Esta pesquisa foca na natureza caótica e paradoxal de Água viva, de Clarice Lispector, obra publicada em 1973 pela editora Artenova. Entre os vários aspectos estudados, prezouse trabalhar com o conceito de Kháos empregado na Teogonia, de Hesíodo; bem como com as mais distintas visões da crítica de Lispector a respeito dos princípios de alteridade, de análise do objeto, da ruptura com o cronotopo e do abandono aos padrões romanescos. A autora luta por provar que a qualidade de sua obra está diretamente relacionada ao enfrentamento ontológico e à reflexão aprofundada, captada no momentoinstantâneo e transcrita em imagens no texto. Mais do que uma obra recheada de personagens, de farto enredo, de situações espáciotemporais e de diálogos, Água viva é uma narrativa livre de molduras, que erige para registrar a coragem literária de uma escritora que não teme trabalhar, sem rédeas ou convenções, com a matériaprima do pensamento. / This research focus on the chaotic and paradoxical nature of Água viva, from Clarice Lispector, published in 1973 by Artenova Books. Among innumerous aspects, it was settled the study of the concept of Kháos applied in the Theogony of Hesiod; as well as the most peculiar visions of the Lispectors critics in relation to the principles of alterity, the analysis of the object, the rupture of the chronotope, and the Romanesque patterns. The author struggles to prove that the quality of her book is directly related to the ontological questioning, and to the deep reflection, captured in the instantaneousmoment, afterwards transcribed into text images. Much more than a production filled with characters, plot, spacetime situations and dialogues, Água viva is a narrative free of frames, rising up to register the literary courage of a writer who does not fear to work with, free of leashes or conventions, the raw material of the thought.

This dissertation argues that Seneca’s philosophical program and literary artistry are jointly coordinated to address and redress the pervasive experience of subverted expectations, i.e. the experience of paradoxicality, attributed to the unwise by Seneca’s Stoic philosophy. With a focus on Seneca’s Epistulae Morales, I suggest that Seneca’s oft-noted paradoxical style reveals and is meant to reflect our fundamentally inconsistent (and thus dissatisfying) experience engendered, in his view, by the incoherency of our worldviews. While, as Seneca explores, our minds’ operations hide this distressing contradiction from our attention, Seneca’s subtle but steady exposure of it and its source attempts to work against this self-deception. The intended result for the reader is the recognition of their own role in their dissatisfaction and the resulting commitment to its remedy through philosophical training.

