Orientadora: Profa. Dra. Poliana Cardoso-Gustavson / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Biotecnociência, 2017. / As folhas são uma interface entre o organismo vegetal e o ambiente. Este órgão apresenta uma série de atributos que estão relacionados a funções especificas (caracteres foliares funcionais) e/ou mostram respostas ao estresse biótico e abiótico. O ozônio (O3) é um poluente fitotóxico que pode causar injúrias visíveis em plantas; tais injúrias auxiliam na identificação de potenciais riscos à vegetação. Os marcadores microscópicos destacam-se como única forma de validar essas injúrias como decorrentes de processos oxidativos provocados pelo O3. Embora a dissociação de O3 em espécies reativas de oxigênio (ROS) ocorra em meio aquoso, a influência de processos de liberação e posterior reabsorção de compostos hidrofílicos no uptake de ROS derivadas da dissociação do O3 é ainda desconhecido. Nesta dissertação, três hipóteses foram testadas: (1) o surgimento dos sintomas específicos de O3 segue o fluxo de entrada de água pelas lâminas foliares de cana-de-açúcar; (2) os tricomas não-glandulares de Croton floribundus a protegem dos efeitos nocivos do O3 ao prevenir a entrada deste gás nos tecidos foliares; (3) os nectários extraflorais de Astronium graveolens e Piptadenia gonoacantha são rotas de reabsorção de néctar contendo ROS nos tecidos foliares, tornando estas espécies mais vulneráveis aos efeitos do O3. Um modelo de uptake de ROS por meio de glândulas foi proposto e considerações acerca desta entrada em plantas C3 e C4 são apresentadas em dois capítulos independentes. / Leaves are interfaces between the whole organism and the environment. This organ displays a series of attributes that are linked to specific functions (functional leaf traits) and/or show responses to biotic and abiotic stress factor. Ozone (O3) is a phytotoxic pollutant that may cause visible injuries in plants. These injuries aid in the identification of potential risks to vegetation. Microscopic markers are highlight as the only tool to validate these injuries as consequences of oxidative processes caused by O3. Although the O3-dissociation into reactive oxygen species (ROS) occurs in an aqueous medium, the influence of releasing and reabsorption processes of hydrophilic compounds in the ROS-dissociated uptake is still unknown. In this dissertation, three hypotheses were tested: (1) the rising of O3-specific symptoms follows the water entrance flux through leaf tissues of sugarcane; (2) non-secretory trichomes of Croton floribundus protect this species against the adverse effects of O3; (3) extrafloral nectaries of Astronium graveolens and Piptadenia gonoacantha are routes of nectar reabsorption rich in ROS, turning these species more vulnerable to damage effects of O3. A new uptake model of ROS through glands was proposed and considerations about this entrance in C3 and C4 plants are presented in two independent chapters.

This thesis challenges the conventional wisdom that tends to conflate Arab foreign fighters with Islamist terrorists, and ‘martyrdom operations' with ‘suicide attacks.' Overlaps notwithstanding, it aims to draw distinctions between Arab foreign fighters engaged in defensive jihad defending co-religionists against a military foe, and Islamist terrorists engaged in terrorism that indiscriminately targets civilians and non-combatants. Critically, while disaggregating the two transnational cohorts, this thesis also illuminates the nexus between them. It draws on a thesis dataset of 3,010 Arab foreign fighters compiled using biographies, martyrdom eulogies, and postings on ‘jihadi' websites, in both English and Arabic. This dataset is then used to support three case studies involving the defensive jihads in 1980s Afghanistan, Iraq (post 2003), and Syria (post 2011). It leverages a theoretical framework based on the concept of radicalisation and the language of political Islam, whilst concurrently drawing on theories from psychology and historical military examples of combat, germane to defensive jihad and Islamist terrorism. The thesis concludes that Arab foreign fighters involved in defensive jihad employ martyrdom operations against military targets, through tactical necessity. Conversely, Islamist terrorists employ suicide attacks against civilians and non-combatants, through ideological necessity. The trajectory between the two transnational mobilisations appears to be broadly underpinned by facets of the Lucifer Effect – the situational factors encountered whilst participating in defensive jihad, including but not limited to, the experience of close combat in a war zone; being subjected to ideological indoctrination; and being exposed to charismatic authority and obedience to it. This suggests that subsequent involvement in Islamist terrorism by some Arab foreign fighters is primarily forged in the crucible of defensive jihad. Such findings should result in the crafting of more individualised de-radicalisation and rehabilitation programmes for returning foreign fighters, in both the West and the Arab world.

