Memoria (licenciado en ciencias jurídicas y sociales) / El siguiente trabajo presenta una descripción de la Corte Especial Residual para Sierra Leona, la cual fue establecida para avocarse a las tareas pendientes que dejaría la Corte Especial de Sierra Leona, tras su cierre. Principalmente se describe el mandato de creación, la estructura, y sus funciones; asimismo incluye una revisión de los anuarios emitidos por el Tribunal y que dan cuenta de su labor. Todo esto para efectuar un análisis de valoración del mismo, en cuanto a su rol como mecanismo residual de competencia tras el cierre de la Corte Especial.

Memoria (licenciado en ciencias jurídicas y sociales) / Luego de estudiar la evolución histórica de la guerra, se encuentran ciertos derechos básicos que se respetan para que ésta fuese justa, además de la relevancia de los instrumentos que dan uniformidad para la solución de los conflictos, los que nos dedicamos a estudiar respecto del caso de Sierra Leona, acorde a su realidad y contexto así como la capacidad de las autoridades locales de auto valerse y llevar adelante una institucionalidad centrada y en correcto funcionamiento. Además, no es menor la importancia de los tribunales internacionales en la historia de la humanidad, que simbolizan la voluntad de los estados de respetar y hacer respetar el derecho, involucrando directamente a la Organización de Naciones Unidas con las gestiones del Consejo de Seguridad y el Secretario General, todas estas instituciones revisadas en detalle. Casos emblemáticos de dichas instituciones son los Tribunales ad-hoc de la Ex -Yugoslavia y Ruanda, antecedentes del Tribunal Especial de Sierra Leona y que sentaron las bases para los estatutos y funcionamiento de éste último. Por tanto, dada la relevancia que tiene que todas estas acciones e intervenciones estén enmarcadas dentro de un marco de legalidad, y con las fuertes connotaciones y efectos de la situación de Sierra Leona, nos abocamos a continuación al estudio de la legalidad y legitimidad de la intervención humanitaria en Sierra Leona

Ce travail porte sur le son jarocho, un genre musical métis de Veracruz au Mexique et ses éventuelles similitudes avec un genre musical de Tunisie, le stambeli. L’idée en est venue à la suite de situations d’écoutes spontanées du son jarocho présentant un air de ressemblance avec le stambeli. Ces écoutes se sont reproduites à plusieurs reprises et dans différents lieux et contextes avec des amis ou des étudiants en Tunisie. J’ai effectué cinq séjours de terrain, entre 2010 et 2013, dans l’État de Veracruz, entre les villes de Veracruz, Jalapa et la région des Tuxtlas au sud de l’État de Veracruz, afin d’étudier de plus près cette question d’éventuels liens entre les deux genres et comment ils sont perçus au Mexique. Lors de mon dernier séjour de terrain au Mexique (juillet-septembre 2013), j’ai fait l’expérience de ces écoutes spontanées dans le sens inverse, et la majorité des gens pensaient écouter le début du son El Toro Zacamandu alors qu’ils écoutaient la nuba de Sidi Marzug du répertoire de stambeli. En 2014, j’ai pu réaliser une rencontre à Tunis entre le groupe Mono Blanco de son jarocho et les musiciens de stambeli. La question d’une éventuelle identité « afro-mexicaine » est également abordée. Comment les musiciens de son jarocho se situent-ils par rapport à cette question déjà largement débattue ? Ce travail est centré sur une étude comparative entre le son jarocho et le stambeli par la transcription et l’analyse de trois sones jarochos et deux nubas de stambeli. De fait, l’analyse du rapport entre le chant avec la leona dans le son jarocho et du chant avec le gumbri dans le stambeli montrent des modes de fonctionnement comparables. / This work concerns the son jarocho, a mestizo musical genre from Veracruz, Mexico, and its possible similarities with a musical genre of Tunisia, the stambeli. This project came following situations of spontaneous listening to the Son jarocho reminding an air of ressemblance with the stambeli. The same impression was reproduced repeatedly and in various places and contexts with friends or students in Tunisia. Five fieldwork stays, between 2010 and 2013, in the state of Veracruz, in the cities of Veracruz, Jalapa, and the region of Tuxtlas led me to closer study this question of possible links between both genres and how the are perceived in Mexico. During my last fieldwork stay in Mexico (July-September 2013), I experienced this spontaneous listening in the reverse sense, and the majority of people thought they were listening to the begining of the son El Toro Zacamandu while they were listening to Sidi Marzug nuba from the stambeli repertoire. In 2014, I organized a meeting in Tunis between a group of son jarocho and stambeli musicians. The question of ‘Afro-Mexican’ identity is also approached on this work. How are the son jarocho musicians situated regarding this widely approached question? The whole work is centred around a comparative study between son jarocho and Stambeli through transcription and analysis of three sones jarochos and two nubas of stambeli. I analyze the relation between the singing and the leona parts in the son jarocho and the singing and gumbri parts in the stambeli. Ways of functioning in these two different musical genres appear to be similar.

