Syftet med denna uppsats är att undersöka ett biblioteks hantering och placering av nya medier i biblioteksmiljön, hur biblioteksanvändare uppfattar detta och hur det i sin tur påverkar deras lån och val. Detta ska göras genom en fallstudie på Umeå stadsbibliotek med fokus på deras placering av manga. Uppsatsen genomfördes med hjälp av observationer på biblioteket, en webenkät och intervjuer med biblioteksanvändare, samt intervjuer med ansvariga bibliotekarier. Med frågeställningarna Hur finner biblioteket information om ny manga och vad påverkar inköpen? Hur ser placeringen av manga ut på biblioteket? Hur uppfattar biblioteksanvändarna placeringen och hur påverkar detta deras val och lån av manga? Slutsatserna i denna uppsats var kommunikation mellan bibliotekarie och biblioteksanvändare för att skapa en så bra och intressant miljö som möjligt. Om miljön inte är intressant tappar användaren intresset för mediet och lånstatestiken sjunker. I detta fall påverkade flytten till väven vilket resulterade till att mangan placerades i fasadhyllor under fönstren tillsammans med en icke genrer indelad samling. Detta, tillsammans med att biblioteksanvändarens egna vanor påverkar och skapar attityden till att bibliotekarierna inte känns insatta. Även om så är fallet.

This is a study of why Japanese comics, so-called manga, in such a high degree make Swedish readers eager to write and draw comics themselves, and what didactic implications this might have for teachers working in Sweden. To answer this, the author has put together a focus group of Swedish artists influenced by manga, and also used a questionnaire at two Swedish art schools, where young artists are taught how to draw in a manga style. The results show that it is the compelling storytelling and the focus on the characters that enthral readers about Japanese comics, but that it is the seemingly simple style that makes the readers think they themselves can master it. The fact that the interest in both reading and creating manga, almost completely overlap with the so-called period of oppression (between the ages of 11 and 14) when most students lose interest in creating art, is something that could and should be used in the Swedish educational system.

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Le terme manga a été utilisé pour la première fois en 1814 par le peintre Katsushika Hokusai pour désigner ses travaux. Littéralement ce terme signifie « esquisse rapide » ou encore « image dérisoire ». En France le mot manga a perdu cette signification et désigne la bande dessinée japonaise au même titre que l’on nomme comics la bande dessinée américaine. La bande dessinée japonaise est, en termes quantitatifs, le premier marché du monde dans ce secteur. Beaucoup plus diversifié dans les sujets abordés que ne le donnent à penser les dessins animés diffusés sur le petit écran en France, le manga a longtemps été un genre peu connu des « bédéphiles » européens. Aujourd’hui, le manga connaît un fort essor en France et tend à s’imposer comme produit et phénomène culturel, pour toute une génération qui a grandi avec son arrivée sur les postes de télévision. Dans ce travail de thèse, il s’agit de comprendre le manga en tant que dispositif communicationnel. En raison de ses spécificités graphiques et narratives nous pouvons appréhender un procédé visuel-narratif qui lui est propre. Celui-ci modifie le rapport iconique/linguistique, construit un nouveau mode de lecture et joue sur les perceptions. Il génère un jeu tensif entre ce que le lecteur-spectateur regarde et ce qu’il voit. Le manga diffuse dans notre société un univers graphique, mais aussi et surtout, une technique de la narration visuelle qui peut se passer de texte. L’image est à la fois vue et lue. Dans le manga, lire l’image c’est lire le texte ou pour le dire autrement, il y a du texte-image, de l’image-texte. Elle est en elle-même un dialogue qui agit sur les sensations et les perceptions. Au travers de ses représentations, le manga montre une image de sa culture. Il diffuse par ses personnages des normes et des valeurs ainsi qu’un imaginaire pouvant « influencer » son lectorat et générer de nouvelles pratiques sociales. Par ses spécificités l’image manga devient mouvante. Elle inclut le lecteur-spectateur : celui-ci a la possibilité de naviguer, d’errer dans l’image. Notre travail de recherche porte sur l’analyse des procédés « visuels-narratifs » du manga qui génèrent un nouveau rapport à l’image et un jeu d’interactions entre l’image et son « lecteur-spectateur », ainsi que sur le processus de transmission des messages dans le manga. / The manga term was used for the first time in 1814 by the painter Katsushika Hokusai to indicate his works. This term literally means “fast rough sketch” or “derisive image”. In France the original meaning of the manga word has been lost and it is now employed to indicate the Japanese comic strip in the same way as we name comics the American comic strip. The Japanese comic strip is, in quantitative terms, the first market of the world in this sector. The topics covered in the written manga are much more diverse than the “cartoon-manga” broadcasted on tv in France. Not so long ago, the manga was a little-known genre by the European comic readers, the “bédéphiles”. Nowadays, the manga is a growing genre in France