OOPS stands for Opensource Opencourseware Prototype System, a project sponsored by Fantasy Foundation. Aiming to benefit Chinese readers, this project recruit volunteer translators all over the world through internet to translate Opencourseware materials from Massachusetts Institute of Technology (MIT) into Chinese. This research was a qualitative case study conducted between 2004/2 ~ 2007/1. Multiple data sources were surveyed, including OOPS¡¦ online discussion forum, and archival information from OOPS website. Online archival data ranged from media reports, activity reports, e-newsletters, volunteer reports, survey summaries, and sub-group websites. Interviews with group leaders were also conducted. Evidence collected through these means were used to describe how OOPS employed the Internet to coordinate translation efforts and promote Opencourseware. In addition, this research applied Science of Complexity to explain the self organizing phenomenon within the network arisen from its participants. This research looked further into how Science of Complexity can clarify the organic process of a self organizing network going from simple to complex. This research found 1) the degree of openness in a collaborative knowledge network influenced its degree of self organization; 2) volunteer¡¦s willingness to participate was related to environment¡¦s fitness; 3) critical mass, diversity, variety, interaction and feedback promoted evolution; 4) a collaborative knowledge network¡¦s key to an organic expansion depended on participants¡¦ outgrowth and self organization; and 5) effective facilitation at the edge of chaos would foster new organization growth.

Submitted by Alberto Vieira (martins_vieira@ibest.com.br) on 2018-01-18T22:01:35Z No. of bitstreams: 1 566934.pdf: 6627273 bytes, checksum: d094f1608831aff1d04018294f6581ac (MD5) / Made available in DSpace on 2018-01-18T22:01:36Z (GMT). No. of bitstreams: 1 566934.pdf: 6627273 bytes, checksum: d094f1608831aff1d04018294f6581ac (MD5) Previous issue date: 2002-08-07 / CAPES / O gênero Lucifer Thompson, 1829 compreende sete espécies, das quais duas são registradas na costa brasileira: Lucifer faxoni Borradaile, 1915 e Lucifer typus Milne Edwards, 1837. O material aqui analisado foi obtido através de dois cruzeiros oceanográficos realizados na costa central brasileira (12° à 22°S), vinculados ao projeto de levantamento dos Recursos Vivos da Zona Econômica Exclusiva (REVIZEE). Lucifer faxoni e L. typus foram identificadas e separadas em cinco classes: zoea, mysis, jovens, adultos machos e fêmeas. Foi calculada a densidade de cada classe em cada estação para cada cruzeiro. As espécies apresentaram padrões de distribuição distintos. Lucifer faxoni ocorreu em alta frequência e abundância na Água Costeira e L. typus ocorreu em baixa frequência e abundância na Água Tropical e de mistura. As larvas ocorreram em maior densidade na Água Costeira. As maiores densidades de L. faxoni e de larvas ocorreram nas regiões onde ocorre afloramento da Água Central do Atlântico Sul (ACAS) até a superfície (sul do Espírito Santo e norte do Rio de Janeiro). O presente trabalho traz a redescrição detalhada de machos, a descrição da variação de fêmeas e jovens de Lucifer faxoni e L. typus, além de uma chave e um catálogo de todas as espécies do gênero. / The genus Lucifer Thompson, 1829 comprises seven species, two are registered on the Brazilian coast: Lucifer faxoni Borradaile, 1915 and Lucifer typus Milne Edwards, 1837. The material for this study was obtained from two oceanographic cruises realized along the Brazilian central coast, as part of the REVIZEE (Levantamento dos Recursos Vivos da Zona Econômica Exclusiva Brasileira) project. Lucifer faxoni and L. typus were identified and separated in five classes: zoea, mysis, juveniles, adult males and females. The densities for each class, in each station of the two different cruises were calculated. These species presents different distribution patterns. Lucifer faxoni occurred in high frequency and abundance in Coastal Water and L. typus occurred in low frequency and abundance in Tropical Water and mixed waters. Larvae occurred in higher densities in Coastal Water. The highest densities of L. faxoni and larvae occurred on Central South Atlantic Water inflow at surface area (south of Espírito Santo and north of Rio de Janeiro). Male, female and juvenile variations are redescribed. A key and a catalogue of all Lucifer species are given.

