Submitted by Maria Suzana Diniz (msuzanad@hotmail.com) on 2015-11-27T12:10:57Z No. of bitstreams: 1 arquivototal.pdf: 9210555 bytes, checksum: 0f6b9325e8713f3a0eb853586835a009 (MD5) / Approved for entry into archive by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2015-11-30T10:51:46Z (GMT) No. of bitstreams: 1 arquivototal.pdf: 9210555 bytes, checksum: 0f6b9325e8713f3a0eb853586835a009 (MD5) / Made available in DSpace on 2015-11-30T10:51:46Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9210555 bytes, checksum: 0f6b9325e8713f3a0eb853586835a009 (MD5) Previous issue date: 2013-03-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work, after a brief history and theory of probability, approaches the subject geometric probability. We believe it is an important branch of probability theory and we had the opportunity to present some examples. Initially, we studied the most famous problem in geometric probability, which is the problem of Bu on's needle. After a few years, the application of this problem allowed Allan MacLeod Cormack and Godfrey Newbold Houns eld, Nobel Prize winners in Medicine, the invention and development of computed tomography. This work also presents an interesting way to calculate areas of no elementary gures by using the geometric probability via the Monte Carlo Method. Another topic addressed concerns probabilistic paradoxes. The paradoxes presented are those which are contrary to common sense. / Este trabalho, após uma breve resumo histórico e teórico sobre probabilidade, aborda o tema probabilidade geométrica. Entendemos que esse é um ramo importante da teoria das probabilidades e tivemos oportunidade de apresentar alguns exemplos. Inicialmente, estudamos o mais famoso problema de probabilidade geométrica, que é o problema da agulha de Bu on. Após alguns anos, a aplicação desse problema possibilitou Allan MacLeod Cormack e Godfrey Newbold Houns eld, ganhadores do Prêmio Nobel da Medicina, o invento e desenvolvimento da tomografi a computadorizada. No trabalho também é apresentado uma forma interessante de calcular áreas de guras não elementares usando a probabilidade geométrica através do Método de Monte Carlo. Um outro tópico abordado diz respeito aos paradoxos probabilísticos. Os paradoxos apresentados são aqueles que são contrário ao senso comum.

Made available in DSpace on 2016-12-08T16:19:04Z (GMT). No. of bitstreams: 1 AtilaRibeiroregiani.pdf: 2518398 bytes, checksum: 9c0777c6641e381ddcb213a22e55c281 (MD5) Previous issue date: 2008-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação se propõe a investigar as relações entre o trompe l'oeil e a algumas experimentações em arte contemporânea. A análise recai sobre as relações travadas entre o espectador e a obra, retomando o duelo entre Zêuxis e Parrásius, o relato de Giotto enganando seu mestre, dentre outros, bem como a relação que algumas obras recentes impõem ao espectador, obras como After Sherrie Levine de Mandiberg, Sleep de Warhol, 300 toneladas de Sierra, etc. Não se trata de um retorno ao ilusionismo pictórico, ou a formulação de novas formas ilusórias. Contrário a esta leitura, mais freqüente do tema, não se entende o trompe l'oeil como o uso de artifícios pictóricos para exacerbar o ilusionismo, mas como um intrincado jogo de relações. Sendo assim, se analisam algumas características do trompe l'oeil para compreender como estas estão presentes em obras contemporâneas. Estas podem ser definidas como a sobreposição de sentidos e superfícies que geram uma dialética colocada atrás na obra e não nos seus elementos internos. Outra característica é a semelhança, sendo esta uma construção que o trompe l'oeil evidencia como tal, ao propor paradoxos imagéticos, que direcionam o olhar para o processo de fruição, pensando-o. Parte-se do espectador para a análise aqui realizada, pois sua crença inabalável de que aquilo que se vê é 'real' ou 'verdadeiro' é um elemento fundamental dessa fruição. Tal crença inabalável que o leva a tentar adentrar a obra relaciona-se, de certo, com a alucinação psíquica. Todavia, diferentemente desta, o trompe l'oeil ocorre a partir da consciência, e não apesar da mesma. Em sua ironia ou em seu agudo pensamento, abala as crenças na realidade como fato contínuo e no real como instância inabalável

