Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-10-20T20:16:39Z No. of bitstreams: 2 Tese - Rosilandes Cândida Martins - 2016.pdf: 8552030 bytes, checksum: 37e9e6dc2b1179401050c043e21d6442 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-08T18:39:48Z (GMT) No. of bitstreams: 2 Tese - Rosilandes Cândida Martins - 2016.pdf: 8552030 bytes, checksum: 37e9e6dc2b1179401050c043e21d6442 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-08T18:39:48Z (GMT). No. of bitstreams: 2 Tese - Rosilandes Cândida Martins - 2016.pdf: 8552030 bytes, checksum: 37e9e6dc2b1179401050c043e21d6442 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-03-18 / Theatricality, Montage and Performance in the Art of Ana Maria Pacheco scrutinizes the visual work of the plastic artist as a main visual body analysis on the series of ten paintings entitled In Illo Tempore I-X (1994), elaborated in the 90 ́s. The approach of this work is that the art of Ana Maria Pacheco (1943) is an intervallic montage of multiple temporalities, and under this perspective, we are headed to assume that the artist reinterprets the cultural-historical universe of her environment of origin and formation relating it dynamically and diversely in her visual work. It also investigates the theatricality inherent in the artist ́s visual work, elaborated through the intervallic and anachronistic montage of the culture, from which a potential performance on images derives to the reception of viewers eyes. The methodology used in this work is a combination of bibliographical research and image analysis starting from the process “constellation and work table” (Didi- Huberman, 2013), which consists in entangling a collection of affinities and relationship between the images themselves. The main concepts approached in this work are the notions of “montage” (Didi-Huberman, 2013), “theatricality” (Féral, 2011), “geopoetics” (Lowenthal, 1982) and “performance and reception” (Zumthor, 2007). / Teatralidade, Montagem e Performance na Arte de Ana Maria Pacheco investiga a obra visual da artista plástica tendo como principal corpo visual de análise a série de dez pinturas intitulada In Illo Tempore I-X (1994), elaborada na década de 90. A abordagem deste trabalho é a de que a arte de Ana Maria Pacheco (1943) é uma montagem intervalar de múltiplas temporalidades e, sob essa perspectiva, parte-se do princípio de que a artista reinterpreta o universo histórico-cultural de seu ambiente de origem e formação e o relaciona de maneira dinâmica e diversa em sua obra visual. Investiga-se a teatralidade presente na arte visual da artista, elaborada por meio da montagem intervalar e anacrônica da cultura, da qual decorre uma potencial performance nas imagens para a recepção do olhar do espectador. A metodologia utilizada neste trabalho é uma combinação de pesquisa bibliográfica e análise de imagens a partir do processo de “constelação e mesa de trabalho” (Didi-Huberman, 2013), que consiste em intrincar uma rede de afinidades e relacionamentos das imagens entre si. Os conceitos principais abordados neste trabalho são as noções de “montagem” (Didi-Huberman, 2013), “teatralidade” (Féral, 2011), “geopoética” (Lowenthal, 1982) e “performance e recepção” (Zumthor, 2007).

