Esta tese tem por objetivo estudar as obras do compositor György Ligeti dos anos sessenta a através do conceito de gradação. Em termos gerais, as obras desses anos são construídas a partir da harmonia do cluster e da superposição de diferentes estruturas rítmicas. A ideia de gradação é elaborada tomando como base conhecimentos provenientes de diversas áreas tais como a retórica, a literatura, a filosofia, a linguística, as artes visuais e a música. No que diz respeito à análise das obras de Ligeti estudam-se aspectos como: a superposição de diferentes divisões do tempo, as relações entre ritmo e textura e os vínculos entre gradação superpostas. Obras como Atmosphères e o Quarteto de Cordas nº 2 são estudadas com maior detalhamento em função de conceitos como gradação, continuum e desvio. A partir dos diferentes estudos conclui-se que a ideia de gradação, entendida como uma ordenação que aumenta ou diminui progressivamente em relação a uma qualidade ou propriedade, constitui o fundamento das obras escritas por Ligeti nos anos sessenta. Esta noção funciona tanto no nível do procedimento como do próprio pensamento composicional. / The goal of this thesis is to study the works of György Ligeti composed in the sixties, taking as principal idea for this analysis the concept of gradation. In general terms, the works of these years were composed taking into account the cluster harmony and the superposition of different rhythmic structures. The idea of gradation is based on concepts taken from different areas such as rhetoric, literature, philosophy, linguistics, visual arts and music. In the analysis of the works of Ligeti we study several aspects such as: superposition of different divisions of time, relationship between rhythm and texture and connections between overlaid gradation processes. The compositions Atmosph` eres and String Quartet nº 2 are studied in more detail taking into account the concepts of gradation, continuum and deviation. Based on these different studies we conclude that the idea of gradation, understood as an order of things that grows or diminishes progressively with respect to a quality or property, constitutes the basis of the works written by Ligeti in the sixties. This notion is appropriate both at the level of procedure and at the proper compositional thinking.

Esta tese tem por objetivo estudar as obras do compositor György Ligeti dos anos sessenta a através do conceito de gradação. Em termos gerais, as obras desses anos são construídas a partir da harmonia do cluster e da superposição de diferentes estruturas rítmicas. A ideia de gradação é elaborada tomando como base conhecimentos provenientes de diversas áreas tais como a retórica, a literatura, a filosofia, a linguística, as artes visuais e a música. No que diz respeito à análise das obras de Ligeti estudam-se aspectos como: a superposição de diferentes divisões do tempo, as relações entre ritmo e textura e os vínculos entre gradação superpostas. Obras como Atmosphères e o Quarteto de Cordas nº 2 são estudadas com maior detalhamento em função de conceitos como gradação, continuum e desvio. A partir dos diferentes estudos conclui-se que a ideia de gradação, entendida como uma ordenação que aumenta ou diminui progressivamente em relação a uma qualidade ou propriedade, constitui o fundamento das obras escritas por Ligeti nos anos sessenta. Esta noção funciona tanto no nível do procedimento como do próprio pensamento composicional. / The goal of this thesis is to study the works of György Ligeti composed in the sixties, taking as principal idea for this analysis the concept of gradation. In general terms, the works of these years were composed taking into account the cluster harmony and the superposition of different rhythmic structures. The idea of gradation is based on concepts taken from different areas such as rhetoric, literature, philosophy, linguistics, visual arts and music. In the analysis of the works of Ligeti we study several aspects such as: superposition of different divisions of time, relationship between rhythm and texture and connections between overlaid gradation processes. The compositions Atmosph` eres and String Quartet nº 2 are studied in more detail taking into account the concepts of gradation, continuum and deviation. Based on these different studies we conclude that the idea of gradation, understood as an order of things that grows or diminishes progressively with respect to a quality or property, constitutes the basis of the works written by Ligeti in the sixties. This notion is appropriate both at the level of procedure and at the proper compositional thinking.