The Leona aquifer is an important, but overlooked, water resource in Central Texas. The Quaternary Leona Formation occurs as several isolated alluvial deposits at the margins of the Edwards Plateau. Each of these deposits forms an aquifer. One of these aquifers is located near Lockhart, Texas. This aquifer is recharged by infiltration of precipitation and is discharged by numerous springs and seeps. Additional sources of discharge are evapotranspiration and cross-formational flow into the Wilcox aquifer. The saturated thickness at this location varies seasonally but is rarely greater than 3 m (10 ft). Groundwater flow in an aquifer of this scale is influenced by its heterogeneous nature. This research identified seven different facies in the Leona Formation and the underlying Wilcox Group. These divisions were based on sediment classification, lithology, and sedimentary structures. The Leona Formation is covered by sandy and silty clay soil and caliche. Each of these facies has different hydraulic properties. Many empirical relationships between grain size distribution and hydraulic conductivity (K) have been discussed in the literature. Equations developed by Hazen, Slichter, Terzaghi, Beyer, Saurbrei, and Kozeny were used to estimate hydraulic conductivity. Hydraulic conductivity was also measured in the laboratory with constant and falling head permeameters. Hydraulic conductivity of the Leona aquifer varies seven orders of magnitude. Hydraulic conductivity varies up to four orders of magnitude within a single facies due to small-scale differences in grain size distribution and degree of cementation. The arithmetic mean of hydraulic conductivity in vertical profiles through the Leona aquifer ranges from 0.013 cm/sec (37 ft/day) to 0.14 cm/sec (397 ft/day). Water quality is a concern for many unconfined shallow alluvial aquifers, including the Leona aquifer. Elevated nitrate levels indicate contamination resulting from agricultural land use. Nitrate concentration in the Leona aquifer ranges from 4 ppm nitrate as NO₃ to greater than 70 ppm nitrate as NO₃. These concentrations are significantly greater than those observed in the Wilcox aquifer. The U.S. Geologic Survey computer code MODFLOW was used to create a groundwater model of the Leona aquifer. In the best simulation, specific yield was 0.1 and horizontal hydraulic conductivity was 0.058 cm/sec (164 ft/day). The simulated hydraulic conductivity is an order of magnitude less than observed in gravel pit outcrops. Modeled recharge was 9 percent of annual precipitation in 2003 and 20 percent of precipitation in the first six months of 2004. Five hypothetical wells were placed in the model to examine the effects of pumping on the aquifer. Wells pumped for 61 days at 0.04 l/sec (0.6 gpm) cause insignificant drawdown while wells pumped at a rate of 3.5 l/sec (55 gpm) cause up to 0.55 m (1.8 ft) of drawdown. Natural drainage of the aquifer caused the water table to decline 0.8 m (2.6 ft) over this same period. MODPATH simulations using this groundwater model indicate an average residence time in the aquifer of 13 years and a maximum residence time of 70 years. / text

