La culture du palmier à huile en milieu villageois prend de plus en plus d'ampleur dans les zones tropicales où elle contribue pour une part importante à l'économie des pays. Au Bénin, les palmeraies villageoises sont en forte expansion dans un climat particulier caractérisé par des déficits hydriques annuels élevés. Les caractéristiques assez particulières de ces palmeraies villageoises, comme l'association des cultures vivrières dans les jeunes palmeraies, l'absence de fertilisation minérale durant tout le cycle de culture et l'exportation de tout ou partie de la biomasse recyclable, nous interrogent sur la durabilité du système de production. L'étude a été conduite dans le département du Plateau au sud-est du Bénin (2°30 - 2°45 E et 6°35 - 7°45 N). Une première étape de diagnostic de typologie des palmeraies a permis de constater que les palmeraies villageoises appartiennent majoritairement à des petits producteurs dont les faibles moyens financiers ne permettent pas de planter de grandes superficies, ni d'appliquer une fertilisation minérale aux palmiers. Les antécédents culturaux sont pour la plupart des champs de cultures vivrières. Au jeune âge, les palmeraies sont associées à des cultures vivrières très variées. Les pratiques de restitution des sous produits de transformation, limitées à quelques grands producteurs et les modes de gestion des feuilles d'élagage, distinguent les palmeraies villageoises. La gestion des feuilles d'élagage commence à 7 ans d'âge des palmeraies et va d'une restitution quasi-totale en andain à une restitution nulle de ces feuilles au sol.Dans ce contexte, le mode de gestion des feuilles d'élagage dans les palmeraies villageoises peut induire des effets différents sur le système sol-plante, et son impact agronomique et environnemental mérite d'être exploré. A cet effet, la typologie des palmeraies a orienté le choix d'une chronoséquence de palmeraies représentant les deux modes contrastés de gestion des feuilles d'élagage : la restitution totale en andain (RT) et la restitution nulle (RN). Cette chronoséquence a servi aux études comparatives de l'effet de ces modes sur les compartiments sol et plante du système de production.Dans le compartiment sol, les stocks de matière organique, les paramètres physico-chimiques, l'activité microbienne et le statut de la matière organique ont été étudiés. Les études au niveau de la plante ont concerné dans un premier temps les paramètres de développement (densité, longueur et surface) des racines primaires, secondaires et fines. Et dans un second temps, les biomasses et minéralo-masses aériennes de la plante. Les études de biomasse aérienne ont nécessité la mise au point de méthodes non destructrices basées sur des équations allométriques d'estimations des biomasses de la feuille et du tronc. / Smallholder oil palm plantations are taking increasingly importance in tropical areas where the crop contributes significantly to the economy of the countries. In Benin, smallholder oil palm plantations are in expansion in a particular context characterized by high annual water deficits. Smallholder plantations are characterized in particular by the association of food crops with the young palms, the absence of mineral fertilization throughout the growing cycle and the removal of all or part of recyclable biomass. These specific characteristics raise some questions about the sustainability of the production system. The study was conducted in the region of Plateau located in southeast of Benin (2º 30-2º 45 E and 6 ° 35-7 ° 45 N). A first step diagnosis of the plantations' typology showed that small farmers own the major part of plantations. These small farmers have limited financial resources that neither allow them planting large areas nor applying mineral fertilizers. Food crops represent predominantly the previous cropping history of the plantations. The young palm trees are always associated with various food crops. Practices of mill residues recycling, limited to a few large producers, and the management of pruned fronds distinguish the smallholder plantations. Management of pruned fronds starts at 7 years old of the palm plantation. There are various ways of management of pruned fronds, from total recycling (RT) to no recycling at all (RN).In this context, the management of pruned oil palm fronds in smallholder plantations may induce different effects on the soil-plant system, and its agronomic and environmental impact deserves to be investigated. For this purpose, the typology of plantations allows to choose a chronosequence of palm plantations representing two contrasting ways of managing pruned fronds: RT of fronds piles and RN practices. This chronosequence was used to compare the effect of management of pruned fronds on soil and plant compartments.In the soil compartment, organic matter stocks, chemical parameters, microbial activity and status of organic matter were studied. The studies at the plant level concerned, first, the development parameters (density, length and surface area) of primary, secondary and thin roots; and second, the above ground biomass and mineral-mass of the plant. The studies of the aboveground biomass required to develop non-destructive methods based on allometric equations to estimate biomass of frond and trunk.On the agronomic view, the RT practice after 10 years of fronds recycling induced a significant effect on soil fertility parameters. Organic matter and nitrogen stocks at 0-50 cm depth increased by 70% and 50%, respectively, under frond piles compared to inter-rows without fronds. Surprisingly, the RN practice did not induce a decrease of organic matter stock over time. The increase of carbon and nitrogen stocks after 10 years of fronds recycling, improved soil parameters on the first 20 cm depth. The soil was enriched in organic matter (20gC.kg -1) and nitrogen (1.5gN.kg -1). The sum of exchangeable cations and cationic exchange capacity reached average values (7meq.100g -1) two times higher than the cases of no recycling of fronds. Calcium and magnesium contents increased while potassium contents are very low. The pH increased to 0.5 units and the soil shifted from acid to slightly acid status. Total recycling of fronds induced an increased soil microbial activity witch changed the quality of soil organic matter. So, the carbon content of fine organic fractions (< 20μm) increased to 40% at 0-5 cm and to 15% at 20-30 cm, compared to the no recycling of pruned fronds.