This paper explores the idea of community through the proposals of some contemporary thinkers who have tried to rethink the concept of being in common assuming some of its paradoxes. For authors like Roberto Esposito, Jean-Luc Nancy and Giorgio Agamben, thinking the community” implies reflecting on it from the paradoxes and contradictions it contains, both conceptually and in terms of everyday reality. The central paradox that sums such contradictions is stating that the community is feasible only to the extent that it is not. Close to Russell’s paradox, such aporia allows us to recognize the difference between the community that takes care of its contradictions and inconsistencies, the community of the crisis, and the one that, conceived in absolute and unequivocal terms, is not responsible for their antinomies and contradictions, and leads to what we call the community crisis. / En el presente artículo se hace un recorrido por la idea de comunidada través de algunos pensadores contemporáneos que han tratado de repensar el estar en común asumiendo algunas de sus paradojas. Para autores como Roberto Esposito, Jean-Luc Nancy y Giorgio Agamben, pensar la comunidad” implica reflexionarla a partir de las paradojas y contrasentidos que contiene, tanto anivel conceptual como a nivel de la realidad cotidiana. La paradoja central que resume tales contrasentidos es la que afirma que la comunidad es realizable solo en la medida en que no lo es. Cercana a la paradoja de Russell, tal aporía nospermite reconocer la diferencia entre una comunidad que se hace cargo de sus contrasentidos e incoherencias, la comunidad de la crisis, y otra que al concebirse en términos unívocos y absolutos, es decir, que no se hace cargo de sus antinomias y contradicciones, nos lleva a lo que hemos llamado crisis de la comunidad.

According to the doctrinal dilemma, the construction of military doctrines is challenging. Either the doctrines become too explicit and specific or they become too abstract for the target groups, both of which have negative consequences. The purpose of this study is to examine to what extent the dilemma exists and how it is taken into consideration in the doctrinal development process. In order to analyse the dilemma, two Swedish doctrines have been reviewed and their authors interviewed.   The results indicates that the doctrinal dilemma has had a central role in the doctrinal development process of both doctrines. The authors have handled the dilemma through constructing abstract rather than specific doctrines. The study also reveals that it is necessary that doctrines are consistently formulated and that the users are acquainted with the style of the doctrine. The dissertation contributes with an increased understanding of the dilemma, facilitating the construction of doctrines and enabling that they can serve as force multipliers.

Made available in DSpace on 2015-04-11T13:49:10Z (GMT). No. of bitstreams: 1 Maria da Luz S da Silva.pdf: 1644530 bytes, checksum: 99d329a04156afcf06162cb6b44a5cab (MD5) Previous issue date: 2014-03-28 / The theme of this dissertation is based on the interface between literature and history by electing the socio-critical as a reference for assessing the storybook Inferno Verde cenas e cenários do Amazonas (1908), written by Alberto Rangel do Rêgo, in comparison with Os Sertões (1902) and À margem da história (1909), by Euclides da Cunha. The scope of work is a reflection on the Brazilian national identity apparent in fiction that thematizes the space of the Amazon, looks the discussion of the mestizo nationalism. Such a view, present in the Brazilian intelligentsia of the late XIX century approach, in mesures concepts of " identity" and " civilization ", seeking to understand the paradox latent nationalism versus universalism in Inferno Verde, under the concern to consider it genuinely Brazilian literature. In this environment, the trajectory traced by traveller-narrator, a witness of the themed historical context - the Amazon Rubber Cycle - brought us this work wich may reading as brand authenticity. To this, we must research the processes underlying meaning, which materialize the object of study, watching the imagery that influenced the traveller-narrator on lands never before seen since the XVI century, also analyzing the discourses, social types, natural (and cultural) spaces in the literary context in Inferno Verde, the weakness of language in representing the reports of the tale; conceptions about the genesis of the work, which keep contact / dialogue with the look; and, finally, the european convictions about the pure amazon myth, originated by ethnocentric notions of the XIX century, which record antithetical images of hell and amazon paradise. That said, will bring the work had demonstrated in the context of thought and literary production of the time figuring Inferno Verde as a current, innovative and unique as your style and forward looking aspects in that literary representation. / Esta dissertação apoia-se na interface da literatura com a história, elegendo a sociocrítica como referência para a apreciação