Made available in DSpace on 2015-03-05T18:39:04Z (GMT). No. of bitstreams: 0 Previous issue date: 1 / Nenhuma / No mercado internacional globalizado as empresas brasileiras enfrentam muitas dificuldades para competir com as empresas estrangeiras. A falta de experiência internacional faz com que essas empresas escolham estratégias menos complexas e tenham um baixo grau de internacionalização. Por outro lado, o mercado norte-americano é considerado o principal mercado consumidor do mundo, e também é um mercado competitivo em que a concorrência é qualificada e a exigência dos consumidores é grande. Nesse contexto que fatores podem influenciar as empresas brasileiras na escolha de suas estratégias para enfrentar o mercado dos Estados Unidos? Entre tantos fatores, as diferenças culturais entre os exportadores brasileiros e os importadores norte-americanos podem estar influenciando a tomada de decisão do exportador brasileiro, que, percebendo-se distante culturalmente dos Estados Unidos, opta pela estratégia de menor envolvimento e risco. O modelo de Uppsala trata da internacionalização como uma estratégia onde a empresa adq

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-12T13:15:11Z No. of bitstreams: 1 Cibele Pereira Agibert.pdf: 1679691 bytes, checksum: 58ba05c0ad24187b3939012c3d0ddedb (MD5) / Made available in DSpace on 2017-05-12T13:15:11Z (GMT). No. of bitstreams: 1 Cibele Pereira Agibert.pdf: 1679691 bytes, checksum: 58ba05c0ad24187b3939012c3d0ddedb (MD5) Previous issue date: 2017-03-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / This thesis deals with an analysis of tales “The Facts in the Case of M. Valdemar” (1845), “Mesmeric Revelation,” (1844) and “A Tale of the Ragged Mountains” (1844) written by Edgar Allan Poe ( 1809-1849), mainly some related to the mesmerism between 18th and 19th centuries. This thesis contains of an introduction and three chapters. Chapter 1 presents Franz Anton Mesmer (1734-1815) and a therapeutic procedures on mesmerism as well as passes, magnets, wands, baquet, magnetized water, and magnetization of animals, trees, objects are used for treatment of diseases. As well as, the followers of Mesmer, as, A.M.J.C.Puységur (1751-1825), J.P.F.Deleuze (1755-1835), Du Potet (1796-1881). Chapter 2 is based on mesmerism, and trance, induced somnambulism, as methods and experiments adopted by magnetists Charles Poyen (?-1844), John Elliotson (1791-1868), James Esdaile (1808-1859), Robert H. Collyer (1814-1891) that used these resources for surgical procedures, mesmeric analgesia. Chapter 3 presents the author Edgar Allan Poe through of mesmeric tales, in view of dialogues of characters Valdemar and Vankirk have suffered from tuberculosis, and Bedloe is subject to severe bouts of neuralgia, and submitted to mesmeric sleep, by physicians Dr. Templeton Dr. P., Dr. D. e Dr. F. e M. P, e Mr. Theodore L., to meet these practices. Likewise, there were authors have used this therapeutic as, Dumas, Balzac, Victor Hugo, Thomas de Quincey, Elizabeth Barrett Browning, in the sense, scholars such as, Harriet Martineau, Chauncy Hare Townshend. Therefore, final remarks on the mesmeric tales related to the medicine. These short stories display a focus of scientific subjects, as mesmerism, diseases, somnambulism, and passes / Esta tese analisa os contos “O Caso do Sr. Valdemar” (1845), “Revelação Mesmeriana” (1844), e “Uma Estória das Montanhas Ragged” (1844) de Edgar Allan Poe (1809-1849), abordando aspectos do mesmerismo entre os séculos XVIII e XIX. Esta tese é constituída de uma introdução e mais três capítulos. O Capítulo 1 apresenta um contexto acerca da terapêutica do mesmerismo por Franz Anton Mesmer (1734-1815), as técnicas utilizadas, como passes magnetos, varinhas, baquet, água magnetizada para o tratamento de doenças, e a magnetização de animais, árvores e objetos. E os seguidores da sua doutrina, como, A.M.J.C.Puységur (1751-1825), J.P.F.Deleuze (1755-1835), Du Potet (1796-1881). O Capítulo 2 está embasado nos desdobramentos do mesmerismo em função do sonambulismo induzido, analgeisa mesmérica, sendo adotados por alguns magnetizadores da época, como Charles Poyen (?-1844), John Elliotson (1791-1868), James Esdaile (1808-1859), Robert H. Collyer (1814-1891) que empregavam esses recursos para intervenções cirúrgicas. O Capítulo 3 apresenta o autor, Edgar Allan Poe, por meio dos contos mesméricos, tendo em vista os relatos dos personagens Valdemar, Vankirk, que padeciam de tuberculose, e Bedloe, que sofria de nevralgia, sendo submetidos ao estado de transe pelos médicos Templeton, Dr. P., Dr. D., Dr. F., M. P. e Theodore L., que vão ao encontro dessas práticas. Além disso, algumas pessoas influentes que fizeram uso dessa terapêutica, no caso, Dumas, Balzac, Victor Hugo, Thomas de Quincey, Elizabeth Barrett Browning, Harriet Martineau, e Chauncy Hare Townshend. Finalmente, as considerações finais acerca do mesmerismo, e dos contos mesméricos que abordam em face da medicina, as doenças, o sonambulismo, e os passes