Cette thèse doctorale s’intéresse aux concepts de ‘centre’ et de ‘périphérie’ dans la littérature brésilienne contemporaine et sur le marché éditorial brésilien et international. Centrée sur l’œuvre de quatre auteurs brésiliens contemporains (Rodrigo Ciríaco, Marcelino Freire, Ana Paula Maia et Patrícia Melo), aux parcours personnels et artistiques variés, cette recherche montre que les auteurs en question peuvent être positionnés à des points différents dans un continuum entre le pôle ‘centre’ et le pôle ‘périphérie’. Ainsi, contre toute logique dichotomique, les différentes configurations identitaires de ces auteurs, qui se situent plus ou moins près du ‘centre’ ou de la ‘périphérie’, se construisent à travers leur relation avec chaque pôle. Ce travail de recherche commence par considérer la literatura periférica en tant que terminus a quo, et ce d’un point de vue qui ne se limite pas à une approche chronologique ou historico-culturelle : on étudie également la restructuration (ou déstructuration ?) progressive de la relation osmotique entre l’écriture et l’espace caractéristique de cette littérature. On note par exemple les œuvres d’une écrivaine comme Patrícia Melo, où la périphérie n’est qu’un simple scénario de fond. Enfin, cette thèse s’intéresse à l’influence d’auteurs brésiliens, en particulier les représentants de la literatura periférica, sur le marché éditorial international, sous l’angle de la traduction et de la participation à des événements culturels internationaux comme la Foire du Livre de Francfort et le Salon du Livre de Paris. / Starting from the concepts of the centre and the periphery, this thesis analyses their representation in Brazilian contemporary literature and their relationship in the Brazilian and international publishing market. Focusing on four Brazilian contemporary writers with different personal and creative paths – Rodrigo Ciríaco, Marcelino Freire, Ana Paula Maia e Patrícia Melo – this research aims to demonstrate that they can be placed on an imaginary line, which develops through multiple gradations. Therefore, this continuum is opposed to a binary opposition’s point of view. From this perspective, the emergence of a new literary movement from the suburbs of Brazilian big cities, the literatura periférica, is analyzed in order to try to understand how it is different, or not, from other literary discourses. Finally, the thesis observes the presence of Brazilian writers, especially exponents of literatura periférica, in the international publishing market, through their translation and participation in major international cultural events such as Frankfurt Book Fair and Paris Book Fair.

In this thesis, we present solutions to several problems concerning one-dimensi- onal continua. We give an inductive description of graphs with a given disconnec- tion number, this answers a question of S. B. Nadler. Further, we state a topo- logical characterization of the Sierpi'nski triangle. In the study of shore sets in dendroids and λ-dendroids we obtain several positive results and we also provide some counterexamples. By doing this, we continue in the recent work of several authors. We are also dealing with the notion of 1 2 -homogeneity and we prove that up to homeomorphism there are only two 1 2 -homogeneous chainable continua with just two end points. We present also a new elegant proof of a classical theorem of Waraszkiewicz. 1

Notre thèse décrit et analyse les conditions esthétiques, matérielles et idéelles qui rendent possibles les agencements sonores du cinéma contemporain. Au cours des 30 dernières années, le raffinement des outils de manipulation du son, l’importance grandissante du concepteur sonore et le nouvel espace de cohabitation des sons (favorisé par le Dolby et la diffusion multicanal) sont des facteurs qui ont transformé la création et l’écoute du son au cinéma. Ces transformations révèlent un nouveau paradigme : le mixage s’est graduellement imposé comme le geste perceptif et créateur qui rend compte de la sensibilité contemporaine. Notre thèse explore les effets de la pensée du mixage (qui procède par résonance, simultanéité, dosage et modulation) sur notre écoute et notre compréhension de l'expérience cinématographique. À l'aide de paroles de concepteurs sonores (Murch, Beaugrand, Thom, Allard…), de textes théoriques sur le son filmique (Cardinal, Chion, Campan), de documentaires sur des musiciens improvisateurs (Lussier, Glennie, Frith), de films de fiction à la dimension sonore affirmée (Denis, Van Sant), de textes philosophiques sur la perception (Leibniz, James, Straus, Szendy…), d'analyses du dispositif sonore cinématographique, notre thèse rend audibles des tensions, des récurrences, de nouveaux agencements, des problèmes actuels et inactuels qui forgent et orientent l'écoute du théoricien, du créateur et de l'auditeur. En interrogeant la dimension sonore de la perception, de l’action, de l’espace et de la pensée, cette thèse a pour objectif de modifier la façon dont on écoute, crée et pense le son au cinéma. / This thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the “thought process of mixing” (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard…), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy…) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor’s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.