L’objectif de cette recherche est une étude globale de l’œuvre et de la pensée de l’humaniste milanais Ortensio Lando (1506 env.- 1553 env.). Cet auteur, redécouvert par la critique dans les années 70, notamment grâce aux recherches menées par les américains Conor Fahy et Paul Grendler, connaît aujourd’hui un intérêt renouvelé en raison du caractère paradoxal et ambigu de sa production. Mais, si son ouvrage le plus célèbre, les Paradossi (1543), est désormais bien connu par les spécialistes, la plus grande partie de ses écrits reste encore méconnue. Nous prendrons par conséquent en considération tout le corpus de Lando, qui compte au moins une vingtaine d’ouvrages, pour mener une étude complète de son œuvre.Nous porterons aussi une attention particulière à la vie d’Ortensio Lando qui reste encore en grande partie obscure. Nous reprendrons les quelques documents de l’époque qui nous donnent des informations utiles et les différentes théories sur la biographie de Lando, notamment l’hypothèse qu’il était dans sa jeunesse un moine augustin qui aurait par la suite abandonné son ordre pour fuir en France.L’analyse des œuvres permet de dégager trois axes principaux :1) L’autopromotion.Lando employait différents pseudonymes. À notre avis, cet usage était dicté seulement en partie par la nécessité de cacher son identité d’auteur hétérodoxe. L’utilisation de pseudonymes et de jeux linguistiques faisait aussi partie d’une stratégie réfléchie d’autopromotion dont nous analyserons les techniques rhétoriques. Lando était conscient des nouveaux enjeux de l’industrie typographique et démontre qu’il sait les utiliser à sa faveur pour se construire une image de lettré irrégulier et excentrique.2) Le paradoxe.Les Paradossi sont considérés comme la première œuvre du genre paradoxal en langue vulgaire, genre qui connaîtra un énorme succès pendant tout le XVIe siècle. La critique a déjà reconstruit la façon dont l’humanisme a récupéré cette tradition d’origine antique, notamment à travers Lucien de Samosate, elle en a isolé les thématiques principales comme celle "asinienne" et la critique du savoir. Jusqu’à présent, peu d’attention a été accordée aux autres textes paradoxaux de Lando et il manque encore une interprétation satisfaisante des raisons qui se cachent derrière cette stratégie stylistique. Les théories qui considèrent Ortensio Lando comme un antihumaniste, anticicéronien et antiérasmien ne sont pas complètement convaincantes et nous développerons une autre thèse pour expliquer l’emploi du paradoxe : l’ambiguïté du message ne représente ni un refus sceptique de toute position, ni une prise de position contre l’héritage humaniste mais le rejet de toute forme de dogmatisme intellectuel.3) Les formes de réécriture.Si Lando ne peut pas être considéré comme antihumaniste, il est certain que nous nous trouvons dans une période de crise et de changement des modèles littéraires. La problématique sera donc d’analyser quels sont les rapports de Lando avec la culture classique dont il reprend et parodie les genres, et avec la culture humaniste qui bien que critiquée reste au centre de ses œuvres. Nous nous concentrerons aussi sur les raisons qui se cachent derrière l’emploi de longues catalogues d’exemples érudits, tirés surtout de l’Officina de Jean Tixier, en proposant de lier cette pratique à une parodie des dérives de la récupération du savoir classique, se fondant sur les mêmes prémisses de littérature paradoxale. / The aim of this study is to analyse the work and thought of Italian humanist Ortensio Lando (c. 1506 – c. 1553). This writer has been rediscovered by critics in the 1970s, mostly thanks to Fay’s and Grendler’s studies, and today many researchers are interested by paradox and ambiguity in his works. But, except for the Paradossi, his literary production remains mostly unknown. For this reason we considered the whole Lando’s corpus, about 27 works, in order to propose a monographic study of this writer.We also focused on Ortensio Lando’s biography, of which we have only few documents, and on the theory that he was an Augustinian monk who committed apostasy and fled to France.The analysis of Lando’s works has permitted to define three research axes:1) Self-promotionLando used different pseudonyms. We assume that this strategy was not only a way to cover his identity, but also a self-promotion stratagem of which we analysed the rhetorical function. Lando knew how to exploit printing innovations and he showed how they could be used to build his eccentric writer’s image.2) ParadoxThe Paradossi are considered as the first vernacular paradoxical work, a successful literary genre in 16th century. Literary criticism reconstructed the way paradoxical tradition was reworked by Humanism, especially through Lucian of Samosata, and has defined its main issues, like the “donkey’s praise” and the critical of learning. But so far, little consideration has been given to others paradoxical Lando’s works and there’s still no satisfying interpretation of the reason behind this strategy. Several assumptions considered Lando as an anti-humanist, anti-Ciceronian and anti-Erasmian writer, but we believe that paradox doesn’t carries a sceptical rejection of any opinion or a criticism against Humanistic heritage; paradox is rather a denunciation of intellectual dogmatism.3) RewritingEven if Lando cannot be considered as an anti-humanist, he clearly lived in times of intellectual crisis and paradigmatic shift in literary models. We will analyse the relationship between Lando and classical culture by parody and imitation, and the relationship between the writer and humanistic culture that remains, despite criticism, the focus of his work. We will also focus on the reasons behind the long and erudite catalogues that Lando copies, especially from Ravisius’s Officina, by proposing to link this practice to the parody of uncritical classical imitation, as in the case of paradoxical literature.

