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No. of bitstreams: 1 carvalho_alr_dr_bot.pdf: 1510567 bytes, checksum: 016ef353508cc1d168cdef1d8cf5cea3 (MD5) Previous issue date: 2016-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Justificativa e Objetivos: a diferença na incidência de eventos adversos perioperatórios (EAPs) entre tubo traqueal (TT), máscara laríngea (ML) e máscara facial (MF) ainda é questão controversa no tocante à anestesia em crianças com infecção de vias aéreas superiores (IVAS). O objetivo desta revisão sistemática foi comparar o risco de EAPs entre os dispositivos de via aérea após anestesia em pacientes pediátricos com IVAS. Métodos: foi conduzida revisão sistemática de acordo com as recomendações da Colaboração Cochrane e declaração PRISMA. A estratégia de busca foi realizada nas principais bases de dados eletrônicas (PubMed, EMBASE, Cochrane CENTRAL, Lilacs, Scielo, Scopus e Web of Science) e a última pesquisa foi realizada em 30 de junho de 2015. Não houve restrições quanto a idioma, data, revista ou publicação. Foram incluídos somente estudos avaliando EAPs em pacientes com IVAS submetidos à anestesia e cujas vias aéreas tenham sido manejadas com MF, ML ou TT. Dados de cada ensaio clínico randomizado (ECR) foram combinados utilizando o modelo de efeito randômico para cálculo do risco relativo (RR). Resultados: dos 680 estudos identificados, 5 eram ECRs e foram incluídos na análise final. Não houve diferença estatisticamente significante entre os diferentes dispositivos estudados com relação a broncoespasmo (RR 0,47, IC 95% 0,04-6,25, p=0,57), laringoespasmo (RR 0,84, IC 95% 0,56-1,27, p=0,41), dessaturação arterial de oxigênio (RR 0,66, IC 95% 0,38-1,16, p=0,15), apneia (RR 0,91, IC 95% 0,49-1,67, p=0,75), dor de garganta (RR 0,87, IC 95% 0,39-1,96, p=0,74) e taxa de readmissão hospitalar (RR 0,76, IC 95% 0,17-3,33, p=0,71). O uso de ML resultou em significante redução da incidência de tosse (RR 0,63, IC 95% 0,45-0,89, p=0,009) comparado aos outros dispositivos de via aérea. Notou-se, também, tendência à redução da incidência de vômito com o uso da ML quando comparado ao TT e MF, embora sem significância estatística (RR 0,57, IC 95% 0,33-1,00, p=0,05). Conclusões: o manejo ideal das vias aéreas em crianças com IVAS permanece incerto. Esta revisão sistemática demonstra que o uso da ML durante anestesia em crianças com IVAS não resultou na diminuição dos mais temidos EAPs. Entretanto, o uso da ML foi mais eficaz em reduzir a incidência de tosse comparado aos outros dispositivos de via aérea. Além disso, houve tendência da ML em reduzir a incidência de vômito. / Background: rate of perioperative adverse events (PAEs) among tracheal tube (TT), laryngeal mask airway (LMA), and facemask (FM) remains a controversial issue during anesthesia in children with an upper respiratory tract infection (URTI). The aim of the present study was to compare the risk of PAEs among the different airway devices after anesthesia in pediatric patients with an URTI. Methods: a systematic review according to the Cochrane Handbook and PRISMA guidelines was conducted. The search was performed in the main electronic databases (PubMed, EMBASE, Cochrane CENTRAL, Lilacs, Scielo, Scopus and Web of Science) and the last one was carried out in June 30, 2015. There were no language, year of publication, or publication status restriction. Only randomized clinical trial evaluating anesthesia in children with URTI and who were submitted to either of the airway devices were included. Data from each trial was combined using the random effects models to calculate the pooled relative risk (RR) and 95% confidence intervals. Results: from 680 studies identified, 5 randomized clinical trials were included in the final analysis. There were no statistical difference with regard to bronchospasm (RR 0.47, CI 95% 0.04-6.25, p=0.57), laryngospasm (RR 0.84, CI 95% 0.56-1.27, p=0.41), arterial oxygen desaturation (RR 0.66, CI 95% 0.38-1.16, p=0.15), apnea or breath holding (RR 0.91, CI 95% 0.49-1.67, p=0.75), sore throat (RR 0.87, CI 95% 0.39-1.96, p=0.74), and hospital readmission (RR 0.76, CI 95% 0.17-3.33, p=0.71). The use of LMA produced a significant reduction of cough (RR 0.63, CI 95% 0.45- 0.89, p=0.009) compared with other airway devices. Also, LMA tended toward a reduction of vomiting compared with other forms of airway management but did not reach statistical significance (RR 0.57, CI 95% 0.33-1.00, p=0.05). Conclusions: the ideal airway management in children with URTI remains obscure. This systematic review demonstrates that the use of LMA during anesthesia for surgery in children with URTI did not result in decrease of the most feared PAEs. However, the use of LMA was better than other airway devices in reducing cough and tended toward a protective effect against vomiting.