Made available in DSpace on 2014-12-17T13:53:24Z (GMT). No. of bitstreams: 1 LaysceRM.pdf: 610817 bytes, checksum: d7c0544082c2365a1da7dd2d32132a15 (MD5) Previous issue date: 2009-09-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The relationship between the State and the non-governmental organizations (NGOs) needs to be analyzed and debated by the objective to extinguish or to reduce the existent failures in this partnership in order that the whole society may benefit from it. To understand how the partnership between the public and NGOs work is fundamental. The present study searches to contribute to a better understanding of this matter. With this aim, the research focused the partnership formed between Natal Child and Adolescent Council (COMDICA) and NGOs which were selected by public notice in 2007. Theoretical references were based on the Continuum of Collaboration proposed by Austin (2001) that serves to differentiate the degree and the mode of interaction between the two organizations. It was observed that in some points there is a lack in the interaction between COMDICA and the NGOs. The frequent change of the government counselors makes difficult a more intense involvement and partnership awareness with the NGOs. The NGOs members need to be more involved with the activities of COMDICA and search for a larger participation in the assemblies, on the discussions and on the intrinsic council actions. The relationship must also be rethought, since that the partnership must not be limited to financial resources support. The channels of communication must be improved and become more frequent. The evaluation and monitoring of social projects are poor and own methodologies need to be elaborated. Therefore, it is necessary to make some adjustments in this relationship involving not only the partnerships made by the selected ONGs, but also all those who assist the child and the adolescent. A closer relation makes possible a greater effectiveness of the public policies on one side and on the other side improves the performance of the COMDICA and the NGOs / A rela??o entre o Estado e as ONGs precisa ser analisada e debatida com o objetivo de extinguir ou reduzir as lacunas existentes, para que toda a sociedade ganhe com isso. Compreender como se configuram as parcerias firmadas entre organiza??es p?blicas e organiza??es n?o-governamentais ? fundamental. O presente estudo busca contribuir para o entendimento dessa problem?tica. Para tanto, a pesquisa focalizou o estudo nas parcerias firmadas entre o Conselho Municipal da Crian?a e do Adolescente de Natal (COMDICA) e as Organiza??es N?o-Governamentais (ONGs) que foram contempladas por meio de um edital lan?ado em 2007. Utilizou-se como fundamenta??o te?rica o Continuum da Colabora??o proposto por Austin (2001), que serve para diferenciar o grau e o modo de intera??o. O que se observa na rela??o COMDICA e ONGs ? que em alguns pontos existe falta de contato. A mudan?a constante dos conselheiros governamentais dificulta que exista um envolvimento mais intenso e se construa uma mentalidade de parceria com as ONGs. Estas precisam participar mais das atividades do COMDICA e buscar uma maior participa??o nas assembl?ias, nas discuss?es, nas atividades intr?nsecas ao Conselho. As trocas tamb?m devem ser repensadas, pois a parceria n?o deve ficar circunscrita ao repasse de recursos financeiros. Os canais de comunica??o devem ser melhorados e tornarem-se constantes. A avalia??o e o monitoramento dos projetos sociais s?o falhos e precisam ser elaboradas metodologias pr?prias. Portanto, ? necess?rio ajustes nessa rela??o, n?o se limitando ? parceria desenvolvida com as ONGs contempladas, mas a todas aquelas que trabalham com a crian?a e o adolescente. Pois, uma maior proximidade possibilita, por um lado, uma maior efetividade das pol?ticas p?blicas e, por outro, melhora o desempenho das ONGs e do COMDICA

