Sea water intrusion is the process by which the sea water in an aquifer displaces the sweet water as consequence of a sensitive reduction of the hydraulic head, either for natural actions or for anthropic activity Sea water intrusion takes place in the coastal aquifers mainly independently to the predominant lithology. In this work the scenario analysis is approached by studying the effects that sea water intrusion in dry years would produce to the supply of underground water to the City of Havana and Havana Province, when there would be high exploitation of the aquifers without maintenance of recharge works such as in South Dike.There would be a cartography of the scenario in danger to show the presage of the penetration expressed in the longitude of the marine intrusion wedge, taking as contour conditions the variable that may be unfavorable for their temporal variation, such as precipitation and depression. The thickness of the sheet of sweet water is considered constant. / La intrusión marina es el proceso por el cual el agua de mar desplaza en un acuífero el agua dulce como consecuencia de una reducción sensible de la carga hidráulica, ya sea por acciones naturales o por actividad antrópica.La intrusión marina tiene lugar principalmente en los acuíferos costeros independientemente a la litología predominante.En este trabajo se aborda el análisis del escenario que en el abasto de agua subterránea a la Ciudad de La Habana y Provincia Habana produciría la intrusión marina durante la ocurrencias de años secos, simultaneados, con altas explotaciones del acuífero y el no mantenimiento de obras de recarga como es el caso del Dique Sur.Se cartografía el escenario de peligro que muestra el pronóstico de la penetración expresada en longitud de la cuña de intrusión marina tomando como condiciones de contorno las variables que pueden ser desfavorables por su variación temporal, tales como la precipitación, explotación y abatimiento. Se considera constante el espesor de la lámina de agua dulce.

Publicación a texto completo no autorizada por el autor / Identifica larvas plerocercoides de Diphyllobothrium sp. de peces marinos de la costa peruana de mayor consumo humano mediante técnicas moleculares, utilizando los marcadores moleculares ITS y 18S rDNA. Para ello se muestrean 831 ejemplares de Sciaena deliciosa “Lorna”, 5 de Sarda chilensis “Bonito”, 201 de Scomber japonicus “Caballa”, 40 de Galeichthys jordani “bagre marino“, 34 de Trachurus murphyi “jurel”, 18 de Merluccius gayi “merluza”,5 de Coryphaena hippurus “perico” y 2193 de Engraulis ringens “anchoveta”; adquiridos en diferentes periodos estacionales y diferentes puertos de las ciudades de Chiclayo, Lima, Ica y Moquegua de la costa peruana. Se extrae el ADN genómico de 36 larvas plerocercoides colectadas y se evalúa la calidad del mismo mediante electroforesis y espectrofotometría. Se amplifica los fragmentos ITS, 18S rDNA y COI (control interno) de las larvas plerocercoides mediante PCR y se analizan filogenéticamente utilizando los métodos de Neighbor-Joining (NJ) y Máxima Parsimonia (MP). Los resultados muestran que al analizar morfológicamente las larvas plerocercoides, se observan tres formas diferentes de escólex: lanceolada, acorazonada y redondeada, según Mondragón (2017). En el análisis filogenético se observa que para cada uno de los marcadores moleculares utilizados, las secuencias de las larvas plerocercoides son agrupadas en un solo clado, junto con las secuencias obtenidas de la base de datos de NCBI de A. pacificus y D. pacificum, manteniendo una distancia marcada con las otras especies de Diphyllobothrium reportadas como zoonóticas. En conclusión, los datos demuestran que, a nivel de morfología de escólex, las larvas plerocercoides presentan alta plasticidad; por ende, esta no es una característica útil ni válida para la identificación a nivel de especie. De acuerdo a los análisis filogenéticos basados en el gen 18S rDNA y ITS, se determina que las larvas plerocercoides se agrupan en un mismo clado con A. pacificus y probablemente se trate de una sola especie la que esté presente en la zona costera del Perú. / Tesis

Cirka 35 tusen ton plast beräknas flyta omkring i haven. Där plastkoncentrationerna ärsom störst antas det bero på havsströmmar, nedskräpning från folktäta kuster menäven fiskeredskap som lämnats kvar eller gått sönder till havs. På grund av UVstrålning,saltvatten och kemiska reaktioner vittrar plastpartiklarna sönder och bildardet som kallas för mikroplast. Avsiktligt tillverkade mikroplaster kan även tillsättastill produkter med olika önskvärda egenskaper, exempelvis som en polerande effekt itandkräm och andra hygienartiklar. De plastpolymerer som återfinns mest i haven ärpolyetylen (PE), polypropylen (PP), polystyren (PS) och polyetylen tereftalat (PET).Man har hittat mikroplaster i olika marina livsmedel såsom som räkor, musslor samtolika matfiskar bland annat torsk men även i livsmedel som havssalt. Det är docksvårt att säga hur dessa mikroplaster kan påverka vår hälsa men konsumerar man fiskoch skaldjur finns det en risk att man också konsumerar mikroplaster. Trots attmikroplaster upp till 5 millimeter med största sannolikhet passerar vårtmatsmältningssystem vid konsumtion, finns det ändå risker då tillsatser iplastpolymererna kan vara hormonstörande och cancerogena.