Esta tese é o resultado dos meus quatro anos de investigação e vivências em que meu corpo de pesquisadora performer foi sendo contaminado pelas informações dos ambientes em que circulou. A hipótese está amparada por uma investigação que foi se processando em busca pelas opressões que cerceiam meu corpo, de mulher, mulher negra, feminista, periférica. Essas contaminações encarnearam meu corpo num processo de embrutecimento, que se materializa em Bruta. Destaca-se, neste contexto, o pensamento do Teatro Invisível de Augusto Boal (2009), em diálogo com a performance estudada por autoras como Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). Nesses diálogos, meu corpo foi se contaminando também pela Teoria Corpomídia (Katz e Greiner, 2006), num processo criativo em que arte e vida, agir e conhecer, ocupam um mesmo espaço (Bastos, 2017). A metodologia inspira-se nas fases da Lua, enquanto evocação da Mulher nas suas diversas instâncias, das implicações de vivências na elaboração de um discurso. Meu deslocamento dá-se pela via de um relato: uma artista do corpo em suas performances invisíveis, isto é, manifestações de uma experimentação performativa, que emerge da necessidade de compartilhar este processo em que o corpo foi encarneando Existências Bruta. / This thesis is the result of four years of investigation and experiences where my body as a researcher performer was contaminated by information from the environments it circulated. The hypothesis is supported by an exploration in search of the oppressions surrounding my body, that of a woman, of a black woman, of a feminist, a marginalized body. These exposures infleshened my body in a process of brutishness, which culminated in Raw. Highlighted, in this context, is the thinking of the Invisible Theatre from Augusto Boal (2009), in dialogue with performances studied by Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). With these dialogues, my body was also exposed to Teoria Corpomídia (Katz e Greiner, 2006), in a creative process where art and life, acting and knowing, occupy the same space (Bastos, 2017). The methodology is inspired by the phases of the moon, as evocation to Woman in their several instances, the implications from experiences to elaboration of a speech. My movement happens through a narration: an artist of the body in her invisible performances, therefore, manifestations of a performative experimentation that emerges from the necessity of sharing this process where the body was infleshning Raw Existences.

En mammographie numérique, il existe deux approches pour évaluer la qualité de l’image. Dans la première approche, une méthode visuelle basée sur un observateur humain permet la détectabilité des lésions en radiographie mammographique. Malheureusement, cette approche subjective de qualité nécessite d’importantes ressources humaines et du temps lors de son implémentation. Dans une deuxième approche, des paramètres objectifs et indépendants de l’observateur humain, présentant une relation avec la résolution et le contraste de l’image (MTF et NPS), sont utilisés pour une évaluation de la performance des détecteurs. Cependant, il n’existe pas de relation directe entre ces paramètres et la détectabilité des lésions. Une méthode permettant d’avoir une approche de la qualité de l’image, à la fois indépendante de facteurs humains et présentant une relation directe avec la détectabilité des lésions, permettrait d’utiliser l’équipement mammographique de manière optimale. Ce travail de thèse présente le développement d’une telle méthode, consistant à générer par ordinateur des images virtuelles à partir d’un modèle « Source à rayons X/Détecteur numérique », qui prend en compte les valeurs mesurées de la MTF et du NPS des équipements mammographiques en conditions cliniques d’utilisation. De par les résultats obtenus dans notre travail, nous avons contribué à établir le lien entre les caractéristiques physiques des détecteurs et la qualité clinique de l’image dans les conditions habituelles d’exposition. De plus, nous suggérons l’utilisation de notre modèle pour déterminer rapidement les conditions optimales en mammographie, aspect essentiel pour la radioprotection des patientes / In digital mammography two approaches exist to estimate image quality. In the first approach, human observer assesses the lesion detection in mammograms. Unfortunately, such quality assessment is subject to inter-observer variability, and requires a large amount of time and human resources. In the second approach, objective and human-independent parameters relating to image spatial resolution and noise (MTF and NPS) are used to evaluate digital detector performance; even if these parameters are objective, they are not directly related to lesion detection. A method leading to image quality assessment which is both human independent, and directly related to lesion detection is very important for the optimal use of mammographic units. This PhD thesis presents the steps towards such a method: the computation of realistic virtual images using an “X-ray source/digital detector” model taking into account the physical parameters of the detector (spatial resolution and noise measurements) measured under clinical conditions. From results obtained in this work, we have contributed to establish the link between the physical characteristics of detectors and the clinical quality of the image for usual exposition conditions. Furthermore, we suggest the use of our model for the creation of virtual images, in order to rapidly determine the optimal conditions in mammography, which usually is a long and tedious experimental process. This is an essential aspect to be taken into account for radioprotection of patients, especially in the context of organized mass screening of breast cancer