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-06-22T15:43:36Z No. of bitstreams: 1 antoniowaltersenajunior.pdf: 3004820 bytes, checksum: 9f9af904695c90fb200152075c392c3f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-07T19:23:04Z (GMT) No. of bitstreams: 1 antoniowaltersenajunior.pdf: 3004820 bytes, checksum: 9f9af904695c90fb200152075c392c3f (MD5) / Made available in DSpace on 2017-08-07T19:23:05Z (GMT). No. of bitstreams: 1 antoniowaltersenajunior.pdf: 3004820 bytes, checksum: 9f9af904695c90fb200152075c392c3f (MD5) Previous issue date: 2012-03-29 / Os objetivos deste estudo foram identificar os motivos que levam as pessoas a praticarem a corrida de rua, a partir da Teoria da Autodeterminação (Deci e Ryan, 1980, 1985, 1991). Foi verificada a validade da teoria, sua aplicabilidade e resultados em 51 corredores de rua (37 homens e 14 mulheres) do Ranking de Corridas de Rua da Secretaria de Esporte e Lazer da Prefeitura de Juiz de Fora, MG. Foi utilizado o instrumento denominado Escala de Motivação no Esporte (EMEBR) – versão brasileira da SMS (Sport Motivation Scale). A EME-BR consiste de 28 itens, subdividido em 7 subescalas que medem três tipos de Motivação Intrínseca, três formas de regulação para Motivação Extrínseca (Identificação, Introjeção e Regulação Externa), e Amotivação (BARA FILHO et al., 2011). Os resultados apresentaram níveis satisfatórios de consistência interna. As correlações entre as sub-escalas confirmaram aspectos teóricos, como o Índice de Autodeterminação e o Continuum de Autodeterminação. / The aim of this study was to identify the reasons that lead people to be a roadrunner, starting from the Self-Determination Theory (Deci e Ryan, 1980, 1985, 1991). It was verified the validity’s theory, his applicability and results on 51 roadrunners (37 males and 14 females) belonging to the Ranking de Corridas de rua da Secretaria de Esporte e Lazer da Prefeitura de Juiz de Fora, MG, Brazil. The instrument used was the Brazilian Version (EME-BR) of the Sport Motivation Scale (SMS). The SMS consists of 28 items, subdivided in seven subscales that measure three types of Intrinsec Motivation, three forms of regulation for Extrinsic Motivation (identified, Introjected, and External), and Amotivation (BARA FILHO et al., 2011). The results revealed a satisfactory level of internal consistency. The correlations among subscales confirmed the theoretical elements like the self-determination index and the self-determination continuum.

De nos jours, la gestion des flux de matière autour de la zone decontact représente un des principaux verrous scientifiques pourl'amélioration des simulations des procédés d'usinage comme, parexemple, le procédé FSW. Les méthodes basées sur la mécanique desmilieux continus sont couramment utilisées dans ces simulations maiselles rencontrent de nombreuses difficultés dans les zones decontact. Une explication "physique" à ces difficultés estl'utilisation des équations issues de la mécanique des milieuxcontinus pour décrire des phénomènes discontinus. À ce point, laméthode des éléments discrets s'est révélée être une alternative auxapproches continues pour traiter le problème causé par cesdiscontinuités. Cette méthode est en revanche très gourmande en termede temps de calcul.Une solution à long terme passe par un couplage entre méthodescontinues et discrètes qui requiert une zone de recouvrement où lesdeux approches coexistent. Cette zone est classiquement placée dansune région continue et cela oblige à développer la méthode deséléments discrets pour qu'elle puisse opérer dans ce type derégion. Le travail de thèse présente une méthode pour simuler laconduction de la chaleur et le comportement mécanique des milieuxcontinus élasto-plastiques. Cette méthode peut travailler dans la zonecontinue de recouvrement et, en plus, elle peut être facilementcouplée avec les méthodes discontinues classiques.Le couplage entre l'aspect thermique et l'aspect mécanique estégalement étudié et comparé aux résultats expérimentaux issus de labibliographie. / Currently, almost all material manufacturing processes are simulatedusing methods based on continuum approaches. These methods, thoughwidely studied, face difficulties with contact problems that areusually found in processes such as FSW. One "physical" explanationto this issue is given by the fact that these methods use equationsbased on continuum mechanics to describe discontinuous problems. Insome cases, the Discrete Element Method is used to overcome theseproblems. However, it is known to be a very time-consuming method.Thus, a long term solution consists of coupling both continuum anddiscontinuous approaches. This solution requires an overlapping zonewhere the two methods work together. This overlapping zone isclassically placed on a continuous region. Consequently, the DiscreteElement Method must be improved to be reliable in such a region. Thepresent work describes a DEM approach to simulate elasto-plasticmechanical behaviour and heat conduction through a continuousmaterial. This method can be used both to carry out calculations onthe continuous overlapping zone as well as to be coupled withclassical Discrete Element Method in order to deal with discontinuousproblems.Finally, coupling between thermal and mechanical aspects is studiedand compared to experimental results found in the bibliography.

