en Hemodiálisis con terapia de la risa en la ciudad de Lima. En la región de Lima existe una demanda insatisfecha de pacientes con Enfermedad Renal Crónica Terminal del Análisis de la situación renal en el Perú (2015) se puede concluir que existe un exceso de demanda de pacientes en EsSalud, con un sobredimensionamiento de un 33,9% y un déficit de cobertura en el Ministerio de Salud en un 79%. Es importante detallar que se han visto estudios sobre los beneficios de la terapia de la risa en pacientes con Enfermedades Crónicas Terminales y familiares respecto a su calidad de vida. Por ello, se propone la creación del primer Centro especializado en Hemodiálisis con terapia de la risa en la ciudad de Lima llamado “Centro de Hemodiálisis NefroClown S.A.”. Siendo el slogan de nuestro centro “…Donde la salud comienza con una sonrisa”. Y el logotipo está representado por la imagen de dos riñones con una nariz de clown, cuya finalidad será realizar tratamientos de Hemodiálisis con terapia de la risa a pacientes con Enfermedad Renal Crónica Terminal asegurados del Ministerio de Salud, EsSalud y privados, contribuyendo a atender la actual demanda. Los responsables del Centro están conformados por una junta general de accionistas, una gerencia y un directorio. La estrategia del negocio es de liderazgo en costos, centrándonos en el desarrollo de los procesos necesarios para brindar el servicio de hemodiálisis. La Viabilidad Financiera del Proyecto ha sido estructurada de 5 años (2021 – 2025). La inversión total proyectada para el desarrollo del proyecto es de S/.1 287,880.69. El Valor Actual Neto positivo nos indica que el proyecto nos genera beneficios. Por otro lado, nos ofrece una tasa interna de retorno de 176.62%, demostrando que la rentabilidad del proyecto es superior al mínimo aceptable. Por lo descrito el proyecto resulta financieramente viable y rentable. / The business plan belongs to the health sector and consists of the creation of the first Center specialized in Hemodialysis with laughter therapy in the city of Lima. In the Lima region there is an unsatisfied demand for patients with Terminal Chronic Kidney Disease From the Analysis of the kidney situation in Peru (2015) it can be concluded that there is an excess demand for patients in EsSalud, with an oversizing of 33.9 % and a deficit of coverage in the Ministry of Health in 79%. It is important to detail that studies have been seen on the benefits of laughter therapy in patients with Terminal Chronic Diseases and their families regarding their quality of life. For this reason, the creation of the first Center specialized in Hemodialysis with laughter therapy is proposed in the city of Lima called "Center de Hemodialysis NefroClown S.A.". Being the slogan of our center “… Where health begins with a smile”. And the logo is represented by the image of two kidneys with a clown nose, the purpose of which will be to carry out Hemodialysis treatments with laughter therapy to patients with Terminal Chronic Kidney Disease insured by the Ministry of Health, EsSalud and private companies, helping to attend to the current demand. Those responsible for the Center are made up of a general meeting of shareholders, a management and a board of directors. The business strategy is one of cost leadership, focusing on the development of the processes necessary to provide the hemodialysis service. The Financial Viability of the Project has been structured for 5 years (2021 - 2025). The total investment projected for the development of the project is S / .1 287,880.69. The positive Net Present Value indicates that the project generates benefits for us. On the other hand, it offers us an internal rate of return of 176.62%, showing that the profitability of the project is higher than the acceptable minimum. As described, the project is financially viable and profitable. / Trabajo de investigación