Este trabalho examina a forma estética sob os tópicos ruptura, inovação e transformação de 5 peças no contexto de reivindicações sócio-políticas da década de 1960 nos Estados Unidos por parte de dois grupos teatrais extremamente significativos em suas propostas e atuação, a saber: o Teatro Campesino (TC), feito por e para chicanos na Califórnia, e o Black Revolutionary Theatre (BRT - Teatro Negro Revolucionário), feito por e para afro-americanos em Nova York. / This paper reviews the aesthetic form under the topics rupture, innovation and transformations in 5 plays in the context of social political demands in the 1960s in the United States by two extremely significant theatre groups concerning their goals and performance, to wit: Teatro Campesino (TC), made by and for Chicanos in California, and Black Revolutionary Theatre (BRT), made by and for Afro-Americans in New York.

Este trabalho examina a forma estética sob os tópicos ruptura, inovação e transformação de 5 peças no contexto de reivindicações sócio-políticas da década de 1960 nos Estados Unidos por parte de dois grupos teatrais extremamente significativos em suas propostas e atuação, a saber: o Teatro Campesino (TC), feito por e para chicanos na Califórnia, e o Black Revolutionary Theatre (BRT - Teatro Negro Revolucionário), feito por e para afro-americanos em Nova York. / This paper reviews the aesthetic form under the topics rupture, innovation and transformations in 5 plays in the context of social political demands in the 1960s in the United States by two extremely significant theatre groups concerning their goals and performance, to wit: Teatro Campesino (TC), made by and for Chicanos in California, and Black Revolutionary Theatre (BRT), made by and for Afro-Americans in New York.

O objetivo deste trabalho é apresentar uma leitura dos contos que compõem o volume Nine Stories, do escritor americano J. D. Salinger (1919-2010), publicado em 1953. Para orientar a discussão, partimos de termos que apareceram durante uma polêmica crítica nos anos 70 entre Richard e Carol Ohmann, de um lado, e James E. Miller, de outro. Por tratar-se de um conflito entre métodos interpretativos diferentes e pressupostos incompatíveis, tal polêmica revela uma ambiguidade que orienta a obra escritor, cujas histórias oscilam entre a observação crítica da sociedade e a exaltação da sensibilidade especial de certos personagens. Mostramos que os dois termos têm relação com a matéria histórica do período e com o contexto imediato que compunha os Estados Unidos durante a metade do século XX, especificamente com a questão do dissenso e da revolta pessoal de membros de uma classe média afluente da costa leste americana. Esperamos que o trabalho lance luz sobre questões importantes do gênero narrativo, tal como a relação entre enredo e narrador, pois compreender as idas e vindas da ficção de Salinger é testemunhar de perto como valores muitas vezes contraditórios podem estar presentes em um texto e como os acontecimentos narrativos podem chocar-se com a maneira pela qual são mediados por narradores não-confiáveis. / The aim of this work is to present a reading of the short stories collected in the book Nine Stories, first published in 1953 by the North American writer J. D. Salinger (1919-2010). In order to guide our discussion, we take arguments that appeared in a critical debate between Richard and Carol Ohmann, on one side, and James E. Miller, on the other, during the 1970s. Due to the acritics different interpretative methods and incompatible assumptions, the debate end up revealing an ambiguity central to Salinger\'s work, whose stories oscillate between the critical observation of society and the celebration of a special sensibility present in some characters. We show that both terms bear relation with the historical matter from the period and with the immediate context that formed the United States during the middle of the 20th century, specifically with problems of dissent and personal revolt in members of an affluent middle class from the East Coast. We hope this work will shed light on important issues concerning the narrative genre, such as the relationship between plot and narrator, since this is fundamental in understanding the comings and goings of Salinger\'s fiction, the way in which sometimes contradictory values can be present in the text, and how the character\'s actions might conflict with the way in which they are mediated by unreliable narrators.