Made available in DSpace on 2015-05-14T12:09:47Z (GMT). No. of bitstreams: 1 parte1.pdf: 2882635 bytes, checksum: dafad94be8cc6806663fad3a0017cf4c (MD5) Previous issue date: 2007-03-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research determines and verifies the efficiency of obstructed sky angles due to occupation of the actual area and those related to three other settlements suggested by Peregrino (2005) to a segment of the districts of Cabo Branco and Tambaú on João Pessoa PB. We used the methodology developed by Pereira (1994), based in the scheduled balanced radiation of Aroztegui (1980) and softwares to calculate direct and diffuse radiations together with masks of solar blockage. The research concluded that the law used to conduct the settlement of urban areas of the city of João Pessoa is totally mistaken in relation to the obstructed sky angles because they not only compromise the intra-urban ventilation but significantly rise the local temperature due to prolonged exposition of vertical and horizontal surfaces located in the urban area. / O presente trabalho determina e verifica a eficiência dos ângulos de céu obstruídos decorrentes da ocupação atual do solo e os relativos aos adensamentos propostos por Peregrino (2005) para um trecho dos bairros de Cabo Branco e Tambaú, João Pessoa PB, utilizando-se da metodologia desenvolvida por Pereira (1994), com base no método das radiações ponderadas horárias de Aroztegui (1980), além de softwares para cálculo das radiações diretas e difusas e para a confecção de máscaras de obstrução solar. A pesquisa concluiu que a Lei que rege a ocupação do solo urbano da cidade de João Pessoa está totalmente equivocada no que se refere aos ângulos de céu obstruídos, que não só comprometem à ventilação intra-urbana, mas notadamente os níveis de temperatura locais pela exposição prolongada das superfícies verticais e horizontais na malha urbana da cidade.