This thesis concerns the themes of godhood and creation in modern, secular works. Using literary analysis, the thesis examines how the creation myth and the relationship between creator and creation is written in David Almond’s novel Clay and the video game Amnesia: A Machine for Pigs, in comparison with how the same relationship is presented in Frankenstein and Paradise Lost. The thesis focuses on how the different works portray the themes of god, creation, original sin, and atonement, where the portrayals differ and where are the same. It ends with a discussion on how modern, secular stories using these themes manage to separate themselves from their religious origins while still remaining true to their inspirations. / Denna uppsats behandlar ämnena gudomlighet och skapelse i moderna, sekulära verk. Genom att använda litterär analys undersöker uppsatsen hur skapelseberättelsen och förhållandet mellan skapare och skapelse skildras i David Almonds roman Clay och datorspelet Amnesia: A Machine for Pigs i jämförelse med hur samma förhållande presenteras i Frankenstein och Paradise Lost. Uppsatsen fokuserar på hur de olika verken skildrar temana gud, skapelsen, syndafallet och försoningen, samt skillnader och likheter i skildringarna. Den avslutas med en diskussion om hur moderna, sekulära berättelsen som använder dessa teman separerar sig från sitt religiösa ursprung men ändå förblir trogna sina inspirationer.

La représentation de Satan et de ses différentes dénominations a constitué un sujet majeur de l’histoire de l’art occidental chrétien des premiers siècles de notre ère jusqu’au début du vingtième siècle. Alors que nous estimions le thème définitivement abandonné suite au fort recul de la pensée religieuse – notamment de la croyance au Diable – dans les sociétés actuelles, nous relevons que l’art contemporain lui accorde une place prépondérante dans sa production et ses manifestations. Le constat de ce décalage ostensible est à l’origine de la volonté d’étudier les raisons, les expressions et les conséquences qui accompagnent la présence de Satan dans l’art d’aujourd’hui. Pour rendre compte de cette discordance, cette thèse se scinde en trois mouvements : une étude comparative de l’histoire de la figure entre son passé et son présent, puis de sa disparition relative à sa réincarnation effective ; une analyse du traitement de l’imagerie diabolique par les artistes, et des messages qu’ils transmettent à travers elle ; une réflexion sur la survie théorique de la figure, et sur le silence du monde de l’art face à l’omniprésence de sa représentation. Le «retour» du Diable s’explique par deux raisons principales : détaché de ses racines théologiques, il est devenu aisément manipulable ; héritière de son glorieux passé, son image possède une force symbolique irremplaçable. La figure de Satan dans l’art contemporain est le reflet de nos sociétés, de nos angoisses, et de nos espoirs de libération – symptôme et possible remède. Vouloir l’ignorer revient à refuser d’affronter la préoccupante situation sociopolitique du monde : un vœu pieux potentiellement dangereux. / The representation of Satan in his various denominations has constituted a major topic for Western Christian art history, from the first centuries A.D. to the beginning of the twentieth century. While, following the large decline of religious thought and of the belief in the Devil, the theme was considered as permanently obsolete in our present day societies, we notice that contemporary art provides it a leading place in its productions and expressions. The genuine will to study the reasons, the manifestations and the consequences accompanying the presence of Satan in today’s art comes from the observation of this blatant discrepancy. In order to figure out this discordance, this thesis is divided in three parts: a comparative study of the figure between its past and its present, then from its relative disappearance to its effective reincarnation; an analysis of the diabolical imagery as it is treated by artists, and of the messages they deliver through it; a reflection on the theoretical survival of the figure, and on the art world’s silence in the face of his omnipresent representation. The Devil’s “come back” can be explained by two main reasons: cut from his theological roots, this character is easily maneuverable; his image possesses an irreplaceable strength inherited from his glorious past. The figure of Satan in contemporary art mirrors our societies, our fears, our hope for liberation – a symptom and a possible remedy. To try to avoid it is to refuse to contend with the worrying socio-political situation of the world: a potentially dangerous vain wish.