Criado na cidade de Nova Iorque no início dos anos sessenta, o Bread & Puppet Theater estabeleceu-se em meio à vanguarda artística norte-americana do século XX, tornando-se célebre nas apresentações e paradas de rua em protesto contra a guerra do Vietnã. Quatro décadas de teatro mais tarde, em plena guerra no Iraque, o grupo dirigido por Peter Schumann, agora radicado em Vermont, prossegue com seu teatro de papel-maché, em protesto contra os impérios vis e injustos do mundo globalizado. Esta pesquisa compara o espetáculo Portões do Inferno, último \"Circo de Ressurreição Doméstica\" (1998), espetáculo anual apresentado a dezenas de milhares de pessoas, a O Mundo de Pernas para o Ar, uma nova versão do Circo - \"Circo de Insurreição do Primeiro Mundo\" (2004), analisando relações entre forma e história. Observaremos que, em nossa atual civilização, fundada na lógica da mercadoria, na comercialização da arte, na espetacularização da vida (no sentido debordiano), e no embrutecido e fragmentário deslumbramento pós-moderno frente aos mesmos paradigmas exaltados como inovações (ou no esmaecimento do afeto, na expressão de Jameson), o teatro histórico, épico e dialético do Bread and Puppet segue resistindo efetivamente, na contramão da sociedade de consumo, na insurreição contra o mundo globalizado, a insurreição \"da mente contra a supremacia do dinheiro e a insurreição de toda a alma do teatro de bonecos contra a estupidez do maravilhamento pós-moderno\". / Originated in the city of New York in the 1960s, the Bread & Puppet Theater established itself amidst the North American artistic vanguard of the 20th century. It was especially known for its demonstrations and protests against the Vietnam war. Four decades later, during the Iraq war, the group leaded by Peter Schumann, now established in Vermont, continues with their papier-maché theater, demonstrating and protesting against the evil and unfair empires of the globalized world. This study compares Gates of Hell (1998) - the final \"Domestic Resurrection Circus\"- an annual show presented to thousands of people, to Upside Down World - a new version of the circus called \"First World Insurrection Circus\" (2004) - analyzing the relationships between form and history. The analysis reveals that in our current civilization, which is largely based on the logic of commodities, in the commercialization of art, in the \"spectacularization\" of life (in debordian sense) and in the brutalized and fragmented post-modern wonderfulness, which presents and glorifies the same paradigms as innovations (or in its waning of affect, in Fredric Jameson\'s sense), Bread and Puppet\'s historical, epic and dialectic theater effectively resists, going the opposite direction of consumer society, in the insurrection against globalized world, the insurrection \"of the mind against the supremacy of money and the insurrection of the whole soul of puppetry against the stupidity of post-modern wonderfulness\".