Made available in DSpace on 2016-04-18T21:31:39Z (GMT). No. of bitstreams: 2 Joao Cesar Toledo Filho1.pdf: 3175346 bytes, checksum: 28e54d4df5c235ef9fef9915dd9b87a5 (MD5) Joao Cesar Toledo Filho2.pdf: 1705980 bytes, checksum: 2426080681dec447bafc88163240a7f0 (MD5) Previous issue date: 2008-02-15 / Fundo Mackenzie de Pesquisa / This project aims at narrowing the gap between the researcher of new technologies and the possibility of production of on-line knowledge, which is related to technological resources, hardware, structure of virtual content and the design of interfaces. This study is based on the methodology of project for digital environment, which is discussed and analyzed as fundamental stage in the development of the site:<www.webcultura.com.br>. So, Virtualisation brings about a discussion that concerns the production in the digital environment. It does not seek for answers concerning technology, but it proposes a search for broader and wider possibilities, concerning the way we think about the development of knowledge. The collective intelligence is an ongoing renovation, which might be relevant to any kind of language, what includes hypermedia. For those who intend to develop network knowledge, the largest challenge is dependent of an unity, which means to change the production of a hypermedia to montage and hybrid composition of materials properly selected, organized, indexed and remixed, translated into digital interfaces. Therefore, this piece of research tries not only to this discussion as well as propose new transformative innovating and critical pathway on new media. / O presente projeto pretende estreitar a distância entre o pesquisador de novas tecnologias e as possibilidades de produção de conhecimento on-line, relacionadas aos recursos interativos, ao suporte, à estruturação de conteúdo virtual e ao design de interfaces comunicacionais. O estudo foi baseado na metodologia de projeto para ambiente digital, na qual a montagem é arquitetada, discutida e analisada como etapa fundamental na produção do site: <www.webcultura.com.br>. A virtualização propõe a discussão sobre modelos de produção no ambiente digital e não visa a trazer respostas sobre tecnologia, mas sim a ampliar as possibilidades e a maneira como pensamos a produção cultural em rede. É a renovação constante pertinente a qualquer linguagem, incluindo a de hipermídia, que integra a ação do coletivo inteligente e conectado. A tecnologia mudou a forma de perceber e receber a narrativa, transformando a produção de uma hipermídia em montagem e composição híbrida de materiais devidamente selecionados, organizados, catalogados e remixados, traduzidos em interfaces interativas. Esta pesquisa objetiva aprofundar a discussão e propor novas orientações para uma crítica construtiva e inovadora sobre a construção do conhecimento no ambiente digital.

De 1993 a 2004, Walter Kempowski publicou uma série em dez volumes intitulada Das Echolot. Ein Kollektives Tagebuch. (A ecossonda. Um diário coletivo) Nessa obra, Kempowski procurou retratar alguns dos episódios principais da Segunda Guerra Mundial através da apresentação de documentos redigidos, em sua grande maioria, na época dos acontecimentos: diários, cartas, memórias, discursos ou programas de rádio. Esses documentos foram ordenados de acordo com o dia no qual foram escritos, compondo um grande diário coletivo que retrata os acontecimentos de uma perspectiva abrangente e multiforme. Nesta tese, o volume Barbarossa 41, que narra a invasão da URSS em 1941, foi tomado como exemplo para questionar o papel do autor nessa montagem monumental de citações que, à primeira vista, parece reduzir-se à organização formal dos documentos. Para analisar a forma como se estabelece o significado dos elementos organizados no livro observou-se 1) a própria estruturação do livro, 2) as citações de algumas das principais personagens, que podem ser consideradas como exemplares e 3) a sequência interna de dois dias completos do diário. As citações das personagens exemplares foram comparadas com os documentos originais de onde foram extraídas, buscando-se identificar as intenções que guiaram o autor na seleção e no recorte dos textos. O resultado dessa pesquisa indica que o papel do autor na constituição do sentido da narrativa nascida da conexão dos fragmentos é decisivo. Com uma outra seleção e um outro recorte, as personagens deixariam uma impressão diferente no leitor. Também foi confirmado que a organização específica do material criou um panorama da Segunda Guerra que se deve às intenções do autor, ainda que esse fato permaneça, em grande parte, despercebido pelo leitor. / From 1993 to 2004, Walter Kempowski published a sequence of ten books named Das Echolot. Ein Kollektives Tagebuch. (The Echo Sounder. A collective diary.) In these books, Kempowski aims to depict main episodes of the Second World War by presenting documents written mostly while the events took place: diaries, letters, memories, speeches or radio programs. Those documents were sorted according to the day they were written, and so they composed a great collective diary which depicts the events in a comprehensive and multifaceted perspective. In this thesis, the volume Barbarossa 41, which narrates the invasion of the USSR in 1941, was taken as an example to question the role of the author in this monumental montage of quotations that, at the first sight, seems to be just a formal organization of documents. In order to determinate how the meaning of the elements organized in the book gets established, the following items were observed: 1) the own structure of the book, 2) the quotations of some of the main figures that can be considered as exemplary and 3) the internal sequence in two whole days of the diary. The quotations of the exemplary characters were compared with the original documents, in order to identify the intentions that guided the author in the selection of the texts and the excerpts that would be published. The result of this research indicates that the role of the author in the constitution of the sense of the narrative which comes from the connection of the fragments is crucial. With another selection of texts and excerpts, the characters would leave a different impression on the reader; it was also confirmed that the specific organization of the material has created a panorama of the Second World War that is due to the intentions of the author, even if this fact remains mostly unnoticed by the reader.