La fin du XIXe siècle voit éclore un grand nombre de « petites » revues littéraires et artistiques, liées aux avant-gardes et à la bohème. Parmi elles, Le Chat Noir (1882-1897), créée par Rodolphe Salis et Émile Goudeau pour assurer la promotion du désormais célèbre cabaret éponyme. On y publie des contes, des histoires drôles et sans paroles, mais aussi de la poésie. Le présent travail entend étudier de plus près ces poèmes, à la lumière de la crise qui agite alors la production littéraire. Il s’agit plus précisément d’analyser le traitement qui est fait de la notion de sujet lyrique, « principe structurel » (Käte Hamburger) du lyrisme. Dire " je" semble en effet perdre tout sens aux yeux de ces poètes, non seulement du fait du poids de la tradition qu’il est de bon ton de subvertir au nom de l’esprit fumiste dont ils se réclament, mais encore du régime collectif au sein duquel ils s’expriment. Toutefois, les multiples provocations à son encontre permettent aussi à ces artistes de disséquer et de questionner cette notion, et même de se la réapproprier, tant collectivement qu’individuellement. Une réflexion croisée, à la fois poétique, esthétique et sociopoétique, nous amènera à définir les logiques, enjeux et stratégies d’un tel positionnement. / The end of the 19th Century is a key period for the « little » literary and artistic journals, produced by avant-garde and bohemian groups. One of them, Le Chat Noir (1882-1897), created by Rodolphe Salis and Émile Goudeau to promote the famous and eponymous cabaret. Tales, humoristic texts, illustrations or poetry appear in its columns. The present thesis aims for a closer study of these poems, in the light of the crisis which troubles the literary production. It is more precisely to analyse how the notion of the lyric subject, which is considered as the « structural principle » (Käte Hamburger) of lyricism, is treated. Indeed, saying « I » seems to lose sense for these poets, not only because of a tradition that is to subvert for the « fumiste » spirit’s sake which they claim, but also because of the collective context in which they find a space of expression. However, those provocations against the lyrical « I » is also for these artists a way to question and dissect it, and even to reappropriate it, for the collective as much as the individual distinction. A mixed reflexion, based on poetic, esthetic and « sociopoétique » analysis, will lead us to define the logics, stakes and strategies of such a position.

« Entre mon marxisme et mon décadentisme, il manquait la médiation d’un troisième terme qui est justement le christianisme ». Ainsi s’exprime Pasolini en 1964. Cette thèse propose de réexaminer La ricotta à partir d’une notion théologique : la réserve eschatologique élaborée par Jean-Baptiste Metz en dialogue avec les théologiens de la libération. A cette lumière, l’examen du procès de La ricotta et de son conflit central autour du rire, du sacré et du blasphème, offre la possibilité d’appréhender à nouveaux frais la portée politique des choix esthétiques de Pasolini puis de restaurer la trame historique sur laquelle se détache son œuvre. La ricotta répondait à une commande de film sur la fin du monde. L’approche par l’eschatologie éclaire la réponse pasolinienne : son récit de Passion lui permet de se positionner comme marxiste athée, à l’intérieur d’une culture chrétienne assumée et revivifiée. Enfin, la réserve eschatologique qui travaille l’esthétique du peuple dans La ricotta, notamment dans letraitement des voix, ouvre le pastiche pasolinien au temps des figurants. / “Somewhere between my Marxism and my Decadentism, a third term was missing which is, in fact, Christianity”, dixit Pasolini in 1964. This thesis will re-examine La ricotta, through a theological prism : using the Eschatological Reservations developed by Johann Baptist Metz in tandem with the Liberation Theologists. In the light of this concept, the study of the trial of La ricotta and its central tension built around the comic, the sacred and the blasphemous, will allow us to consider the political weight of Pasolini’s aesthetic choices and to reconstruct the historic background of his work. La ricotta was commissioned as a film about the end of the world. One may shed new light on Pasolini’s creation by using eschatological theory. Through his interpretation of the Passion of Christ, he appears as a Marxist atheist within his asserted and revitalized Christian culture. To conclude, the Eschatological Reservations influence Pasolini’s aesthetic interpretation of the poor and their voices in Laricotta, and herald a new era, the Age of the Extras.

The thesis deals with the era of the Czech literature in the second half of the 20th century. It focuses on the description of the humorous elements in selected literary works. The works are different in topics and genres too and in the end the works are reflected all together. The main literature sources are the analyzed titles and the book f essays called Silence and laughter by Sylvia Richterová. The first chapter presents an outline of the atmosphere of the 60s, the second chapter defines the topic and genre specifications of the works published in this decade. The third chapter is a methodological guide to comicality. Chapters four to seven analyze individual literary works in several basic points ? composition, language, characters and a description of the nature of the characters as well as the description of the theme.

Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1 livia.pdf: 1739171 bytes, checksum: 79f0c24eccf17279fa13548a4539f2e6 (MD5) Previous issue date: 2013-03-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Knowing that the Teatro de Revista (Revue) is a genre that deals with current events, this study aims to analyze seven revue texts written between 1929 and 1945 to see if there was still political debate on the Revue of that period. The period Getulio Vargas was president was chosen as a temporal cut since its censorship is claimed responsible for the down fall of political contents on the Revue. Therefore, this project seeks to understand the laugh mechanisms used by the Revue authors in attempt to hoax the censorship. It intent also to point out the political themes discussed on the Revue texts to comprehend how the Teatro de Revista dealt with the political and social events it faced, such as the 1930 revolution, the Estado Novo coup and the World War II. The aesthetical changes the genre went through and the way it relates with the political changes the country experienced are also being studied here. The cultural policy created during the Estado Novo is being revisited to enable the uptake about its relation with the Teatro de Revista and it is asked if this genre was a part of the motion for the building of a so called Brazilian theatre / Sabendo que o Teatro de Revista é gênero que trabalha com a atualidade, o objetivo deste estudo é analisar sete textos revisteiros produzidos entre 1929 e 1945, de forma a perceber se ainda havia discussões políticas na Revista desse período. O governo de Getúlio Vargas foi escolhido como recorte temporal, pois a censura é responsabilizada pela derrocada do teor político no Teatro de Revista. Assim, busca-se entender que mecanismos do riso foram utilizados pelos autores revisteiros para burlar a censura. Intenta-se elencar a temática política discutida nos textos revisteiros para compreender como o Teatro de Revista lidava com os acontecimentos políticos e sociais que presenciava. Estão sob foco também as mudanças estéticas pelas quais o gênero passou e a forma como isso está relacionado com as mudanças políticas ocorridas simultaneamente no país, como a Revolução de 1930, o golpe do Estado Novo e a Segunda Guerra Mundial. A política cultural do Estado Novo é revisitada para possibilitar entendimento sobre sua relação com o Teatro de Revista e se esse gênero esteve inserido na proposta de construção de um teatro dito brasileiro

La présence des paradoxes stoïciens dans l’œuvre de poètes dont les liens avec le Portique sont divers révèle le statut particulier occupé par ces formules déconcertantes dans la pensée romaine. Après l’étude des origines du paradoxe et de ses transformations au cours du développement des écoles philosophiques grecques, la thèse examine la spécificité du paradoxe stoïcien et son adaptation au monde romain. Contre toute attente, les Stoïciens ne renoncent pas à ces affirmations déconcertantes. Grâce à leur efficacité rhétorique, et malgré l’hostilité qu’ils suscitent par ailleurs, les paradoxes sont repris dans des textes étrangers au Portique. Leur adaptation dans des œuvres poétiques - satires de Lucilius, Horace et Perse, épodes, odes et épîtres d’Horace et épopée lucanienne - pourrait nous faire considérer qu’ils sont pervertis et détournés de leur fin première. En effet, le but de ces poètes n’est nullement de faire adhérer le lecteur à l’intransigeante perfection dessinée par les paradoxes stoïciens. Mais le lien entre les paradoxes que l’on trouve dans ce corpus poétique et leur origine stoïcienne est en réalité bien plus intime. Selon des modalités différentes, chaque poète reprend l’essentiel de la démarche paradoxale du Portique : il s’agit bien de réveiller les consciences, et de souligner la radicale nouveauté de la vérité que l’on veut faire entendre, tout en s’assurant que le lecteur peut s’y rallier. La virulence de Lucilius, le ton de confidence horatien, la stupeur lucanienne et l’obscurité de Perse constituent les voies distinctes mais convergentes par lesquelles est menée l’entreprise subtile consistant à choquer pour mieux convertir. / The presence of Stoic paradoxes in the works of poets whose links with the Stoa are complex reveals the particular status of these incongruous formulas in Roman thought. After studying the origins of paradox and its transformations during the development of the Greek philosophical schools, the thesis considers the particularity of Stoic paradox and its adaptation to the Roman world. Unexpectedly, the Stoics do not sign away these disconcerting assertions. By their rhetorical effectiveness, and despite the hostility they also arouse, paradoxes appear in texts which do not belong to the Stoa. Their adaptation in poetic works – satires of Lucilius, Horace and Persius, epodes, odes and epistles of Horace, and Lucanian epic - could make us consider that they are perverted and diverted from their first aim. Indeed, the purpose of these poets is not at all to have the reader adhere to the uncompromising perfection outlined by the Stoic paradoxes. But the link between the paradoxes we find in this poetic corpus and their Stoic origin is actually much more intimate. By different ways, each poet takes up the main of the Stoic paradoxical approach : it consists in waking up the minds, and showing the radical novelty of the truth which one wants to reveal, making sure, at the same time, that the reader can join it. Lucilius’ virulence, Horace’s intimacy, Lucan’s daze and Persius’ abstruse language constitute the different but converging ways by which one subtly undertakes to shock in order to convert.