and it tends to develop and become a cultural product and phenomenon, for all a generation who grew up with the first manga on tv. This thesis explores the manga culture and analyzes it as a primary device in a whole communication system. Its graphic and narrative aspects reveal a particular visual-narrative process, specific to the manga. It modifies the image and language combination, it builds a new reading mode and plays with perceptions. It generates a stretching game between what the reader-spectator looks at and what he sees. The manga spreads in our society a graphic universe but most of all, a specific visual storytelling technique that replaces narration words. At the same time, the image is seen and read. In the manga, to read the image it is to read the text. In other words, the picture is narrative and the narration is pictured. There is a text-image, an image-text. The image is in itself a dialogue which acts on the sensations and the perceptions. In its depiction, the manga reflects its culture. It spreads characters, norms, values and an imagination which can “influences” his readership and generates new social practices. By its specificities the manga image is unstable and moving. It involves the reader-spectator: this one has the possibility of navigating, of roving in the image. This research work analyzes the manga “visual-narrative” interactive processes which generates a new relationship to the image and creates a playful interaction between the image and its “reader-spectator”, and it becomes a narrative process to transmit messages in it.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-11-08T17:34:37Z No. of bitstreams: 1 2016 - Risonete Santiago da Costa.pdf: 1066426 bytes, checksum: a38b5c0fbc944c547afcb0aeddac360a (MD5) / Made available in DSpace on 2017-11-08T17:34:37Z (GMT). No. of bitstreams: 1 2016 - Risonete Santiago da Costa.pdf: 1066426 bytes, checksum: a38b5c0fbc944c547afcb0aeddac360a (MD5) Previous issue date: 2016-11-28 / This dissertation is a research work at the public Indigenous School Jorge Iaparr?, which is part of the Indigenous Land Ua??, Karipuna of ethnicity, which is located in the village of Manga, municipality of Oiapoque, State of Amap?. This research aimed to report the historical process of construction of the indigenous education and its implications in the educational process where we had the State Indigenous School Jorge Iaparr? as locus school research. Therefore we focus on how historically gave all territorial occupation process of the municipality of Oiapoque whose context occupation exerted great influence in the historical process of building cultural partner Karipuna ethnicity. We also investigated the historical processes of origin of ethnicity, culture, language, socio-economic and political organization. From these findings we see how was the process of education of the indigenous of this ethnic group, the origin of the village Manga and the whole school life in this village. In this context we focus all historicity of school education in its early stages and in the contexts of the various laws that guide the indigenous education considering the specificity of this type of education training of indigenous teachers and non-indigenous. For the analysis we carried out interviews with indigenous teachers, leaders and local and national educational proposals. This whole process was initially through ethnographic research and then carries out new data collection through case study. It was possible to carry out this study in a contextualized perception of indigenous education from the perception of interviewed people. / Esta disserta??o ? um trabalho de pesquisa desenvolvida na Escola Ind?gena Estadual Jorge Iaparr?, que faz parte da Terra Ind?gena Ua?a, da etnia Karipuna, que est? localizada na Aldeia Manga, Munic?pio de Oiapoque, Estado do Amap?. Esta pesquisa teve como objetivo principal relatar o processo hist?rico de constru??o da educa??o escolar ind?gena e suas implica??es no processo educacional, onde tivemos a Escola Ind?gena Estadual Jorge Iaparr?, como escola l?cus da pesquisa. Para tanto enfocamos como se deu historicamente o processo de ocupa??o territorial do Munic?pio de Oiapoque, cujo contexto de ocupa??o exerceu grande influ?ncia no processo hist?rico de constru??o s?cio cultural da etnia Karipuna. Tamb?m investigamos os processos hist?ricos de origem desta etnia, sua cultura, l?ngua, organiza??o socioecon?mica e pol?tica. A partir destas constata??es, verificamos como ocorreu o processo de escolariza??o dos ind?genas desta etnia, a origem da aldeia Manga e a trajet?ria escolar nesta aldeia. Neste contexto enfocamos a historicidade da educa??o escolar em sua fase inicial e nos contextos das v?rias legisla??es que norteiam a educa??o escolar ind?gena, considerando a especificidade desta modalidade de educa??o, a forma??o de professores ind?genas e n?o ind?genas. Para as an?lises buscamos as entrevistas realizadas com os professores ind?genas, lideran?as e as propostas educacionais locais e nacionais. Todo este processo se deu inicialmente atrav?s de pesquisa etnogr?fica e posteriormente realizamos novas coletas de dados atrav?s de estudo de caso, onde foi poss?vel realizar um estudo numa forma contextualizada de educa??o escolar ind?gena a partir da vis?o dos entrevistados.