En 1967, sous l’influence du jeune cinéma européen, Hollywood accède à son tour à la modernité : le « Vieil Hollywood » laisse place à un « Nouvel Hollywood ». Ce mouvement de renouvellement du cinéma américain, symboliquement inauguré par Bonnie and Clyde d’Arthur Penn et Le lauréat de Mike Nichols, est, explique-t-on, le fait d’une génération nouvelle de cinéastes, parmi lesquels, outre Penn et Nichols, Francis Ford Coppola, Brian De Palma, George Lucas, William Friedkin,Michael Cimino, Martin Scorsese, Robert Altman, Bob Rafelson, Hal Ashby... Il est aussi le fait d’une génération nouvelle de monteurs, qui, en complicité avec leurs réalisateurs, éprouvèrent de nouvelles formes d’expressivité esthétique et narrative, sans craindre de contrevenir aux règles conventionnelles instituées par leurs aînés ; parfois même en réaction contre ces règles. On peut notamment citer, parmi ces fidèles et précieux collaborateurs, Dede Allen, Walter Murch, Sam O’Steen, Verna Fields, Alan Heim, Paul Hirsch, Robert C. Jones, Richard Marks, ou encore Ralph Rosenblum. Nous veillons à déterminer, dans cette thèse, la part de responsabilité, tant collective qu’individuelle, de cette nouvelle génération de monteurs dans le mouvement de renouvellement esthétique du cinéma américain. Et, au-delà des personnes, d’apprécier ce style de montage néohollywoodien, d’évaluer son importance dans la constitution du style neuf des films américains des années 1970, de même que l’étendue de ses innovations. / In 1967, under the influence of European art films, Hollywood underwent important changes in the course of the 1960s : « Old Hollywood » was taken over by a « New Hollywood ». This process of renewal of American cinema, which has been symbolically launched by Arthur Penn’s Bonnie and Clyde and Mike Nichols’ The Graduate, is due, it has been said, to the arrival of a new – mostly film-school educated – generation of filmmakers, such as Francis Ford Coppola, Brian De Palma,George Lucas, William Friedkin, Michael Cimino, Martin Scorsese, Robert Altman, Bob Rafelson or Hal Ashby. It is also due to the arrival of a new generation of film editors who did not fear to challenge the doctrine of classical Hollywood editing and break the established rules in order to take a chance and try new ways of telling a story. These films editors are, amongst others, Dede Allen, Walter Murch, Sam O’Steen, Verna Fields, Alan Heim, Paul Hirsch, Robert C. Jones, Richard Marks, or Ralph Rosenblum. Our thesis examines the share of responsability, on both a collective and individual level, of this new generation of film editors in this process of renewal of American cinema in the 1960s and 1970’s. Its goal is, more generally, to determine and appreciate this new editing style, realize its importance and its influence on the Hollywood Renaissance style, as well as the wide range of its innovations.

Syftet med den här uppsatsen är att undersöka hur The Big Short (2015) har gestaltat, förenklat och gjort informationen om år 2008 finanskrisen mer förståelig för tittarna, ge-nom olika uttrycksmedel. Uttrycksmedlen som har utforskats är bland annat: metaforer, icke-diegetisk berättande, homodiegetisk berättare, berättarröst och montage. I fem kapi-tel har uppsatsen i analysen använt de olika uttrycksmedel tillsammans med teorier om sympati, empati, ironi och trovärdig berättare med en jämförelse om vad den amerikanska rapporten The Financial Crisis Inquiry Report antyder. Rapporten har varit den här stu-diens primära källa på grund av sin autentiska redogörelse. Resultatet har påvisat att fil-men distraherar med kändisar för att visa det är så finansmännen och bankerna på Wall Street gör affärer. Slutsatsen påvisade att både rapporten och The Big Short förmedlar liknande påstående fakta på olika sätt, dock gestaltar filmen sitt ämne mer invecklad när den inte behövde vara det.