Dans un bref essai intitulé « The Ambition of the Short Story », Steven Millhauser proclame de manière volontairement provocatrice la supériorité artistique de la nouvelle sur le roman. Il s’appuie pour ce faire sur un vers du poète romantique William Blake, dont il réoriente radicalement le propos. Tandis que le poète invite à voir « un monde dans un grain de sable », Millhauser affirme qu’il est possible de voir le monde dans un grain de sable. Aux grandes fresques romanesques, Steven Millhauser préfère ainsi une écriture concise et économe, capable de transformer certains « grains de sable » (c’est-à-dire des détails infimes, en apparence ordinaires ou triviaux) en autant de points d’ancrage, permettant à la fiction de dire « le monde ». L’art fictionnel de Steven Millhauser n’est donc pas tant une écriture du minuscule qu’une écriture miniaturiste. Passant sans ambages de l’infime à l’immense et du relatif à l’absolu, la fiction millhausérienne est à la fois un art du détail et de la dé-taille. Dans son tout premier essai, « The Fascination of the Miniature », l’auteur écrit qu’il n’y a « aucune différence entre un grain de sable et une galaxie », soulignant ainsi le rôle fondateur du regard. Car tout dépend du regard et de ses échelles. Le présent travail cherche à expliquer par quels moyens Steven Millhauser met en place une écriture miniaturiste, non seulement dans ses récits brefs, mais également dans son œuvre romanesque. Pour ce faire, cette étude met en évidence la réflexion sur le détail et sur le regard que l’auteur développe à la fois dans ses écrits fictionnels et non fictionnels. Entre théorie et fiction, Millhauser explore les implications « poéthiques » du regard. Il invente un regard métamorphique, conjuguant l’attention et l’imagination, afin de déceler le tout dans le fragment et l’essentiel dans l’insignifiant. L’écriture miniaturiste de Millhauser a un territoire et une échelle privilégiés : la petite ville de Nouvelle-Angleterre, et les « vies minuscules » (l’expression est de l’écrivain Pierre Michon) de ses habitants. En effet, les récits consacrés au quotidien pavillonnaire et suburbain s’offrent le plus souvent comme des fables miniatures, interrogeant la condition humaine. Aux yeux de Millhauser, les grands maîtres réalistes ont « brillamment épuisé une méthode [et] une certaine façon de voir le monde ». Avec son écriture miniaturiste, Steven Millhauser propose justement une certaine méthode et un certain regard. Il invite son lecteur à voir le monde au prisme du « grain de sable » – à suspendre quelque peu son incrédulité, avec les mots de Coleridge, sans pour autant se laisser tromper. Steven Millhauser apporte ainsi sa pierre – ou son grain de sable – à la fiction américaine contemporaine, en proposant moins une écriture du soupçon qu’une écriture du souci, tentant d’inscrire dans le texte ce que l’auteur présente, par le détour d’une périphrase, comme « cette chose éblouissante qu’il faut bien appeler réalité ». / In a brief essay entitled “The Ambition of the Short Story,” Steven Millhauser provocatively asserts the artistic superiority of the short story over the novel. In order to support his argument, Millhauser quotes Romantic poet William Blake, while profoundly altering the original meaning of Blake’s line. Indeed, while the poet wishes “to see a world in a grain of sand,” Millhauser deems it possible to see the world in a grain of sand. Steven Millhauser thus favors a concise, pithy style capable of turning a few grains of sand (that is to say, some tiny and apparently trifling details) into windows, enabling the writer to engage with “the world.” Moving seamlessly from the minuscule to the gigantic, and from the particular to the universal, Millhauser’s art of fiction may be considered a miniaturist writing. In his very first essay, “The Fascination of the Miniature,” the author claims that there is “no difference between a grain of sand and a galaxy,” thus drawing attention to the decisive role played by the human eye. Indeed, everything hinges on the scale one adopts. This study aims at explaining how Steven Millhauser invents a miniaturist type of writing, not only in his short fiction, but also in his novels. Combining theory and fiction, Millhauser explores the “poethical” (a neologism coined by French poet Michel Deguy) importance of attention to detail. Merging attention and imagination, the author develops a metamorphic gaze, able to reveal the whole within the fragment and the essential within the insignificant. Millhauser’s miniaturist writing has a territory and a scale of its own: the New England small town. The narratives devoted to suburban daily life are most often presented as miniature fables, exploring the human condition. According to Millhauser “the great realist masters brilliantly exhausted a method, a way of looking at the world.” Steven Millhauser’s own minute, miniaturist writing offers such a method and way of looking at the world. He invites his reader to see the world through the prism of the “grain of sand”—to somehow suspend his disbelief, as Coleridge would say, yet without being deceived. With his miniaturist eye Steven Millhauser contributes to the renewal of contemporary American fiction, going beyond suspicion while trying to describe and inscribe what he calls “the blazing thing that deserves the name of reality.”