108f. / Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2013-08-29T19:26:25Z No. of bitstreams: 1 Dissertacao_Breno_da_Silva_Carvalho.pdf: 9227353 bytes, checksum: 23c2e4e1918c56847d9098797fe207b3 (MD5) / Approved for entry into archive by Ana Portela(anapoli@ufba.br) on 2013-09-02T17:07:54Z (GMT) No. of bitstreams: 1 Dissertacao_Breno_da_Silva_Carvalho.pdf: 9227353 bytes, checksum: 23c2e4e1918c56847d9098797fe207b3 (MD5) / Made available in DSpace on 2013-09-02T17:07:54Z (GMT). No. of bitstreams: 1 Dissertacao_Breno_da_Silva_Carvalho.pdf: 9227353 bytes, checksum: 23c2e4e1918c56847d9098797fe207b3 (MD5) Previous issue date: 2010 / CAPES / Na presente dissertação, analiso as formas de consumo do equipamento náutico Bahia Marina, situado em Salvador/Bahia, a fim de compreender o uso social que os distintos grupos de consumidores – constituídos por locatários de vagas para embarcação, clientes dos restaurantes e públicos das festas de verão e de música eletrônica – realizam deste espaço. Assim, considero o lazer como atividade mediadora e integrada ao consumo, sendo ambos responsáveis e contribuintes para a construção da autoimagem do ator social moderno, o qual compreende a existência de espaços prévios e nítidos para sua ocupação em cada um dos estratos sociais. A Bahia Marina, por sua vez, reposiciona este sujeito frente à sua rede social, permitindo que ambos – coletivo e indivíduo – renegociem suas normas internas e seus campos de socialização, legitimando a autoimagem construída e permitindo que este indíviduo venha a ser mediante o outro. In this dissertation, I examine critically the consumption at the Bahia Marina’s place, located in the city of Salvador, Bahia State, Brasil, to understand the social use that different consumer groups – such as the renters of ship lots, restaurant goers and the summer parties goers, as well as the people who attend to the electronic music parties – do at this area. Therefore, I assume that the amusement is an activity at the same time intermediary and integrated to the consumption, being both responsible and contribuitive to the construction of the modern social actor’s self-image, who is aware of the existence of clear and predesigned spaces to his occupation in each and every social stratus. The Bahia Marina, by its side, relocates this subject to its social network, allowing both – collectively and individually – renegotiate their intern rules and its socialization fields, legitimating the built self-image and allowing this individual being to become a being through the other. / Salvador

Recientemente los macroinvertebrados acuáticos han tomado un papel importante en el monitoreo de la calidad de agua, pero para su correcto uso es importante conocer su variabilidad natural en quebradas prístinas puesto que esta información puede servir de comparación con quebradas en situación de impacto. Las quebradas Chicucha y Ccollpahuaycco ubicadas en la localidad de Chontaca (Ayacucho, Perú) fueron estudiadas con el objetivo de determinar la diversidad, variación espacio-temporal y caracterizar los gremios tróficos de los macroinvertebrados presentes en ambas quebradas. Se realizaron 4 campañas de muestreo desde setiembre del 2016 hasta julio del 2017, los muestreos fueron realizados en los microhábitats grava, piedra mediana, roca, poza y restos de vegetación retenidos en la corriente. En total se recolectaron 18340 individuos distribuidos en 9 órdenes, 24 familias y 34 géneros, siendo el orden Diptera el más abundante y de mayor riqueza específica con 9 familias y 19 géneros. A nivel espacial la mayor riqueza y abundancia en la quebrada Chicucha (3616 msnm) fue registrada en el microhábitat piedra mediana, mientras que en la quebrada Ccollpahuaycco (3194 msnm) la mayor riqueza se registró en el microhábitat restos de vegetación y la mayor abundancia en el microhábitat poza. A nivel temporal en ambas quebradas, la mayor riqueza y abundancia se presentaron en la época seca (julio y setiembre). El factor temporal predominó sobre el espacial en determinar la estructura de la comunidad, siendo los meses de setiembre y julio los meses de mayor estabilidad ambiental en ambas quebradas. La determinación de los gremios tróficos en los géneros más importantes mostró que la principal fuente de alimento utilizada es el detrito fino, lo que determinó que el gremio trófico detritívoro sea predominante. / Tesis