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The Poetics of Artavazd Peleshyan's Cinema Abstract This thesis presents an analysis of the poetics of Artavazd Peleshyan's cinema based on the theory of poetics of cinema developed by David Bordwell. The first part introduces the reader to the director's work, includes a literature overview and outlines the methodological approach. The main theoretical frame of reference was provided by David Bordwell's concept of the poetics of cinema, which he developed in several publications. The second part of the thesis focuses on the analysis itself, and consists of three chapters that present the main components of a film work: thematics, stylistics and large-scale form. The first of these chapters focuses on basic thematic elements in individual Peleshyan's films and summarizes key themes represented throughout his work. The second chapter presents an analysis of the stylistic component of his work, consisting primarily of combining images and sounds expressed through the montage. This part also deals with Peleshyan's theory of distance montage and illustrates its mechanisms of distance connections using specific examples. The third and final chapter focuses on the formal aspects of Peleshyan's work and discusses its large-scale from the perspective of the essay film. This thesis presents the basic characteristics...

Ce travail a pour objectif de réorienter un cristal liquide nématique par la photoisomérisation de deux composés azoïques greffés sur des lames de verre, le DR19 et le DR1. Dans une première étape, nous avons procédé à la silanisation de ces composés photosensibles afin de pouvoir les greffer chimiquement sur des substrats siliciques. Nous avons ensuite greffé ces chromophores sur de la silice mésoporeuse afin d’optimiser la méthode de greffage. Deux paramètres ont été pris en compte dans cette étude : la nature du solvant et le taux d’hydratation de la surface. Une analyse quantitative, structurale et spectroscopique des matériaux hybrides, nous a permis de conclure à la chimisorption des deux azosilanes sur la surface de la silice. Les greffages du DR19Si en milieu éthanolique aqueux d’une part, et du DR1Si dans le THF sur de la silice hydratée d’autre part, ont donné les meilleurs résultats du point de vue quantitatif. A partir de ces résultats, nous avons procédé au greffage des azosilanes sur les lames de verre en mettant en évidence l’importance du film d’eau physisorbé en surface. La caractérisation chimique par les spectroscopies UV/Visible et SPX a démontré la présence des chromophores sur la surface des lames. Une modélisation par SPX des lames de verre fonctionnalisées a été également effectuée puis confirmée par MFA. Enfin, l’action de ces lames fonctionnalisées par greffage sur la réorientation du 5CB a été appréciée au moyen d’un montage pompe-sonde. L’efficacité cinétique et quantitative des chromophores greffés sur une surface a été comparée à celle des chromophores libres dispersés dans la mésophase. / This work aims to reorientate a nematic liquid crystal by the photoisomerization of two azo compounds grafted on glass slides, the DR19 and the DR1. First, we have proceeded to the silanisation of these photosensitive compounds in order to be able to graft them chemically on silica substrates. Then we have grafted these chromophores on mesoporous silica in order to optimize the grafting method. Two parameters have been taken into account in this study: the nature of the solvent and the surface hydration rate. A quantitative, structural and spectroscopic analysis of hybrid materials enabled us to conclude to the chemisorption of both azosilanes on silica surface. Quantitatively, the DR19Si grafting in an ethanolic aqueous solution, and the DR1Si one, in a THF solution on hydrated silica gave the best results. From these results, we have proceeded to the azosilanes grafting on the glass slides while highlighting the importance of the physisorbed water film on the surface. Chemical characterization by UV/Visible and XPS spectroscopy has shown the presence of chromophores on the slides surface. A modelling by XPS, of the functionalized glass slides was also carried out and confirmed by AFM. Lastly, the action of these slides functionalized by grafting on the 5CB reorientation has been appreciated by means of an experimental pump-probe set-up. The kinetic and quantitative effectiveness of grafted chromophores on a surface have been compared with the one of free chromophores dispersed in the mesophase.