Este estudio se centra en las vidas de cinco mujeres mexicanas—Malintzin, Sor Juana Inés de la Cruz, Leona Vicario, Rosario Castellanos y Julieta Venegas—de cinco etapas históricas diferentes de México—la Conquista, el Virreinato de Nueva España, la lucha por la independencia, la modernidad y lo contemporáneo—al estudiar el uso que cada figura hace de su “Voz” según la época. Empieza presentando y descomponiendo el concepto de “malinchismo” revisando los detalles reconocidos de la vida de Malintzin/doña Marina/la Malinche. Después, continúa con un resumen de ciertos aspectos interesantes de las vidas de cada figura, empezando con Sor Juana y concluyendo con Julieta Venegas. En cada capítulo hay un análisis del uso de la Voz por medio de obras asociadas con cada figura. En cuanto a Malintzin, es necesario revisar las crónicas en las que ella aparece como protagonista. En el capítulo de Sor Juana, analizo principalmente los villancicos escritos para la celebración de la Asunción de 1676 y su defensa personal, la “Respuesta de la poetisa a Sor Filotea de la Cruz”. Al estudiar a Leona Vicario, comento ciertos datos de la biografía escrita por Genaro García en 1910, quizás la biografía más completa de la heroína hasta el día de hoy, y luego incorporo comunicados escritos por la misma Leona Vicario. Para Rosario Castellanos, he escogido el cuento “Lección de cocina,” el ensayo “Y las madres, ¿qué opinan?” y la obra de teatro El eterno femenino. Luego, para terminar el estudio, analizo la letra de las canciones compuestas por Julieta Venegas, además de su uso de la voz y su imagen pública por medio de entrevistas. This study focuses on the life of five Mexican women—Malintzin, Sor Juana Inés de la Cruz, Leona Vicario, Rosario Castellanos y Julieta Venegas—from five time periods of Mexican History—la Conquista, el Virreinato de Nueva España, la lucha por la independencia, la modernidad y lo contemporáneo—in order to study the use of "Voice" by each subject in relation to their respective time periods. It begins by presenting the concepts of "Malinchismo" y "Marianismo," revisiting the recorded details of the life of Malintzin/doña Marina/la Malinche. Then it continues with a summary of certain interesting aspects of the lives of each of the selected subjects, from Sor Juana Inés de la Cruz to the contemporary singer-songwriter Julieta Venegas. In each chapter there is an analysis of the use of "Voice" by means of works associated with each subject. In connection with Malintzin, it is necessary to review the chronicles in which the young indigenous translator appears as a protagonist. In the chapter about Sor Juana, the analysis centers around the villancicos written to celebrate "la Asunción de 1676" and the personal defense written by Sor Juana, "La Respuesta de la poetisa a Sor Filotea de la Cruz." In order to study Leona Vicario, the use of biographic information gathered from Genaro García informs the contemporary image of Vicario, later complimented by writings Vicario published in her own defense. For Rosario Castellanos, the short story "Lección de cocina," the essay "Y las madres, ¿qué opinan?," and the play El eterno femenino serve as the focus. An analysis of certain compositions by singer-songwriter Julieta Venegas concludes the study alongside the presentation of certain biographical details about her gathered from a variety of interviews.

Made available in DSpace on 2016-12-08T16:51:56Z (GMT). No. of bitstreams: 1 DANIEL.pdf: 2407453 bytes, checksum: 0c8043f640b081d03ccd398cb599e399 (MD5) Previous issue date: 2012-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study considers the scarcity of publications about acting in the cinema and especially of speeches written and published by actors, and proposes a reflection about the invisibility of the actor´s "voice" in the theory about his craft in this art. As a research subject were chosen two of the most representative interpreters of contemporary film production in Brazil, Leona Cavalli and Matheus Nachtergaele, two actors from the theater that begins their film careers without having specific training to work in front of cameras, in the second half of 1990´s, a period that is now called in Brazil as Cinema da Retomada ("Cinema of Recovery."). The testimonies of these two actors, therefore, underlie the study, creating a dialogue between the concepts covered in their practical experiences and ideas of researchers, directors and film critics who have dedicated their studies to discuss the work of actors and actresses in this language. So, are also addressed issues such as preparation of casts, the use of "non-actors" in the national production and the creation of mixed casts, the creative process of actors in times of rehearsal, laboratory and preparation, and creative experiences on the set which propose to the actors a place of creation and collaboration / Esta dissertação de mestrado considera a escassez de publicações sobre interpretação para cinema e principalmente de discursos escritos e publicados por atores, e propõe uma reflexão sobre a invisibilidade da voz do ator na teoria sobre seu ofício no cinema. Como objeto de pesquisa foram escolhidos dois dos mais representativos intérpretes da produção contemporânea de cinema no Brasil, Leona Cavalli e Matheus Nachtergaele, dois atores oriundos do teatro que começaram suas carreiras cinematográficas sem possuir formação específica para o trabalho frente às câmeras na segunda metade da década de 1990, período que passa a ser denominado no Brasil como Cinema da Retomada . Os depoimentos destes dois atores, portanto, dão base ao estudo, criando um diálogo entre os conceitos abordados em suas experiências práticas e a as ideias de pesquisadores, diretores e críticos de cinema que se dedicaram em seus estudos a discutir o trabalho de atores e atrizes nesta linguagem artística. Assim, serão também abordados temas como a preparação de elencos, o uso de não-atores na produção nacional e a criação de elencos mistos, o processo criativo de atores em momentos de ensaio, laboratório e preparação, além de experiências criativas no set de filmagem que propõem ao ator um espaço de criação e colaboração