Genom att undersöka Djävulens utseende och roll, har jag försökt beskriva hur Djävulen porträtteras i de serietidningar jag valt ut. Djävulen avbildas på en rad olika sätt i serietidningsform i vårt till stor del sekulariserade samhälle. Vissa av dessa avbildningar har religiösa föregångare, vissa har föregångare i annan litteratur och vissa är helt nya. De tyder på att man inte använder Djävulen alltför lättvindigt i serietidningar och att man ofta är medveten om de kulturella konnotationer han för med sig. Han är en karaktär som ofta framställs som en negativ karaktär, vilket inte är lustigt med tanke på hans roll inom religion och litteratur. Tack vare de förutfattade tankar som finns om honom är han lätt att använda för att skapa effekter inom serierna, antingen genom att spela på den negativa inställningen eller genom att ställa läsarens förväntningar på ända. Han framställs främst i tre större roller: som tragisk, skrämmande eller komisk. Det är inte ovanligt att flera av dessa roller används till samma karaktär. I de serier jag analyserat har han alltid ställts som en kontrast till seriens protagonist, även om han inte alltid är serietidningens antagonist. Djävulens utseende speglar hans roll i serierna på så sätt att han, när han ska vara skrämmande eller antagonist, har ett mer monstruöst utseende än vad han har när han har en tragisk roll. När han ska vara komisk har han ett utseende som kan ses som löjeväckande, men är inte mänsklig för den saken skull. En gemensam faktor är att samtliga djävlar hade någon form av skräckskapande element till sin karaktär. Sammanfattningsvis kan man säga att Djävulen framställs på minst sagt olika sätt i de olika serierna, vilket tyder på att det kan vara svårt att säga något klart generellt om hur denna karaktär porträtteras i serietidningsmediet.

The present thesis deals with the concept of the banality of evil philosopher Hannah Arendt Along with other interpretations of the notion of evil. This work aims to introduce the concept of the banality of evil take Adolf Eichmann Nazi criminals Which Mel trial in Jerusalem, on the basis of Arendt created already mentioned the term banality of evil. Further more, the work tasked to introduce more starting positions on the question of evil. The work also focuses Another controversial idea of Jewish elites Collaboration with the Nazis. At work I have stated several perspectives on this issue and presented the views of opponents Arendt. The works appear as philosophical Thus sociological and psychological perspectives on the question of evil. To support the thesis of the banality of evil, I introduced the psychological experiments that partially confirmed the concept of Hannah Arendt.