La tomoscintigraphie myocardique est considérée comme un examen de référence pour le diagnostic et l'évaluation de la maladie coronarienne. Mise au point dans les années 1980, cette technique est en pleine mutation depuis l'arrivée de nouvelles caméras à semi-conducteurs. Deux caméras à semi-conducteurs, dédiées à la cardiologie nucléaire et utilisant des détecteurs de Cadmium Zinc Telluride sont actuellement commercialisées : la Discovery NM-530c (General Electric) et la DSPECT (Spectrum Dynamics). Les performances de ces caméras CZT ont été évaluées : 1) à la fois sur fantôme et sur des examens d'effort provenant de patients à faible probabilité de maladie coronaire, et 2) avec les paramètres d'acquisition et de reconstruction utilisés en clinique. Les résultats ont démontré la nette supériorité des caméras CZT en termes de sensibilité de détection, de résolution spatiale et de rapport contraste sur bruit par rapport à la génération de caméras d'Anger. Ces propriétés vont permettre de diminuer très fortement les temps d'acquisition et les activités injectées, tout en améliorant la qualité des images. Néanmoins, on connaît encore mal les limites et possibles artéfacts liés à la géométrie particulière d'acquisition. C'est pourquoi nous avons développé, avec la plateforme de simulations Monte Carlo GATE, un simulateur numérique spécifique de la caméra DSPECT. Nous avons pu ensuite le valider en comparant des données effectivement enregistrées aux données simulées. Ce simulateur pourrait aider à optimiser les protocoles de reconstruction et d'acquisition, en particulier les protocoles les plus complexes (acquisitions double traceur, études cinétiques) / Myocardial single-photon emission computed tomography (SPECT) is considered as the gold standard for the diagnosis of coronary artery disease. Developed in the 1980s with rotating Anger gamma-cameras, this technique could be dramatically enhanced by new imaging systems working with semi-conductor detectors. Two semiconductor cameras, dedicated to nuclear cardiology and equipped with Cadmium Zinc Telluride detectors, have been recently commercialized: the Discovery NM- 530c (General Electric) and the DSPECT (Spectrum Dynamics). The performances of these CZT cameras were compared: 1) by a comprehensive analysis of phantom and human SPECT images considered as normal and 2) with the parameters commonly recommended for SPECT recording and reconstruction. The results show the superiority of the CZT cameras in terms of detection sensitivity, spatial resolution and contrast-to-noise ratio, compared to conventional Anger cameras. These properties might lead to dramatically reduce acquisition times and/or the injected activities. However, the limits of these new CZT cameras, as well as the mechanism of certain artefacts, remain poorly known. That?s why we developed, with the GATE Monte Carlo simulation plateform, a specific simulator of the DSPECT camera. We validated this simulator by comparing actually recorded data with simulated data. This simulator may yet be used to optimize the recorded and reconstruction processes, especially for complex protocols such as simultaneous dual-radionuclide acquisition and kinetics first-pass studies

Esta tese é o resultado dos meus quatro anos de investigação e vivências em que meu corpo de pesquisadora performer foi sendo contaminado pelas informações dos ambientes em que circulou. A hipótese está amparada por uma investigação que foi se processando em busca pelas opressões que cerceiam meu corpo, de mulher, mulher negra, feminista, periférica. Essas contaminações encarnearam meu corpo num processo de embrutecimento, que se materializa em Bruta. Destaca-se, neste contexto, o pensamento do Teatro Invisível de Augusto Boal (2009), em diálogo com a performance estudada por autoras como Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). Nesses diálogos, meu corpo foi se contaminando também pela Teoria Corpomídia (Katz e Greiner, 2006), num processo criativo em que arte e vida, agir e conhecer, ocupam um mesmo espaço (Bastos, 2017). A metodologia inspira-se nas fases da Lua, enquanto evocação da Mulher nas suas diversas instâncias, das implicações de vivências na elaboração de um discurso. Meu deslocamento dá-se pela via de um relato: uma artista do corpo em suas performances invisíveis, isto é, manifestações de uma experimentação performativa, que emerge da necessidade de compartilhar este processo em que o corpo foi encarneando Existências Bruta. / This thesis is the result of four years of investigation and experiences where my body as a researcher performer was contaminated by information from the environments it circulated. The hypothesis is supported by an exploration in search of the oppressions surrounding my body, that of a woman, of a black woman, of a feminist, a marginalized body. These exposures infleshened my body in a process of brutishness, which culminated in Raw. Highlighted, in this context, is the thinking of the Invisible Theatre from Augusto Boal (2009), in dialogue with performances studied by Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). With these dialogues, my body was also exposed to Teoria Corpomídia (Katz e Greiner, 2006), in a creative process where art and life, acting and knowing, occupy the same space (Bastos, 2017). The methodology is inspired by the phases of the moon, as evocation to Woman in their several instances, the implications from experiences to elaboration of a speech. My movement happens through a narration: an artist of the body in her invisible performances, therefore, manifestations of a performative experimentation that emerges from the necessity of sharing this process where the body was infleshning Raw Existences.