Submitted by Élida Maeli Fernandes Quirino (maely_sax@hotmail.com) on 2018-06-15T18:49:55Z No. of bitstreams: 1 CARMELITA DE FÁTIMA AMARAL RIBEIRO - DISSERTAÇÃO PPGEA 2004..pdf: 33723212 bytes, checksum: fad7e8ae9b6ebe264a6a71d2aababe92 (MD5) / Made available in DSpace on 2018-06-15T18:49:55Z (GMT). No. of bitstreams: 1 CARMELITA DE FÁTIMA AMARAL RIBEIRO - DISSERTAÇÃO PPGEA 2004..pdf: 33723212 bytes, checksum: fad7e8ae9b6ebe264a6a71d2aababe92 (MD5) Previous issue date: 2004-03 / A manga (Mangifera indica L) é uma das frutas tropicais mais populares do mundo, ela se destaca pelo sabor, aroma e valor nutritivo. Apesar da alta tecnologia utilizada na produção de manga, ainda existem grandes perdas pós-colheitas, devido a fatores climáticos, físicos e químicos. Uma das principais causas da deterioração de alimentos frescos e também conservados é a quantidade de água livre presente nos mesmos. Este trabalho foi conduzido com o objetivo de estudar o processo de desidratação osmótica e cinética de secagem para obtenção de produtos secos de manga Tommy Atkins. As soluções utilizadas no processo de desidratação osmótica foram de sacarose e xarope de milho. A desidratação osmótica foi realizada de acordo com um planejamento fatorial completo 23, com pontos centrais e axiais, totalizando 17 ensaios. A influência dos fatores (temperatura, concentração e tempo) e suas interações sobre as respostas foram analisadas através de análise de variância (ANOVA), teste F e coeficiente de determinação (R2). Verificou-se que estes fatores mostraram ter efeito significativo sobre a perda de peso, perda de água e ganho de sólidos de manga desidratada, dentro das faixas estudadas, ou seja, com aumento desses fatores maior foi a influencia sobre as respostas estudadas. Neste estudo os fatores concentração e temperatura foram os de maior influência no processo de desidratação osmótica. As condições ótimas encontradas de desidratação osmótica utilizada como pré-tratamento para obtenção de uma maior perda de água e um menor ganho de sólidos foram: temperaturas de 50 e 40°C, concentração de 40 e 50% e tempo de imersão de 90 e 160 minutos, para a manga desidratada em solução de sacarose e xarope de milho, respectivamente. A etapa de secagem convencional das amostras in natura e desidratadas foi realizada em secador de leito fixo, nas temperaturas de 30, 40 e50°C e velocidade do ar de 2,1 m/s"1. Os dados experimentais de secagem convencional foram ajustados pelo modelo de Page. O produto final foi avaliado pelo pH, acidez e açúcares totais e redutores. / The mango {Mangifera indica. L) it is one of the more popular tropical fruits of the world, she stands out for the flavor, smell and nutritious value. In spite of the high technology used in the production of mango, great losses powder-crops still exist, due to climatic, physical and chemical factors. One of the main causes of the deterioration of fresh and also conserved victuals is the amount of present free water in the same ones. This work was driven with the objective of studying the process of osmotic and kinetic dehydration of drying conventional for obtaining of dry products of mango Tommy Atkins. The solutions used in the process of osmotic dehydration were of sucrose and corn syrup. The osmotic dehydration was accomplished in agreement with a planning complete fatorial 23, with central and axial points, totalizando 17 rehearsals. The influence of each variable and its interactions on the answers were analyzed through variance analysis (ANOVA), test F and determination coefficient (R2). It was verified that the factors (temperature, concentration and time) showed to have significant effect on the weight loss, loss of water and gain of solids of dehydrated sleeve, inside of the studied strips, that is to say, with those factors adulfs increase it went to it influences on the studied answers. In this study the factors concentration and temperature were the one of larger influence in the process of osmotic dehydration. The found great conditions of osmotic dehydration used as pré-treatment for obtaining of a larger loss of water and a smaller gain of solids were: temperatures of 50 and 40°C, concentration of 40 and 50% and time of immersion of 90 and 160 minutes, for the mango dehydrated in sucrose solution and corn syrup, respectively. The stage of drying conventional of the samples in natura and dehydrated it was accomplished in dryer of fixed bed, in the temperatures of 30, 40 and 50°C and speed ofthe air of 2,1 m/s"1. The experimental data of were drying conventional adjusted by Page model. The final product was evaluated by the pH, acidity and total sugars and reducers.