Esta dissertação examina as formas como três instâncias se embaraçam na arte de Oscar Wilde: a pessoa, o autor e a obra. O objetivo da pesquisa é compreender como se dá o processo criativo desse escritor, cujas peças levitam entre o irreverente e o polêmico. O humor refinado e a sagacidade na análise do trato social, traços marcantes no estilo de Wilde, são aqui aproximados à habilidade demonstrada tanto pelo autor quanto por seus personagens de se adaptarem a diferentes circunstâncias através do uso de máscaras, ou personas, que lhes possibilitam contornar situações intrincadas. Apoio-me no pensamento de Carl Gustav Jung para as teorizações sobre o conceito de máscara. O trabalho se constrói em três capítulos, nos quais são analisados aspectos e circunstâncias da vida do autor que contribuem para forjar seu estilo único, e que se refletem nas obras por ele criadas. O primeiro capítulo trata sobre a pessoa de Oscar Fingal O’Flahertie Wills Wilde, e os movimentos que empreendeu para que sua personalidade forte e o rígido ambiente vitoriano em que vivia pudessem aos poucos se harmonizar. Abordo as formas como a sociedade em que cresceu o afetou, apontando aspectos em que ele também a influenciou em retrospecto. Ao longo desse processo, Wilde criou as máscaras que utilizaria, durante a vida, para transitar da maneira desejada entre os diversos grupos com que se relacionou. O segundo e o terceiro capítulos apresentam o autor Oscar Wilde e a sequência de diferentes tipos de obras por ele criadas, avaliando de que formas as circunstâncias da vida da pessoa se consolidaram formando o estilo do autor. Além da estética de Wilde, também é considerada a recepção de sua obra pelo público contemporâneo a ele. No segundo capítulo apresento os conceitos de máscara e de sombra, e como se refletem em sua obra e em sua vida pessoal. Ali são examinadas as primeiras tragédias e, a seguir, as obras que o tornaram um autor polêmico na Inglaterra Vitoriana: “The Portrait of Mr. W. H” e The Picture of Dorian Gray. No terceiro capítulo comento seu momento mais prestigiado, o da produção das comédias sociais, bem como o momento mais sombrio, o das obras escritas durante os anos de prisão, nos últimos anos de sua vida. Ainda discuto, no terceiro capítulo, o legado deixado por Wilde, comentando como as mudanças sociais levaram a uma nova recepção de suas obras, e como essas obras continuam relevantes tendo-se passado um século de sua criação. Nas considerações finais, reitero o propósito da pesquisa, que é contribuir com uma leitura sobre o estilo do grande escritor, com base na análise das relações que se deram entre esse irlandês excêntrico e a inclemente sociedade Vitoriana em que viveu. / This dissertation examines how three strings tangle together in Oscar Wilde’s art: the person, the author and his literary works. The goal of this research is to understand the creative process of this author, whose plays go from irreverent to polemic. The polished humor and wit applied in his analysis of social behavior, trademarks in Wilde’s writing style, approximate the ability shown by the author, as well as by his characters, to adapt to different circumstances through the use of masks, or personas, that enable them to escape intricate situations. The concept of mask is supported on Carl Gustav Jung’s theory. This paper is constructed in three chapters, in which it is analyzed aspects and circumstances of the author’s life that contributed to his unique writing style and is reflected on his literary works. The first chapter deals with the person Oscar Fingal O’Flahertie Wills Wilde, and the movements that he partook in so that his strong personality and the strict Victorian environment could harmonize themselves in his life. This paper approaches the ways the society he was brought up into affected him, pointing out aspects in which he affected this society in return. Throughout this process Wilde created many masks that he would use his whole life to be able to navigate through different groups he was related to however he wished. The second and third chapters present the author Oscar Wilde and the sequence of different literary works written by him, evaluating how the circumstances in his personal life shaped him, creating the author’s writing style. Not only this paper considers the Aesthete in Wilde, but also the reception of his works by the public that was contemporary to him. In the second chapter it is presented the concepts of mask and shadow, and how they reflect on Wilde’s work and personal life. It is also examined his first tragedies and the literary works that made him become a polemic author in Victorian England: “The Portrait of Mr. W. H.” and The Picture of Dorian Gray. In the third chapter it is mentioned the brightest moments in his career, his comedies of society, as well as his soberest, with the work he wrote in prison and in the last few years of his life. Still in the third chapter, it is discussed the legacy left by Wilde, commenting on the social changes that led to a new reception of his works, as they continue to be relevant even a century after their creation. On my final considerations, I reiterate the goal of this research, which is to contribute with a reading on the style of this great writer, based on the analysis of the relation between this eccentric Irish man and the unmerciful Victorian society that he lived in.

[pt] Nesta dissertação de mestrado, nós desenvolvemos um processo de litografia baseado na técnica de microscopia de força atômica. O estudo do processo de litografia aqui utilizado inicia-se com a deposição e caracterização de filmes finos de sulfeto de arsênio amorfo (a-As2S3) em substratos de silício e a deposição de uma camada metálica de alumínio, utilizada como máscara, sobre a superfície do a-As2S3. O microscópio de força atômica é utilizado para escrever os padrões de forma controlada na camada metálica, e para tal, a influencia dos parâmetros de controle do microscópio na realização da litografia foi analisada. Para a transferência do padrão litografado realiza-se um posterior processo de fotossensibilização e dissolução química do a-As2S3 com uma solução de K2CO3. Após a dissolução, uma camada de ouro foi depositada por erosão catódica DC, seguido de uma nova dissolução, desta vez com NaOH resultando na transferência de nanoestruturas de Au para o substrato de silício. / [en] In this dissertation, we have developed a lithography process based on the atomic force microscopy of technique. The study of the lithography process starts with the deposition and characterization of amorphous arsenic sulfide thin films (a-As2S3) in silicon substrates and the deposition of a metallic aluminum layer, used as mask, on the surface of the a-As2S3. An atomic force microscope was used to write patterns in a controlled way on the metallic layer. Therefore, the influence of microscope feedback system on the accomplishment of the lithography was analyzed. In order to transfer the lithographed pattern to a silicon substrate, the a- As2S3 was exposed to a UV light source and was dissolved with a K2CO3 solution. Then, a thin gold layer was deposited by sputtering DC, and a new dissolution, now with NaOH was performed, leading to the deposition of Au nanostructures onto the silicon substrate.

Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne Venegas. / Far from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas.