x, 147 p. A print copy of this title is available from the UO Libraries, under the call number: KNIGHT PR6053.A6944 Z75 2008 / This study explores and demonstrates how Marina Can uses Irish folktale motifs in her plays to bring the audience to a state of mind where they viscerally, as opposed to intellectually, engage with Ireland's search for a cultural post-colonial identity. The analysis of Carr's works focuses on four of her post- Mai plays: The Mai, Portia Coughlan, By the Bog of Cats, and On Raftery's Hill. The focus is on the connection between these plays and Irish folklore, and explores Carr's use of folklore motifs within her plays. The analysis uses the folkloristic research approach, which classifies items or stories in the folktales by identifying distinguishing characteristics or specific items within a tale genre. The indices used in the analysis are Aarne-Thompson Index, Tom-Peete Cross's Motif-index of Early Irish Literature, and Sean O'Sullivan's Motif-Index of Irish Folklore. The plays were searched for motifs that correspond with those of the folktale motifs, and were then compared with these found in the indices. A second analysis showed that, within these four plays, Marina Carr mainly uses Irish folktales from before England's colonization. She modifies the folktales within her plays, specifically around the issue of agency for her female protagonists. The concluding chapter offers a Jungian explanation of Carr's use of these folktales as a means to engage the Irish national discussion of the development of a cultural identity. / Adviser: John Watson

A presente pesquisa é dedicada à análise de representações do tempo sob a forma de imagens que integram obras contemporâneas, realizadas em fotografia e vídeo. Neste contexto, são investigadas as relações históricas, conceituais e formais presentes nas imagens e a sua participação nos processos artísticos examinados. Em particular, são analisadas a participação da temporalidade e da duração nas obras das artistas brasileiras, Marina Camargo e Patricia Gouvêa, e os desdobramentos que seus trabalhos podem suscitar às experiências estéticas sobre tempo. / This research is dedicated to the analysis of representations of time under the form of images that integrate contemporary works of art performed in photography and video. In this context, the historical, conceptual and formal relations shown in images and their role in artistic processes are investigated. In particular, the presence of temporality and its duration in the works of art of the Brazilian artists Marina Camargo and Patricia Gouvêa are analyzed, as well as the ramifications that those works can raise to aesthetic experiences of time.

Essa dissertação tem como objetivo a leitura comparativa dos contos de fadas da escritora inglesa Angela Carter, contidos no livro O quarto do Barba Azul, e os da ítalo-brasileira Marina Colasanti, presentes em livros como Uma ideia toda azul, Entre a rosa e a espada, Doze reis e a moça no labirinto do vento. Foram analisadas os modos pelo quais as duas autoras, através da reescrita dos contos de fadas, resistem a morte do narrador tradicional descrita por Walter Benjamin e criticam a sociedade patriarcal, revelando, naturalmente, uma postura feminista. Identificou-se, ainda, como estratégias poéticas comuns à escrita de ambas as autoras, aspectos intertextuais como a paródia, o palimpsesto e o pastiche / This dissertation aims to comparative reading of fairy tales English writer Angela Carter, in the book The Bloody chamber, and the Italian-Brazilian Marina Colasanti, present in books like Uma ideia toda azul, Entre a espada e a rosa , Doze reis e a moça no labirinto do vento. We analyze how these authors resist the death of the storyteller described by Walter Benjamin and criticize the patriarchal society, revealing, of course, a feminist stance. Identified also as poetic strategies common to the writing of both authors, intertextual aspects such as parody, pastiche and the palimpsest