do livro de contos Inferno Verde cenas e cenários do Amazonas (1908), do escritor Alberto Rangel do Rêgo, em cotejo com Os Sertões (1902) e À margem da história (1909), de Euclides da Cunha. O escopo do trabalho é a reflexão sobre a identidade nacional brasileira aparente na ficção que tematiza o espaço da Amazônia com a discussão sobre o nacionalismo mestiço. Tal visão, presente na abordagem da intelligentsia brasileira de final do século XIX, contrabalançava conceitos de identidade e civilização , buscando entender o paradoxo nacionalismo versus universalismo latente em Inferno Verde, sob a preocupação de se considerá-lo literatura genuinamente brasileira. Nesse ambiente, a trajetória traçada pelo narrador viajante, testemunha do contexto histórico tematizado - a Amazônia do Ciclo da Borracha - deixou como herança uma obra em cuja leitura este trabalho intenta demonstrar o requerido como marca de autenticidade. Para isto, interessam os processos de significação subjacentes, que se materializam no objeto de estudo, acompanhando o imaginário que influenciou a impressão do viajante sobre terras jamais vistas, desde o século XVI, analisando-se também os discursos, os tipos sociais, as representações dos espaços naturais (e culturais) no contexto literário da obra Inferno Verde; os limites da linguagem na representação dos relatos da obra; as concepções sobre a gênese da obra, que guardam contato/dialogam com o olhar; e, por fim, as convicções do europeu sobre a Amazônia intocada, alimentadas por noções etnocêntricas do século XIX, as quais projetam imagens antitéticas do inferno e do paraíso amazônico. Isto posto, intentará o trabalho ter demonstrado no contexto do pensamento e da produção literária da época a figuração de Inferno Verde como uma representação literária atual, inovadora e de aspectos singulares no que se diferencia por seu estilo e visão prospectiva.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-08-18T11:28:46Z No. of bitstreams: 1 humbertoaraujoquagliodesouza.pdf: 2415815 bytes, checksum: 0a1b6ae590f4ae09066059e88869e01c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-24T11:49:58Z (GMT) No. of bitstreams: 1 humbertoaraujoquagliodesouza.pdf: 2415815 bytes, checksum: 0a1b6ae590f4ae09066059e88869e01c (MD5) / Made available in DSpace on 2017-08-24T11:49:58Z (GMT). No. of bitstreams: 1 humbertoaraujoquagliodesouza.pdf: 2415815 bytes, checksum: 0a1b6ae590f4ae09066059e88869e01c (MD5) Previous issue date: 2017-06-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Em 1844, o pensador dinamarquês Søren Kierkegaard (1813-1855) publicou, sob o pseudônimo Johannes Climacus, o livro Migalhas Filosóficas, no qual formulou a expressão Paradoxo Absoluto, que designa aquilo que o cristianismo tradicionalmente chama de Encarnação do Verbo. No pensamento kierkegaardiano, a ideia de Paradoxo Absoluto identifica-se com a própria verdade, e pressupõe uma distinção absoluta entre tempo e eternidade. Tanto a identificação do Verbo Encarnado com a verdade, quanto a absoluta distinção entre tempo e eternidade, foram também objeto de reflexão para Aurélio Agostinho (354-430), pensador e sacerdote romano-bérbere. Esta tese pretende mostrar como o Paradoxo Absoluto kierkegaardiano expressa um modo de pensar especificamente cristão que contrasta historicamente com perspectivas não-cristãs e com ideias divergentes da ortodoxia cristã. Além disso, pretende examinar como a maneira de Kierkegaard refletir sobre os temas do tempo, da eternidade e da verdade, no século XIX, ecoa a maneira como Agostinho lidou com essas mesmas questões na Antiguidade tardia. / In 1844, the Danish thinker Søren Kierkegaard (1813-55) published his book Philosophical Fragments under the pseudonym Johannes Climacus. In that book, he formulated the expression Absolute Paradox, which designates what Christianity has been traditionally calling the Incarnation of the Word. In Kierkegaard’s thought, the idea of Absolute Paradox is identified with truth itself, and it presupposes an absolute distinction between time and eternity. Both the identification of Incarnate Word with truth and the absolute distinction between time and eternity were also objects of reflection for Aurelius Augustine (354-430), the Roman-Berber thinker and priest. This dissertation intends to show how the Kierkegaardian Absolute Paradox expresses a specifically Christian way of thinking that historically opposes itself to non-Christian perspectives and to ideas that diverge with Christian orthodoxy. Besides, it intends to examine how Kierkegaard’s way of reflecting about time, eternity and truth in the 19th Century echoes the way Augustine dealt with these same issues in late antiquity.