This study couples biological data with aspects of material culture and mortuary ritual for several sites within the proposed Coosa chiefdom described by sixteenth-century Spanish accounts to explore how cultural identities were actively constructed and maintained within the region. The primary goal is to examine regional interactions between these communities and their constructions of social identity and sociopolitical dynamics vis à vis their biological affinities. Questions regarding regional interactions between these groups have been a stimulus for archaeological debate. These interactions may have played a crucial role in the construction of separate cultural identities. What is not clear is to what extent differences in cultural identity reflect or are related to differences in biological relationships. The skeletal samples used in this study represent six Late Mississippian archaeological sites assigned to three archaeological phases: the Dallas Phase, Fains Island (40JE1), Cox (40AN19), and David Davis (40HA301) sites; the Mouse Creek Phase, Ledford Island (40BY13) site; and the Barnett Phase, King (9FL5) and Little Egypt (9MU102) sites. Twenty-seven dental and 22 cranial nonmetric traits were recorded for 923 individuals. Biological affinities were calculated using the Mahalanobis D2 statistic for the cranial and dental non-metric traits. Biological Distance measures were compared to a geographic matrix to examine isolation by distance between the sites. Further analysis was conducted by constructing an R matrix to examine levels of heterogeneity. Comparisons between biological distance and geographical distances suggest that the samples used in this analysis do not conform to the expected isolation-by-distance model. Furthermore, East Tennessee groups appear distinct from their North Georgia neighbors suggesting little biological interaction between these groups. The results of the biological distance analysis conforms to differences in material culture and mortuary ritual between these groups. The results suggests that if there was a political alliance within the region for this period it is not associated with biological relatedness nor did it act as a unifying force for individual communities’ cultural identity.

For over three decades, amphibian populations have been declining across the globe. Emerging infectious diseases are responsible for some of these declines. Ranaviruses have caused die-offs in wild amphibian populations on 4 continents, in 5 Canadian provinces, and in over 25 U.S. states. In order to understand host-pathogen dynamics, it is critical to establish baseline information on species susceptibility and the effects of natural stressors. The goal of my thesis research was to quantify the effects of anuran development and exposure to invertebrate predators on species-specific susceptibility to ranavirus. My experiments were designed in factorial arrangements, and consisted of exposure to ranavirus during different developmental stages or with and without predator cues in a controlled environment. I found that exposure to invertebrate predator cues did not increase susceptibility to ranavirus for 4 anuran species tested. Susceptibility differed among embryo, hatchling, larval and metamorph stages, but trends differed among species and did not follow predictions based on Xenopus laevis immune function. Low susceptibility during the embryo stage was the only consistent development result among species, perhaps owing to protective qualities of the vitelline membrane or mucoidal capsules surrounding the embryo. Across 7 anuran species tested, mean mortality rates ranged from 5 – 100%, with Lithobates sylvaticus and Scaphiopus holbrookii most susceptible. I found that infection rates and viral load were correlated with mortality rates, thus these variables are good indicators of susceptibility to ranavirus. My results indicate that ranaviruses can cause catastrophic natural mortality in some anuran species, and likely play a significant role in local population dynamics. For highly susceptible species, ranaviruses could cause local extirpations that lead to species declines. More information is needed on the role of natural (e.g., co-infection, competition) and anthropogenic stressors in driving ranavirus epizootic events. I encourage natural resource agencies to initiate ranavirus surveillance programs, especially for rare species and fragmented populations. Future studies should take an immunogenetic approach to identifying mechanisms driving susceptibility. Identifying mechanisms associated with ranavirus emergence is fundamental to developing science-based conservation strategies.

In the United States, there are advocacy groups that support sexual relationships between adults and children. These groups use justifications that make pedophile behaviors seem normal and appropriate. This thesis describes the physical, emotional, and psychological harms that result from child sexual abuse. The reader will understand how prominent child sexual abuse is and how it takes a lot of effort for abusers to take advantage of children. There are many psychological resources available to children and their families, but it does not make sexual abuse okay for society to ignore. The justifications used by pedophile advocates are irrational and should be fought against by society.