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-03-06Bitstream added on 2014-06-13T19:53:06Z : No. of bitstreams: 1 medeiros_nm_me_arafcl.pdf: 599832 bytes, checksum: 806c08e9155c9fae9c15d162d4296541 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Secretaria de Educação / A presente dissertação fará a análise dos contos de fadas de Marina Colasanti, “A primeira só” e “Além do Bastidor” do livro Uma Idéia Toda Azul (2006), “A moça tecelã” e “A mulher ramada” do livro Doze Reis e a Moça no Labirinto do Vento (2000), “Entre a espada e a rosa” que está no livro de mesmo nome (1992), a fim de explicitar as estratégias de linguagem do universo literário da autora. A partir do corpus percebe-se que o discurso, nas narrativas da autora, realiza um diálogo com outros discursos oriundos da memória cultural, das narrativas clássicas e dos contos populares tradicionais. As vozes na narrativa da autora, ora marcam encontros ora marcam confrontos discursivos, inscrevendo o caráter saudosista e ao mesmo tempo subversivo a partir do enunciado e da enunciação.Tal estratégia enunciativa desvela o aspecto político que se vela no seu contar poético. Considerando tais aspectos, esta pesquisa tem como objetivo o estudo da enunciação interdiscursiva a fim de evidenciar como o discurso poético de Marina Colasanti se desvela num discurso político que abriga a ambigüidade dos gêneros literários e humanos. Para isso, propomos o questionamento da origem do conto de fadas a fim de mostrar como este gênero nasce ao lado da poesia, abriga o acervo da memória cultural e revela-se como tecido de posicionamentos ideológicos, bem como de busca existencial. E a fim de trilhar um percurso seguro, procuramos apoiar o trabalho na semiótica greimasiana, no dialogismo de Bakhtin e na análise do discurso de linha francesa para ouvir as vozes que se encontram e/ou confrontam nos contos selecionados. / The following dissertation is about an analysis of Marina Colasanti´s fairy tales, “A primeira só” and “Além do Bastidor” from the book “ Uma Idéia Toda Azul (2006), “A Moça Tecelã” e “A Mulher Ramada” from the book “Doze Reis” and the “Moça no Labirinto do Vento” (2000), “Entre a Espada e a Rosa” which book has the same name (1992), intending to express the language strategies from the author’s literary universe. From the “corpus” it’s known that the speech – in the author’s narrative – shows a dialogue with other speeches originated in cultural memory, from classical narratives and from traditional popular tales. The voices in the narrative, show discursive encounters in one moment and the next discursive confrontations, inscribing the nostalgic nature and at the same time subversive from the statement and the enunciation. Such strategy reveals the political aspect shown in her poetical way of telling a story. Considering these aspects, this research focus on the study of the speech enunciation and highlight how Marina Colasanti’s poetical speech turns into a political speech which holds the literary and human genres ambiguousness. To do so, we recommend the discussion about the fairy tales origin, to show that this genre is born beside poetry, holds the cultural memory acquis and reveals itself as created of ideological posture, as well an existential search. And, to walk a safe path, we try to support the Greimasian semiotics, in Bakthin’s dialogism and the analysis of the French to hear the voices that encounter and/or confront among each other in the selected tales.

The aim of this research was to assess three hierarchical aspects of alga-grazer interactions in intertidal communities on a small scale: spatial heterogeneity, grazing effects and spatial stability in grazing effects. First, using semivariograms and cross-semivariograms I observed hierarchical spatial patterns in most algal groups and in grazers. However, these patterns varied with the level on the shore and between shores, suggesting that either human exploitation or wave exposure can be a source of variability. Second, grazing effects were studied using manipulative experiments at different levels on the shore. These revealed significant effects of grazing on the low shore and in tidal pools. Additionally, using a transect of grazer exclusions across the shore, I observed unexpected hierarchical patchiness in the strength of grazing, rather than zonation in its effects. This patchiness varied in time due to different biotic and abiotic factors. In a separate experiment, the effect of mesograzers effects were studied in the upper eulittoral zone under four conditions: burnt open rock (BOR), burnt pools (Bpool), non-burnt open rock (NBOR) and non-burnt pools (NBpool). Additionally, I tested spatial stability in the effects of grazing in consecutive years, using the same plots. I observed great spatial variability in the effects of grazing, but this variability was spatially stable in Bpools and NBOR, meaning deterministic and significant grazing effects in consecutive years on the same plots. Both the significance in grazing effects and spatial stability depended on the level of resolution (species, functional, biomass) at which the algal assemblage was evaluated, suggesting hierarchical variability. In order to be able to predict spatial variability in the effects of grazers in the upper eulittoral zone using biotic and abiotic micro- and macrofactors, a conceptual model was proposed, based on data from several multiple-regressions. This linked the interactions among three elements: idiosyncratic heterogeneity, micro and macrofactors. This suggests that spatial variability can be a product of these factors, while spatial stability can be caused by the same or different combinations of factors. In conclusion, grazing and other ecological phenomena must be studied hierarchically, not only through spatiotemporal scales, but also at different levels of resolution, as these also influence our perception of patterns.