Syftet med uppsatsen är att undersöka och synliggöra filmskaparens förhållande till konst och forskning. Under åtta år i olika perioder har filmprojektet Kropparnas Arkiv, pågått som jag parallellt med uppsatsen har slutfört. Filmen väver samman konst och forskning i ett möte mellan konstnär och forskare. Såväl i samtal med filmkollegor som inför nya filmprojekt framträder frågan, hur kan man söka det man inte vet vad det är? Detta kom nu att bli min forskningsfråga. Syftet är att efterforska och reflektera över hur den konstnärliga processen kan fördjupas inom mitt filmskapande. Jag har valt att intervjua tre kvinnor, en konstnär, en skådespelare tillika regissör och en forskare. Mitt urval gör inte anspråk på att vara representativt. Att skådespelaren, regissören och konstnären har beröringspunkter med mig, filmskaparen kan kanske vara mer uppenbart än att forskaren har det. Men är det verkligen så? Målet är att få syn på om det finns likheter, olikheter, vad som skiljer eller vad som förenar de tre intervjuade, i det här sammanhanget kallade informanter, med filmskaparen. Svaren från de intervjuade har jag sorterat under teman som –val eller urskiljning–praktisk nyfikenhet eller kreativitet och slutligen att framkalla det oväntade. I min undersökning använder jag mig av kvalitativa metoder, analyserar svaren och teoretiserar kring dem. Den fenomenologiska hermeneutiken tillika toposläran har varit ryggraden i min undersökning. Det är oundvikligt att Aristoteles och hans tankegångar är fundamentet till teorier och reflektioner som jag tillämpar i uppsatsen. Min ambition är att kunna ta med mig den konstnärliga blicken in i vetenskapsvärlden, att kunna ge en dubbel blick på den vetenskapliga terrängen, ett sätt som jag menar kan förmera och bidra till att vidga mitt seende. Hur och på vilket sätt finns det beröringspunkter och likheter mellan film, konst och forskning–humanismen och naturvetenskapen? Att svara på min forskningsfråga har varit en metod för att synliggöra en process, knappt mätbar men ändå synlig för den som vill se. Frågan skapar en process som speglar de intervjuades förhållningsätt till olika problemställningar inom deras arbetsområde och hur de går vidare i sökandet. Utmärkande för alla är gränser, både att skapa och att överskrida. För att spränga gränser är det nödvändigt att bryta tankebanor och begränsningar, något som alla informanterna gör. Det bekanta behövs för att utforska det obekanta. / Fear not going astray – discover the unknown A filmmaker’s take on art and science   The purpose of this essay is to examine and make visible the filmmaker’s relation to art and scientific research regarding the investigation of new knowledge. Can art and science meet, and in what way do they connect? I have finished Secrets of Animal Anatomy (aka Kropparnas Arkiv), a film project I was working on for eight years. I finished it while I was writing on this essay. The film combines art and science in a meeting between an artist and a scientist. During the process, the question arose: how can you search for something when you don’t even know what it is you are searching for?. It is not wholly new, but has been implicit in discussions with colleagues and in film projects. This became my scientific question. My aim is to investigate how to make the artistic process of filmmaking and film deeper, by reflecting upon and investigating this question. I have chosen to interview three women – one artist, one actor-director, and one scientist. The selection is not meant to be representative. It may seem obvious that the actor, director and artist have more in common with each other than with the scientist, but is this necessarily true? Using this question as a starting point, I aim at finding out differences and similarities between the three interviewees and the filmmaker. I have categorised the interviewees’ answers under different themes like “Choice or distinguishing”, “Curiosity in practice or creativity”, and “To evoke the unexpected”. In my investigation, I employ qualitative methods; I analyse the answers and then theorise. Phenomenological hermeneutics, or Topos theory, has been the backbone of my study. It is undoubtedly so, that Aristotle and his thinking is the foundation of the theories and thoughts that I apply in this essay.   