This thesis tackles the pervasiveness of aberration in Senecan tragedy. Aberration infects all aspects of the drama, and it is deeply entwined with Senecan criminality. In my introduction, I define my terminology of the aberrant, and I discuss a series of ongoing scholarly debates on the tragedies, showing how understanding the aberrant in Seneca's dramas can shed new light on these questions. In Chapter 1, I examine the relationship between the language of crime in the plays, tracing the Latin words for crime back to their instances in Republican Roman tragedy and other genres and seeing how Seneca uses and develops this language of crime, creating an unstable fuel for his dramas. In Chapter 2, I consider Seneca's paradoxes. I consider not only verbal manifestations but all the different paradoxes that appear in the dramas: visual paradoxes, paradoxes of infinity, thematic paradoxes, intertextual paradoxes and more. Paradox is not merely a formal feature of Seneca's writing but integral to the structure of each play. Paradox becomes Seneca's means of transforming linguistic aberration into thematic aberration. In Chapter 3, I argue that Senecan landscapes are not just verbal artefacts. Seneca describes his anomalous spaces in ways that connect with how space and place was experienced in Roman culture. Seneca's aberrant spaces give us buildings that are bigger on the inside than the outside and bodies that explode with the emotions within them. In Chapter 4, I probe aberrant behaviour, by considering the ambiguous characters of Hercules and Thyestes. I expand our focus to incorporate Roman notions of appropriate behaviour, reading the dramas and De Beneficiis as reflecting wider socio-cultural concerns, and I question common assumptions about the thematization of theatricality in Senecan tragedy. In both Hercules Furens and Thyestes, crime skews and twists the situation, rendering apparently ethical behaviour aberrant.

Quase três séculos já se passaram desde que a primeira versão do chamado paradoxo de São Petersburgo chegou aos meios acadêmicos através do trabalho de Daniel Bernoulli. Contudo, a relevância desse assunto ainda reverbera em artigos científicos atuais em diversas áreas do conhecimento (notadamente, mas não exclusivamente, na Economia e na Estatística). Um jogo de enunciado simples cuja esperança matemática dos ganhos do jogador surpreendentemente é infinita, entretanto, dificilmente alguém estaria disposto a pagar qualquer taxa de entrada cobrada para jogá-lo. No presente trabalho buscou-se em primeiro lugar apresentar uma análise crítica do desenvolvimento histórico das \"soluções\" propostas para o paradoxo. Em seguida mostrou-se uma aplicação direta do paradoxo a um modelo matemático utilizado até hoje para avaliar o preço justo de ações. Por fim, revisaram-se alguns resultados obtidos pela moderna teoria da probabilidade através da convergência em probabilidade. / It has been almost three centuries since the first version of the so-called St. Petersburg Paradox has reached the academic environment through the work of Daniel Bernoulli. However, the relevance of this subject still reverberates in new scientific papers in many knowledge fields (especially, but not exclusively, in Economics and Statistics). A game with a simple rule in which the mathematical expectation of the player\'s gains is unexpectedly infinite but hardly someone would be willing to pay any asked entrance fee to play it. In this work we pursued at first to present a critical analysis on the historical development of the proposed \"solutions\" to the paradox. After that, we showed an application of the paradox to a mathematical model, that is still in use today, to obtain a fair price of a stock share. At last we reviewed some results given by the modern probability theory through the convergence in probability.

A presente Dissertação analisa o problema da teleologia na obra de Schopenhauer. Em nosso trabalho, buscamos compreensão sobre a modulação existente do \"como se\" kantiano, ao mostrar como o jogo entre vontade e representação modifica o sentido do juízo teleológico da Crítica do Juízo. Nessa chave de leitura, procuramos construir uma argumentação que permita pensar a existência de um horizonte regulativo aliado à intuição primordial da vontade. Como consequência, encontramos, nessa modulação, uma expansão do problema do organismo para uma questão sobre a essência da natureza. Como resultado, o deslocamento da teoria do juízo de reflexão kantiana transforma essa leitura sobre o mundo natural em uma questão da teleologia na metafísica da vontade, transformando o problema da finalidade na natureza em problema a respeito da finalidade no campo da ética. É nela que se apresenta o paradoxo da individualidade, na crise entre a afirmação do indivíduo e a destinação do mundo / This dissertation examines the problem of teleology in Schopenhauer\'s work. In our work, we seek an understanding of the existing modulation of the Kantian\'s \"as if\", to show how the interplay between will and Representation modifies the sense of teleological judgment of the Critique of Judgment. In this reading key, we seek to set up an argument to suggest the existence of a regulative horizon coupled with the primordial intuition of will. As a consequence, we find, in this modulation, an expansion of the problem of organism onto a question about the essence of nature. As a result, the displacement of the Kantian\'s theory of judgment reflection transforms this reading about the natural world in a question of teleology in the metaphysics of will, and transforming the problem of purpose in nature in issue as to the purpose in the field of ethics. Is it that presents the paradox of individuality: the crisis between the assertion of the individual and the destination of the world