Il y aurait interaction constante entre théâtre comique, masque et pouvoir que nous examinons à travers une lecture intertextuelle et comparative des pièces françaises, francophones et égyptiennes des XIXe et XXe siècles, en mettant l’accent sur les techniques de camouflage et leurs objectifs, témoins d’une continuité entre les cultures. Nous démontrons que la distanciation, bien que rattachée au monde sérieux de la dramaturgie brechtienne, excelle surtout dans le théâtre comique du masque. Ce projet comporte en fait trois parties. Dans une première partie, nous passons en revue dans le premier chapitre les métamorphoses du masque avec ses procédés en arrimant théâtre comique et notion du pouvoir. Nous posons ensuite dans un second chapitre l’assise théorique et méthodologique qui sert de base à notre étude, en abordant le théâtre du masque comme un procédé dramaturgique de distanciation. Nous examinons premièrement la distanciation à travers les zones du texte (didascalies, prologue, spectacle enchâssé), où le théâtre se dit comme tel. Nous consacrons la deuxième partie à l’exploration de tous les procédés d’étrangéisation employés par les dramaturges en vue de distancier le personnage portant le masque du pouvoir, en mettant en lumière son caractère bouffon et carnavalesque. Le travestissement sous ses divers aspects impose un rapport de forces entre les personnages qui se manifeste à travers l’échange verbal et non verbal derrière le masque ainsi que l’espace et la temporalité, et constitue un vecteur de distanciation, comme on le voit dans la troisième partie. Le cadre spatio-temporel, étant le support d’un jeu de faire-semblant, enracine la relation de domination occasionnée par le masque. Du fictif se dégage une image du réel. / There would be constant interaction between comic theater, mask, and power that we examine through a comparative and intertextual reading of French francophone, and egyptian plays from the nineteenth and twentieth centuries; focusing on the techniques of camouflage and their targets, which affirm continuity between cultures. We show that “distanciation”, although attached to the serious world of Brechtian dramaturgy, excels in the comic theater of the mask. This project comprises of three parts. In the first chapter of the initial part, we review the metamorphoses of the mask with its processes, by matching comic theater and concept of power. Then we put in a second chapter ,the theoretical basis and methodology, used as the basis for our study; addressing the theater of the mask as a dramatic process of “distanciation”. Firstly we examine the distance through the zones of the text (stage directions, prologue, & embedded shows), where the theater is presented alike. We devote the second part to the exploration of all the processes employed by the playwrights, in order to distance the character wearing the mask of power, highlighting its comic and carnivalesque aspects. The travesty in its various facets imposes a balance of power (relationship of power) between the characters. Which is manifested through verbal and non verbal exchange behind the mask ,space, and time which are vectors of distanciation (as seen in the third part). The spatio-temporal framework, being the holder of a game of make-believe, rooted the relationship of domination caused by the mask. The fictitious emerges an image of reality.

Le travail présenté dans ce mémoire consiste à adapter la méthode de corrélation d'images numériques (CIN) pour la gestion des discontinuités du milieu et de la transformation. Le cadre d'utilisation des méthodes optiques de mesure i.e. celui de la mécanique des milieux continus, impose une continuité matérielle : i) du domaine et ii) de la transformation. Pour traiter les discontinuités en question, on peut reconsidérer la continuité (milieu et transformation) par morceaux. Dans le cadre de la CIN, cela se traduit par la possibilité d'adapter localement la forme et la taille des fenêtres de corrélation à la zone d'intérêt et à sa cinématique. Pour ce faire, il est possible d'utiliser des masques : un masque-objet pour traiter les discontinuités du milieu et un masque-discontinuité pour traiter les discontinuités de la transformation. Cependant, avant l'implémentation des masques dans la procédure de corrélation, plusieurs essais expérimentaux de déplacement sur des modèles comportant les deux types de discontinuité, ont été conduits. Ces essais ont permis de prouver l'influence des discontinuités sur la dégradation de la précision de mesure par CIN. Ensuite, des essais de traction ont été menés sur une éprouvette en polycarbonate conduisant à un mode I d'ouverture ou de fermeture de fissure. Après l'implémentation des masques dans le logiciel de corrélation Correla, le calcul des champs de déplacement et de déformation a été opéré avec succès à la surface de cette éprouvette, démontrant ainsi l'efficacité de la CIN adaptée. / The development of the digital image correlation method (DIC) for the management of discontinuities of the material and the transformation is discussed in this thesis. As we know, the framework for the use of the optical measurement methods i.e. of continuum mechanics requires a continuity of: i) domain and ii) transformation. To treat those discontinuities, we can consider a piecewise continuity (material and transformation). In the case of DIC method, this can be done by adapting locally the shape and size of the correlation subsets to the zone of interest and its kinematics. A novel way to do it, is by using masks: an object mask to process material discontinuities and a discontinuity mask to process transformation discontinuities. However before the implementation of masks in the correlation process, several experimental displacement tests on models reproducing the two types of discontinuity at small scale were performed. Those tests proved the influence of discontinuities on the degradation of the measurement accuracy by DIC. Then, tensile tests were conducted on a polycarbonate made specimen knowing a mode I opening or closing crack. After implementing masks in the correlation software Correla, the calculation of displacement and deformation fields was successfully performed on the surface of this specimen for all its edges, demonstrating the effectiveness of the adapted DIC.