[pt] A tese de uma autonomia da arte contemporânea, em tempos de realidade virtual – na qual a contenda ontológica do objeto artístico é vista como uma exponenciação da aura perdida de Benjamin – pode ser compreendida de duas maneiras opostas: entendendo a autonomia como uma quimera teórica ou como uma questão que ainda exige uma contínua reflexão crítica. A proposta aqui converge à segunda tendência. Assim, ela insiste sobre a questão da autonomia e isso implica, antes, numa análise crítica do papel desta dentro da história arte – na maneira pela qual, desde o Laocoonte de Lessing, passando por Greenberg, até a teoria estética de Adorno, foi se conformando na teoria da arte a ideia de uma autonomia da especificidade. Historicamente, a autonomia da especificidade estava encerrada pelas regras que a determinavam: linguagem, estilo e materiais. Neste contexto histórico modernista dois campos se destacam por serem muito regrados em suas abstrações: a música e a arquitetura. E dentro desses respectivos campos os trabalhos do compositor Karlheinz Stockhausen e do arquiteto Peter Eisenman aparecem como obras, entre as produções contemporâneas, que simultaneamente subvertem e resistem às especificidades das suas normas internas. Seguindo os passos desses artistas, este trabalho investiga a possibilidade de um outro tipo de autonomia que lida com uma condição de presença autônoma – um continuum autônomo que problematiza a temporalidade histórica seja da resultante sonora, seja da resultante espacial, e nunca se ancora em especificidades pré-determinadas. Nestes termos, Stockhausen e Eisenman realizam uma autonomia cuja temporalidade é um continuum intrínseco que opera sempre o movimento de elã crítico do binômio fenômeno e conceito – através da abordagem crítica seja dos seus meios, seja das suas linguagens. / [en] The thesis of an autonomy of contemporary art in virtual reality times – in which the ontological issue of the artistic object is seen as an exponentiation of the lost aura of Benjamin – can be understood in two opposite ways: understanding autonomy as a theoretical chimera or as a question that requires a continuous critical reflection. The proposal converges to the second trend. Thus, it insists on the issue of autonomy and this implies a critical analysis of the role of this in art history – in the way some oeuvre and authors, from the Lessing s Laocoön through Greenberg to the Adorno s aesthetic theory, had been establishing in theory of art the idea of an autonomy of specificity. Historically, the autonomy of specificity was closed by its own rules: language, style and materials. In this modernist historical context two fields stand out for being very ruled in their abstractions: music and architecture. And within those respective fields, the works of the composer Karlheinz Stockhausen and the architect Peter Eisenman appear as works, between contemporary productions, that simultaneously subvert and resist the specificities of their internal rules. Following in the footsteps of these artists, the present work investigates the possibility of another kind of autonomy that deals with an autonomous presence condition - an autonomous continuum that questions the historical temporality either from resultant sound and resultant space, and never anchors itself in predetermined specificities. Accordingly, Stockhausen and Eisenman realize an autonomy whose temporality is an intrinsic continuum that always operates the movement of critical impetus of the binomial phenomenon and concept – either by the critical approaches of their mediums and their languages.

Submitted in partial fulfilment of the requirements for the Degree of Master of Technology: Mechanical Engineering, Durban University of Technology, 2011. / The objective of the present study was to investigate if piezoelectric techniques or sensors can be used in monitoring structural degradation. The study considers experimental results and analytical modelling of a ductile structure under tensile and cyclic loading. Throughout the project the emphasis was placed on the effectiveness of strain measuring sensors. Conventional tensile testing was conducted using a Lloyds testing machine. The testing machine was calibrated to have a lateral movement of 2mm/min (tension force). Rectangular plates were pulled in tension until failure. From that experimental data was produced for a uni-axial loading system. Cyclic testing was carried out using an in-house designed and manufactured fatigue machine. It produced a reciprocating load (force) of 25rad/s on a rectangular plate. Two different sensor measuring instruments (strain gauge and piezoelectric) were used. The strain gauge sensor was attached to a specimen and connected to a Wheatstone bridge. The piezoelectric sensor was attached to the specimen and then linked directly to the capturing system. From these two sensors experimental results were obtained and compared. The mathematical relationships for the rectangular plates were formulated using effective stress-strain behaviour based on the elastic and plastic behaviour of the plates. The analytical and experimental results were compared. Results from this investigation show that piezoelectric sensors can be useful for measuring fatigue failure on a ductile material.