The Greater Aneth Buildup (GAB) is comprised of the 3rd-order middle Pennsylvanian (Desmoinesian) Desert Creek sequence of the Paradox Formation. A hierarchy of 4th- and 5th order, carbonate-dominated cycles comprise the Upper Desert Creek (UDC) 4th-order sequence. A SE to NW trending transect line, utilizing core and petrophysical data from six oil and gas wells (from SE to NW wells R-19, Q-16, O-16, J-15, K-430, E-313), revealed deposition of seven carbonate facies within four 5th-order parasequences in the UDC. While each of the seven carbonate facies are present across the transect line, the UDC parasequences are dominated by a shallow-water oolite facies. Laterally and vertically, a general facies transition is evident in each of the four parasequences from a dominantly deeper-water succession of facies in the SE, to a more shallow-water, open marine to restricted lagoon, succession of facies to the NW. Parasequence UDC-3 contains the best representation of this facies transition with the SE wells (R-19, Q-16, and O-16) displaying the deeper-water/mixed algal facies grades into the shoaling oolite facies in the NW wells (J-15, K-430, and E-313). Within UDC strata, porosity and permeability correlate well to each other, but poorly to facies type. Porosity and permeability are predominantly controlled by diagenesis. Minor appearances of fibrous isopachus rim cements, and more common micritization (both whole grain and envelope) suggest that early-marine diagenesis occurred within the oolite facies. Meteoric diagenesis is demonstrated by abundant calcite spar, and drusy dogtooth cements within oomoldic pores, intraparticle pores, and interparticle pores, in addition to neomorphism of early marine diagenetic fabrics. Spastolithic ooids, stylolitization, and grain brecciation are representative of burial diagenesis within these strata. Dolomitization is present in each of the six studied core, but only in minor amounts. The Upper Desert Creek 3rd-order sequence has preserved laminamoldic diagenetic fabric that is the oldest known example of selective leaching in a meteoric vadose environment. Lithofacies trends along transect line A to A' demonstrate an increase in ooid-rich grainstone NSCF both vertically and laterally from the SE to the NW. Lithofacies type, combined with diagenesis, are the major drivers for porosity and permeability creation and destruction within Upper Desert Creek strata. NSCF, specifically ooid grainstones, have the greatest diagenetic potential of the seven UDC lithofacies.