Cette thèse porte sur le discours de cinq poètes chiliennes, ceux qui vivent au sud de ce territoire. Elles montrent une construction de leur identité dans sa poétique, qui traverse leurs corps et leurs mémoires, essayant de déconstruire les mandats historiques, politiques, sociaux et religieux qui ont été inventés pour construire l'identité de la femme. Cette recherche examine l’émergence de le discours poétique féminin, qui comprend la période des années 60 à nos jours, cela puisque c’est dans cette époque que commence une “plus grande” diffusion de la poétique de femmes au Chili, et comment évolue le langage poétique de la femme, les transits vers un nouveau langage: le corps comme auteure, du géodésique au physio- poétique, permettant l'analyse de les différences littéraires existantes dans ce territoire, où la littérature indigéniste joue un rôle prééminent, marquant une littérature de frontières avec la poétique national, pour exorciser les traumatismes du colonialisme. Dans ce cadre, les contributions des “les théories postcoloniales”, et les “études subalternes », m'ont aidé à comprendre et démonter, d’un côté les images stéréotypées construites vers les indigènes, tant idéologies de l'étatisme, et d’un autre côté, découvrez comment se produit « l'abandon » dans cette poétique, a travers de retour au discours naturalisés de la genèse, ce qui nous amène à la réflexion sur l’écriture et la réécriture de la poétique des femmes, qui est marquée par la construction aporétique de « la différence ». / This thesis focuses on the speech of five Chilean poets who live in the South of the territory. They show their identity construction in their Poetics, which runs through their bodies and their memories, trying to deconstruct the historical, political, social and religious mandates that have been invented to build the identity of the woman. This research examines the emergence of the feminine poetic speech, which includes the period from the 1960s to the present day, since it is during this time that a "larger" dissemination of the poetics of women to the Chile begins and how changing the poetic language of the woman, the transits to a new language: the body as the author, the “geodesic to the physic poetic”, the analysis of existing literary differences in this territory, where indigenous literature played a prominent role, scoring a borders with the national poetic literature, to exorcise the trauma of colonialism. In this context, the contributions of "postcolonial theories", and the "subaltern studies", helped me to understand and remove, one side stereotyped images built towards the natives, both ideologies of statism and, on the other hand, discover how 'abandonment' occurs in this poetic, a naturalized return to the speech through the Genesis, which leads to a reflection on the writing and rewriting of the poetics of women", which is marked by the aporetic construction of the 'difference '.

Att bygga med trästommar är något som blir allt vanligare i takt med att medvetenheten om byggbranschens klimatavtryck ökar. Men att bygga med trä medför problem eftersom trä är ett organiskt material som är känsligt för mikrobiell påväxt till följd av fuktiga miljöer. Enligt Boverkets byggregler får mikrobiell påväxt på ett material inte påverka inomhusmiljöns hygien och hälsa. En trästomme löper stor risk för kritisk uppfuktning under montageskedet. I detta examensarbete har det därför undersökts ett urval av olika åtgärder som kan skydda en trästomme från kritisk uppfuktning, förebygga påväxt av mögel på materialet, eller sanera eventuell mögelpåväxt, under just produktionen. Examensarbetet genomfördes i samarbete med NCC Building Uppsala, Gävle, Dala, i syfte att ta fram rekommendationer för fukthanteringsåtgärder som kan tillämpas under produktionsskedet av en trästomme. De åtgärder som undersöktes var heltäckande väderskydd, lackering, tryckimpregnering, lokal intäckning manuell vattenborttagning, mobilt väderskydd, fuktmätning, hyvling, slipning, blästring och kemisk sanering. För att undersöka dessa åtgärdsförslag och besvara frågeställningen genomfördes en litteraturstudie, en intervjustudie, en simuleringsstudie samt studerades ett referensobjekt i form av Magasin X som på uppdrag av Vasakronan byggs av NCC i centrala Uppsala och är vid färdigställande Sveriges största kontorsbyggnad med trästomme. I litteraturstudien behandlades böcker och rapporter med inriktning på de föreslagna åtgärderna samt trä, fukt,  mögel. Intervjustudien genomfördes för att ge bild av hur branschen hanterar fuktproblemet i dagsläget och belysa