Engel definieren sich vor allem durch ihre Undefinierbarkeit, ihre Zwischenwesenhaftigkeit. Das Spannungsfeld unvereinbarer Bereiche ermöglicht den Engeln die Existenz. Um ihre Aufgaben – besonders die des Mittlers bzw. Boten – zu erfüllen, können sie fliegen. Jeder Engel, schreibt Rilke, sei schrecklich. Als besonders schrecklich mögen diejenigen Engel sein, die gefallen sind. Ausgewählte Fall-Studien zu ihnen stehen im Zentrum dieser Arbeit. Engel büßen bei ihrem Fall die Fähigkeit zu fliegen und ihre privilegierte Position ein. Auf sich gestellt, zeigen gefallene Engel zwei Reaktionsmuster: Macht und Melancholie. Mächtigen gefallenen Engel gelingt es – oder: sie beabsichtigen es –, die Beziehungsrelation zur göttlichen Autorität nach ihrem Fall aufrechtzuerhalten bzw. neu zu definieren: Durch Errichtung neuer Reiche, rebellischer und sinnlicher, führen sie die Versuchung fort. Aber sie sind keine Mittler mehr, weil sie keine Mitteilungen mehr empfangen, sondern Botschafter eigener Botschaften. Melancholische gefallene Engel lassen dagegen die nutzlos gewordenen Flügel hängen. Auch sie haben vor ihrem Fall in einem Beziehungsverhältnis existiert. Fällt das Gegenüber weg, sinkt ihre Erscheinung in sich zusammen, erlischt ihre Botenfunktion, senden und empfangen sie nicht bzw. nichts Neues mehr. Macht und Melancholie sind in aber auch Aktionsfelder. Der Künstler reflektiert in der objektiv – für sein künstlerisches Schaffen – wie subjektiv – für sein künstlerisches Selbstverständnis – genutzten Identifikationsfigur des gefallenen Engels beide Positionen. So greifen Macht und Melancholie, Rebellion und Resignation, Schöpfen und Scheitern ineinander. Gefallene Engel sind eigentlich ihres Botenstatus’ beraubt. Doch haben sie eine einzige letzte Botschaft – sie sind selbst die Botschaft vom Ursprung ihres Falls und haben darin ihr Ziel. / Angels are defined above all by their indefinability, their mutable essence. The conflict zone between irreconcilable areas makes the existence of angels possible. To fulfill their function – in particular that of medium or messenger – they can fly. Every angel, Rilke wrote, is terrifying. Most terrifying among the angels are, perhaps, those that have fallen. Selected case studies of those form the core of this dissertation. When angels are cast out of heaven, they forfeit their capacity for flight and their privileged position. Left to their own defenses, fallen angels display one of two reaction modes – might or melancholy. Mighty fallen angels are able – or they aim – to maintain their relationship with divine authority, or to redefine it, after the fall. By erecting new realms, more rebellious and sensual, they carry on with temptation. But they are no longer media, because they no longer receive communications. Rather they are the messengers of their own message. Melancholy fallen angels, on the other hand, let their now-useless wings droop. They too existed in a relationship before the fall. When their vis-à-vis disappears, their apparition caves in; their messenger function extinguished, they send and receive nothing or at least nothing new. Yet might and melancholy are not only reaction modes, but also fields of action. The artist, in using the identification figure of the fallen angel both objectively – for his or her artistic creation – and subjectively – for his or her sense of artistic self, reflects both positions. So might and melancholy, rebellion and resignation, creation and collapse mesh. Fallen angels are in fact robbed of their messenger status because, unable to fly, they are no longer a medium. But they do have just one last message – they are themselves the message of the origins of their fall, and that is their goal.

I detta arbete analyseras det omfattande pianoverket ”Dantesonaten” komponerat av Franz Liszt i syfte om att ta reda på vilka musikaliska och tekniska element han utnyttjat för att uttrycka djävulen, helvetet och andra diaboliska företeelser i sin musik. Därmed kommer en djupgående analys av eposet Den gudomliga komedin skrivet av Dante Alighieri genomförasdå Liszt baserat sin komposition på detta verk. Liszts intresse för Den gudomliga komedin och Dante som poet belyses samt varför han valt att basera sin sonat på detta ämne. Resultatet tyder på att Liszt använt dissonanta intervall som tritonus, dimackord, heltonsskalor, kromatik och tremoloteknik m.m. för att allt i kombination bilda en tydlig representation av det som kan kopplas med det diaboliska. Största delen av resultatet består av egna tolkningar men även andras interpretationer hämtade från olika litterära källor och online-resurser. Det var svårt att finna konkreta tecken på vad kompositörens egna återspeglingar i musiken må ha varit. Däremot kan detta arbete ändå vara en bra utgångspunkt för en pianist som planerar att spela verket och vill få idéer om hur det diaboliska materialet och andra teman ur ”Dantesonaten” kan tolkas. / In this study, the extensive piano piece "The Dante Sonata" composed by Franz Liszt is analyzed in order to find out what musical and technical elements he has used to express the devil, hell and other diabolical phenomena in his music. Thus, an in-depth analysis of the narrative poem The Divine Comedy written by Dante Alighieri will be made, as Liszt bases his composition on this work. The study investigates Liszt's interest in The Divine Comedyand Dante as a poet and why he chose to base his sonata on this subject. The results indicate that Liszt used dissonant intervals such as tritones, diminished chords, whole-tone scales, chromatic passages and tremolo technique, etc. to all in combination form a clear representation of the diabolical. Most of the results consist of own interpretations but also other renderings taken from various literary sources and online-resources. It was difficult to find concrete signs of what the composer's own reflections in the music may have been. However, this work can still be a good starting point for a pianist who plans to study thismusic and want to get ideas on how the diabolical material and other themes from "The Dante Sonata" can be interpreted. / <p>F. Liszt - Après une Lecture du Dante (Fantasia quasi Sonata) från Années de pèlerinage II, Deuxième année: Italie, S. 161, Nr. 7, "Dantesonaten"</p>