My ambition is to bring the artistic vision to the scientific world, and to view the terrain of science with a double gaze, which I believe can contribute to an understanding both wider and deeper. Is there a strong connection and strong similarities between film, art, and science, and are these three entities prerequisites for one another – humanities and science? Answering my question has been a method to make visible a method, barely measurable yet visible for those willing to see it. The question gives rise to a process, reflecting the interviewees’ stance on different problems within the scope of their work, and how they proceed in their search. What they all have in common is boundaries, creating them and transcending them. In order to break boundaries, it is necessary to create new lines of thought and transcend limitations. This is something common to all informants. The known is necessary to examine the unknown.

Purpose: The aim of this paper is to explain and to create an understanding if personalized advertising online creates value for customers.  Design/methodology/approach: A qualitative study through 14 semi-structured interviews.  Findings: The study found personalized advertising to be seen as value co-creation in some cases, but because privacy concerns exist and affect the perception of advertising, it can in many cases lead to value co-destruction instead. It is thus a consideration between privacy concerns and the perceived value of the personalized advertising that decides if the offering will co-create or co-destroy value.  Research limitations/implications for future research: Our study did not involve respondents’ younger than 21 years old, which could have affected the result as this is a generation seen as technology savvy. Through a quantitative study, future research could try to find extremes in personalities by conducting a survey with a large sample of people in different ages, nationalities, gender, active online, etc. in order to see if there are correlations between for example age and privacy concerns.  Practical implications: One purpose of the study is to provide companies with insights of how different customers perceive personalized advertising online in terms of customer value in order for companies to know how to think when targeting their customers.  Keywords: online advertising, personalized advertising, personalized-privacy paradox, privacy concerns, value creation, value co-creation, value co-destruction.

Increasingly, online social media networks allow users to use geotagging. This method of adding location data to various content shared in real time has introduced privacy related issues and threats to the users of such networks. Previous research present opposing findings on whether users actually care about their location privacy or not, and it has also been shown that users often display a behaviour inconsistent with their concerns. When asked, users tend to report high privacy concerns, but in contrast, they will then not let their privacy concerns affect or limit their behaviour online; the privacy paradox is a description of this dichotomy. The problem, however, is not only that location privacy seems to be a paradoxical issue; the sharing of location data provides users with new possibilities that can potentially have negative consequences for them, such as someone else being able to identify one’s identity, home location, habits or other sensitive information. Social media network users communicate that a part of this is due to the lack of control over which information they share, with whom and where.This study employs a qualitative method, using unstructured interviews in a pre-study and a self-completion questionnaire. The purpose of the study is to examine and gain a better understanding of how the privacy paradox can help to better explain users’ location data disclosure preferences in the context of social media networking, and to help social media network developers in order to reduce privacy-related issues in social media networking applications with geotagging capabilities. The findings indicate that the paradox indeed is evident in user’s stated geotagging behaviour, and that users are slightly more worried about their location privacy than their overall online privacy. The conclusions offer a couple of different explanations for the paradox, and we argue that the contradiction of the paradox can be seen as a constant trade-off between benefits and risks of geotagging. We also give some examples of such advantages and disadvantages.