problemen från flera yrkesgruppers synvinklar. Syftet med simuleringsstudien var att visa hur snabbt en gynnsam miljö för mögelpåväxt kan uppstå på ett oskyddat KL-bjälklag, simuleringar utfördes för städerna Luleå, Stockholm och Lund för att visa på eventuella skillnader mellan de olika geografiska platserna, detta för att belysa vikten av att hantera problemet. Studien av referensobjektet Magasin X skulle visa hur fuktproblematiken kan hanteras i praktiken inför montaget av en trästomme. Resultatet av simuleringsstudien visade att en gynnsam miljö för mögelpåväxt kan uppstå efter endast ett dygn i samtliga städer under juli, för Stockholm och Lund under oktober samt för Stockholm under april. Resultatet visade även att antalet dygn det tog innan mögelpåväxt kunde börja uppstå ökade när temperaturen och luftfuktigheten sjönk. Resultaten från de övriga undersökningarna visar att ett heltäckande väderskydd är den fuktskyddsåtgärd som ger det bästa skyddet från nederbörd och därmed bäst  förebygger förekomst av mögelpåväxt. Ett mobilt väderskydd kan även rekommenderas då dess utformning och funktion är mycket likt det heltäckande väderskyddets, dock tillför ett mobilt väderskydd en större risk för uppfuktning då dessa ofta inte är heltäckande och därmed är skyddet mot nederbörd begränsat. Oavsett vilken eller vilka fuktskyddsåtgärder som väljs bör regelbunden fuktmätning tillämpas för att säkerställa att fuktkvoten i materialet inte överstiger gränsvärdena för kritiskt fukttillstånd. Lackering av konstruktionsdelar kan fungera som en kompletterande åtgärd. Användning av kemiska behandlingar bör undvikas med hänsyn till risken för farliga emissioner som kan avges och påverka inomhusmiljön negativt. De fukthanteringsåtgärder som i allmänhet kan rekommenderas är de som från början förhindrar uppfuktning av trästommen är att föredra, saneringsåtgärder som hyvling, slipning och blästring är inte att betrakta som en förstahandslösning utan något som tillämpas när fukten inte lyckats hanteras och mögelproblem redan har uppstått. / Building with wooden frames causes problems because wood is an organic material that is sensitive to microbial growth due to humid environments. According to Boverkets building regulations, microbial growth on a material must not affect the hygiene and health of the indoor environment. A wooden frame carries a high risk of critical wetting during the installation phase. In this degree project, a selection of different measures have been investigated that can protect a wooden frame from critical moistening, prevent mold from growing on the material, or sanitize any mold on the material, during the production. The degree project was carried out in collaboration with NCC building Uppsala, Gävle, Dala, with the aim of developing recommendations for moisture management measures that can be applied during the production phase of a wooden frame. To investigate the selected measures and answer the question, a literature study, an interview study, a simulation study was conducted and a reference object was studied in the form of Magazine X, which was commissioned by Vasakronan, is being built by NCC in central Uppsala. The results of the simulation study showed that a favorable environment for mold growth can occur after only one day in all cities in July, for Stockholm and Lund in October and for Stockholm also in April. The result also showed that the number of days it took before mold growth could begin to rise as the temperature and humidity dropped. The results of the other studies show that a comprehensive weather protection is the moisture protection measure that provides the best protection from rainfall and thus best prevents the occurrence of mold growth. A mobile weather protection can also be recommended as its design and function is very similar to the comprehensive weather protection. Regardless of which moisture protection measures are selected, regular moisture measurement should be applied to ensure that the moisture ratio in the material does not exceed the critical moisture condition limits. Varnishing of structural parts can serve as a complementary measure. The use of chemical treatments should be avoided due to the risk of hazardous emissions that can be emitted and adversely affect the indoor environment. The moisture management measures generally recommended are those that initially prevent moistening of the wood frame. remediation measures such as planing, grinding and blasting are something that is applied when the moisture has not been managed and mold problems have already occurred.