The Greater Aneth Buildup (GAB) is comprised of the 3rd-order middle Pennsylvanian (Desmoinesian) Desert Creek sequence of the Paradox Formation. A hierarchy of 4th- and 5th order, carbonate-dominated cycles comprise the Upper Desert Creek (UDC) 4th-order sequence. A SE to NW trending transect line, utilizing core and petrophysical data from six oil and gas wells (from SE to NW wells R-19, Q-16, O-16, J-15, K-430, E-313), revealed deposition of seven carbonate facies within four 5th-order parasequences in the UDC. While each of the seven carbonate facies are present across the transect line, the UDC parasequences are dominated by a shallow-water oolite facies. Laterally and vertically, a general facies transition is evident in each of the four parasequences from a dominantly deeper-water succession of facies in the SE, to a more shallow-water, open marine to restricted lagoon, succession of facies to the NW. Parasequence UDC-3 contains the best representation of this facies transition with the SE wells (R-19, Q-16, and O-16) displaying the deeper-water/mixed algal facies grades into the shoaling oolite facies in the NW wells (J-15, K-430, and E-313). Within UDC strata, porosity and permeability correlate well to each other, but poorly to facies type. Porosity and permeability are predominantly controlled by diagenesis. Minor appearances of fibrous isopachus rim cements, and more common micritization (both whole grain and envelope) suggest that early-marine diagenesis occurred within the oolite facies. Meteoric diagenesis is demonstrated by abundant calcite spar, and drusy dogtooth cements within oomoldic pores, intraparticle pores, and interparticle pores, in addition to neomorphism of early marine diagenetic fabrics. Spastolithic ooids, stylolitization, and grain brecciation are representative of burial diagenesis within these strata. Dolomitization is present in each of the six studied core, but only in minor amounts. The Upper Desert Creek 3rd-order sequence has preserved laminamoldic diagenetic fabric that is the oldest known example of selective leaching in a meteoric vadose environment. Lithofacies trends along transect line A to A<&trade> demonstrate an increase in ooid-rich grainstone NSCF both vertically and laterally from the SE to the NW. Lithofacies type, combined with diagenesis, are the major drivers for porosity and permeability creation and destruction within Upper Desert Creek strata. NSCF, specifically ooid grainstones, have the greatest diagenetic potential of the seven UDC lithofacies.

In addition to proposing a survey and subsequent analysis of the French-Algerian War in French-language comics, also known as bandes dessinées, published in Algeria, France, and Belgium since the 1960s, my dissertation investigates the ways in which this medium re-appropriates textual and iconographic source materials. I argue that the integration or citation of various sources by artists functions to confer a measure of historical accuracy on their representation of history, to constitute a collective memory as well as personal postmemories of the war, and to re-contextualize problematic images so that they and the hegemonic discourses they reinforce may be deconstructed. Moreover, the bande dessinée mimics secondary schoolbook representations of the war in both Algeria and France in its recycling of problematic images such as Orientalist painting, colonial postcards, and iconic images of war. The recycling of textbook images has the double advantage of ensuring reader familiarity with these images and of inviting critical interpretations of them. By exploring how the bande dessinée reuses colonial images as well as critical histories in predominantly anti-colonialist narratives, I seek to explain how this popular medium uniquely problematizes questions of history, memory, and postcolonial identity related to French Algeria and its decolonization. It is my contention that, because historical bandes dessinées frequently include or reference authentic textual and iconographic source material documenting the repercussions of the French-Algerian war on various communities, they represent a valuable resource to middle and high school teachers looking to enrich the state-mandated history curriculum. By using the bande dessinée in this capacity, educators exploit this medium as both a historical document (whose objective is to transmit knowledge of the past) and a document of history (which allows scholars to retrace the evolution of public opinion).

Crystal engineering is attracting attention in the pharmaceutical industry because the design of new crystal form of drugs can improve their stability, bioavailability and other relevant physical characteristic properties. Therefore, crystal engineering of nutraceuticals such as flavonoids by exploring their hydrogen bonding interactions can generate novel compounds such as pharmaceutical cocrystals. Flavonoids are polyphenolic secondary plant metabolites that are present in varying levels in fruits, vegetables and beverages. The "French paradox", low cardiovascular mortality rate in spite of high intake of saturated fat among the Mediterranean populations made flavonoids an appropriate target for therapeutic researchers. The work herein deals with the crystal engineering of two flavonoids, quercetin and hesperetin, which are already known to exhibit antioxidant properties and reduce cardiovascular effects in humans. However, they have limited bioavailability and poor water solubility. Several new forms of quercetin and hesperetin in the form of solvates and cocrystals were synthesized. These new crystal forms were characterized by various techniques: FT-IR, DSC (Differential Scanning Calorimetry), single X-ray diffraction, powder X-ray diffraction, TGA (Thermal Gravimetric Analysis) and melting point. The new compounds were also studied via dissolution studies performed in 1:1 ethanol/water (V/V%). Thus, crystal engineering proves to be effective way to enhance the solubility and bioavailability of the target flavonoid molecules.