The raising of beauty awareness and increasing growth of optimistic view on market. In order to enter the market and position the brand precisely, it is important for cosmetics and skin care products were the trend in Taiwan in the last 5 years. As growing demand for consuming face mask become the trend, manufactures and brands have an entrepreneur to understand and analyze the consumer behavior, characteristics and market status of face mask in Taiwan. The purpose of this study is to understand the features of creating a new face mask brand in Taiwan and predict the overall operation, brand positioning and financial performance. For research and develop of Resplendissance face mask with natural ingredients and vacuum packaging, the price positioning at medium-premium level to target office lady, female in labor force and teenagers. The performance of Resplendissance financial statement for five years, the great investment on promoting the product on drug store and social media channels by bloggers and youtubers results serious financial problem of generating negative profit totally NTD$1,321,200 in the beginning of four years. Assuming growth rate of sell quantity increasingly by 40%~50% every year because of continuously promoting on social media channels to attract Taiwanese and foreign countries in Asia, then net profit will finally reach to positive NTD$ 149,220 in fifth year and generate positive profit in the following years.

Three works by Tippett stand together among his compositions because of their similarity of subject and performance medium. All are large works for soloists, chorus and orchestra, on meditative librettos, and intended for unstaged presentation. Only A Child of Our Time is given the genre designation "oratorio" by Tippett. An in-depth analysis of these works and the model for A Child of Our Time, Handel's Messiah, reveals that though they neither present religious subjects nor, in the case of The Vision of Saint Augustine and The Mask of Time, exhibit traditional formal divisions associated with oratorio, Tippett's works do indeed belong to the oratorio repertoire of the twentieth century.

Dans le cadre de ce doctorat sur la représentation des bijoux féminins dans les portraits de l’Égypte romaine, les recherches se concentraient sur les « portraits du Fayoum » et masques funéraires des trois premiers siècles après J.-C.Bien que les masques funéraires et les portraits du Fayoum aient été le sujet de plusieurs publications pendant ces dernières années, il nous manquait encore une étude détaillée sur les bijoux féminins qui s’inspiraient presque exclusivement de la mode romaine. Une classification chronologique de ces portraits, mais aussi des masques funéraires, pouvait être obtenue par les coiffures féminines. Par conséquence, la distinction des portraits par époque nous permettait d’identifier les changements dans la mode des bijoux pendant les trois premiers siècles après J.-C., en donnant aux archéologues la possibilité de classifier encore mieux certains types de bijoux qui sont découverts pendant des fouilles ou sur le marché de l’art. Dans le cadre ce cette étude, les diverses représentations de bijoux, en provenance d’autres provinces romaines mais aussi des originaux, appartenant à des trésors et à des tombes datés étaient également consultés. L’application de nos résultats à d’autres contextes géographiques est toujours légitime, car les mêmes principaux types de bijoux étaient utilisés dans tout l’empire romain.Grâce à toutes ces données, il était possible de reconstruire les différents aspects de la mode des bijoux pour les différentes dynasties impériales pendant les trois premiers siècles après J.-C. / This particular PhD research project focuses on the representation of jewellery on “Fayum portraits” and mummy masks from Roman Egypt. Even though Roman mummy masks and the so called “Fayum portraits” have been the subject of numerous research in recent years, a detailed study on the individuals’ jewellery is still missing up to this date. This is particularly regrettable because females on these portraits are almost exclusively wearing Roman-type jewellery. A chronological order that includes a precise dating must be obtained by the female hairstyles that have been influenced by Roman fashion dispersed in the Roman Empire through representations in form of busts, coins and paintings of the Empresses and members of the imperial families. Consequently, this chronological order allows us to identify the various changes in the jewellery fashion throughout the imperial dynasties of the first three centuries A.D. A goal of the chronological classification of jewellery in the art of Roman Egypt is to help future researchers to date jewellery more precisely, in particular – which is quite common for jewellery - when their provenance is unknown or imprecise. The results will be complemented by representations of jewellery in art from other regions of the Empire but also by actual dated finds. Finally, all these factors will help to obtain a better understanding of Roman jewellery fashion, its distribution and even more which types were “à la mode” at what particular time.