SILVA, Josiele Brilhante. Revestimento comestível para manga (Mangifera Indica, L.) à base de cera de carnaúba com antimicrobianos. 2009. 68 f. : Dissertação (mestrado) - Universidade Federal do Ceará, Centro de Agrárias, Departamento de Tecnologia de Alimentos, Fortaleza-CE, 2009 / Submitted by Nádja Goes (nmoraissoares@gmail.com) on 2016-06-10T15:37:49Z No. of bitstreams: 1 2009_dis_jbsilva.pdf: 995472 bytes, checksum: a50988936c7fbb0e374555338360c467 (MD5) / Approved for entry into archive by Nádja Goes (nmoraissoares@gmail.com) on 2016-06-10T15:37:58Z (GMT) No. of bitstreams: 1 2009_dis_jbsilva.pdf: 995472 bytes, checksum: a50988936c7fbb0e374555338360c467 (MD5) / Made available in DSpace on 2016-06-10T15:37:58Z (GMT). No. of bitstreams: 1 2009_dis_jbsilva.pdf: 995472 bytes, checksum: a50988936c7fbb0e374555338360c467 (MD5) Previous issue date: 2009 / The mango crop is one of the principal activities of Brazilian agribusiness. The mango is present in all Brazilian territory, but the economic cultivation is concentrated in the Northeast and Southeast of Bra zil. Among the cultivars of most important commercial, Tommy Atkins is the most cultivated and exported. Most fruits and vegetables have a natural layer of wax on the surface and applying a coating serves to increase the physical, chemical and microbiological stability. The present study aimed to develop edible coatings based on wax added to the antimicrobial triclosan and sorbic acid in order to extend the shelf life of harvested mango ( Mangifera indica L.) variety 'Tommy Atkins. The fruits were subjected to four treatments: mangoes washed and sanitized (control); mangoes washed, sanitized and with carnauba wax (control with wax), mangoes cleaned, sanitized, with waxes and triclosan 1% (carnauba wax with triclosan) and mangoes washed, sanitized, with waxes, and sorbic acid 0.1% (carnauba wax with sorbic acid) for 35 days of storage. The treatments were analyzed using physical, chemical, physico - chemical, microbiological and sensory analysis. / A mangicultura é uma das principais atividades do agronegócio frutícola do Brasil. A manga está presente em todo território brasileiro, mas o cultivo econômico concentra-se nas regiões Nordeste e Sudeste. Dentre as cultivares de maior importância comercial, Tommy Atkins é a mais cultivada e exportada. A maioria das frutas e hortaliças possui uma camada de cera natural na superfície e a aplicação de um revestimento serve para aumentar a estabilidade física, química e microbiológica. A adição de agentes antimicrobianos tem como objetivo limitar ou prevenir o crescimento microbiano. Diante do exposto, o presente trabalho teve como objetivo desenvolver revestimentos comestíveis a base de cera de carnaúba adicionada dos antimicrobianos triclosan e ácido sórbico visando o prolongamento da vida útil pós-colheita da manga (Mangifera indica L.) variedade “Tommy Atkins”. Os frutos foram submetidos a quatro tratamentos: Mangas lavadas e sanificadas (Controle); Mangas lavadas, sanificadas e com cera de carnaúba (Controle com cera); Mangas lavadas, sanificadas, com cera de carnaúba e triclosan a 1% (Cera de carnaúba com triclosan) e Mangas lavadas, sanificadas, com cera de carnaúba e ácido sórbico a 0,1% (Cera de carnaúba com ácido sórbico) por 35 dias de armazenamento. Os tratamentos foram submetidos às análises física, química e físico-química, microbiológica, microscópica e sensorial.