Abstract The purpose of this research is to explore the issue of organizing work for creative individuals, particularly to explore the influence of creativity on emergence of creative companies and to understand the way of managing creative individuals from those companies. The emergence of creative companies is investigated from the motivational perspective, especially the intrinsic motivation and inner drive. The management aspect is studied from the perspective of both managers and employees. Prior literature on creativity demonstrates that creativity has become an important element of human existence. Most of the creativity research has been done on individual creativity, organizational creativity, creative processes, motivation and social influences on creativity. Despite the recent tendency to study creativity from various perspectives, few scholars have approached this phenomenon from the perspective of emergence of creative companies. This study examines that and explores the motivational aspects of creativity seen from the angle of the paradox between art and business. Creativity and motivation in creative companies are contemplated with a case study method. The empirical context of the research is creative industries: games, films, visual and performing arts. The results of this study show that motivational features of creativity (love and passion to create, curiosity, desire to create, choice to be creative) have an influence on creative individuals from the perspective of emergence of new creative companies. The analysis further indicates the importance of acknowledgement of creativity and creative work of individuals in games industries. The new concept of ”the need to be creative” is introduced in this research in the context of a new product or idea being created. In addition, this research concludes that there is a paradox between creative freedom and control when managing creative individuals. This study shows that both of those elements are critical managing practices in the creative companies. Based on theories of creativity and management combined with empirical analysis of film companies, this research also suggests that managing of creative individuals is focused on allowing creative freedom at work while providing control by the manager as well as providing the right work-life balance in creative work settings. / Tiivistelmä Tämän tutkimuksen tarkoituksena on tarkastella luovuuden vaikutusta luovien alojen yritysten syntymiseen sekä ymmärtää luovien yksilöiden johtamista. Luovien yritysten syntyä tutkitaan motivationaalisesta, erityisesti sisäisen motivaation ja -halun näkökulmasta. Johtamista tarkastellaan sekä johtajan että työntekijän näkökulmasta. Aikaisempi luovuuskirjallisuus osoittaa, että luovuudesta on tullut tärkeä ihmisyyden ja olemassaolon osa-alue. Suurin osa luovuustutkimuksesta on tehty yksilön luovuudesta, organisatorisesta luovuudesta, luovista prosesseista, motivaatiosta sekä sosiaalisten tekijöiden vaikutuksista luovuuteen. Vaikka luovuustutkimusta on tehty viime aikoina monista eri näkökulmista, harvat tutkijat ovat lähestyneet ilmiötä luovien yritysten syntymisen näkökulmasta. Tässä tutkimuksessa tutkittiin luovuuden motivationaalisia elementtejä taiteen ja liiketoiminnan ristiriidan näkökulmasta. Luovien yritysten luovuutta ja motivaatiota tarkasteltiin käyttäen tapaustutkimusmenetelmää. Tämän tutkimus on tehty luovien alojen, kuten peli-, filmi-, visuaalisen- ja esittävän taiteen kontekstissa. Tutkimustulokset osoittavat, että luovuuden motivationaalisilla piirteillä (kuten intohimo luomista kohtaan, uteliaisuus, halu luoda ja olla luova) on vaikutusta luoviin yksilöihin luovien yritysten syntymisen näkökulmasta. Analyysi osoittaa myös, että peliteollisuudessa on tärkeää tunnistaa yksiön luovuus ja luovan työn merkitys. Tämä tutkimus esittelee uuden ”tarve olla luova”- käsitteen kontekstissa, jossa luodaan uutta tuotetta tai ideaa. Tämän lisäksi tutkimus osoittaa, että johdettaessa luovia yksiöitä luovuuden vapaus ja kontrollin tarve ovat ristiriidassa. Tutkimus kuitenkin osoittaa, että molemmat elementit ovat kriittisiä johtamiskäytäntöjä luovissa yrityksissä. Johtamisen- ja luovuuden teoriat sekä tutkimuksen empiirinen analyysi osoittavat, että luovien yksilöiden johtaminen perustuu luovuuden vapauden mahdollistamiseen, riittävään kontrolliin sekä työelämän tasapainoon.