Made available in DSpace on 2016-08-10T10:34:42Z (GMT). No. of bitstreams: 1 Sandra Aparecida Faria.pdf: 2737344 bytes, checksum: c972dea1b2b07c671d565ff611a243b2 (MD5) Previous issue date: 2012-03-20 / This work addresses the importance of performance and rituals to establish the identity of the Catholic Charismatic Renewal movement. It brings out the history of this movement and its Neo-Pentecostal origins, identifying elements from this movement s doctrine and conversion s strategy. Based on a literature review and participant observation this works considers the concepts from social anthropology, which may be useful for reading the identity basis of the movement: the concepts of etnoscenology and performances. Coming from the etnoscenolographia the etnoscenology is an aspect of the etnoscience that studies the human s behavior well-organized (mixed of artistic practices and non-artistic, like religious rituals). Under this perspective, the etnoscenology studies looping acts that follow rules already established that individuals from a community can identify themselves. Another concept approached in this work relates to the performance s notion (theoretical-practical arising from anthropology and sociology) and researches the collective actions in their rituals. This performance s notion comes from the dynamic phenomena, which occurs as collective movement where social s actors and their reception take part. Based on these principles, this research shows the body and gestural elements that we can see in the charismatic s etnoscenology. The use of body techniques, such as touch, hands laying and kneel, mixed with prays, sings and dances were considered as fundamental scenic s elements to make this identity movement. Adding to this performance aspects of glossolalia (brought out from the early Church) as special concession given to devotees. It appears, from the research made, that the etnoscenics performances are fundamental to give identity to the movement. / Esta pesquisa tem como intenção abordar a importância das performances e ritualidades no estabelecimento da identidade do movimento da Renovação Carismática Católica. Para isso, evoca o histórico do movimento e sua filiação às raízes neopentecostais, identificando elementos de sua doutrina e estratégias de conversão. Tendo como base uma pesquisa bibliográfica e de observação participante, o trabalho considera os conceitos advindos da antropologia social, que podem ser úteis para leitura dos fundamentos identitários do movimento: os conceitos de etcnocenologia e de performances. Derivado da etnocenografia, a etnocenologia é uma vertente da etnociência que estuda os comportamentos humanos espetaculares organizados, que compreendem práticas artísticas e nãoartísticas, como rituais religiosos. Sob esta perspectiva a etnocenologia estuda atos repetidos que seguem regras estabelecidas, formas sob as quais os indivíduos de uma comunidade podem se identificar. Outro conceito utilizado na pesquisa diz respeito à noção de performance, construção teórico-prática advinda da antropologia e da sociologia, que investiga as ações espetaculares coletivas em suas formas e ritualidades. A noção de performance parte da análise de fenômenos dinâmicos, que ocorrem em processo, envolvendo atores sociais e sua recepção, como movimento coletivo. Partindo-se desses princípios a pesquisa evidenciou os elementos corporais e gestuais, presentes na etnocenologia dos carismas. A utilização de técnicas corporais como o toque, imposição das mãos, associados aos atos de ajoelhar-se e a gestualidade presente nas orações, cantos e danças foram considerados como elementos cênicos fundamentais para a composição da identidade do movimento. Acrescente-se a esta performance dos carismas os aspectos da glossolalia, evocados dos primeiros tempos da Igreja, como concessão especial conferida aos devotos. Depreende-se, da pesquisa realizada que as performances etnocênicas são fundamentais para conferir identidade ao movimento.

A presente dissertação propõe uma análise ética e estética do espaço urbano em busca de um território de Pertencimento na cidade de São Paulo. Trata-se de uma pesquisa interdisciplinar que, fazendo uso do método da cartografia e da arte como busca epistemológica, observou, no cotidiano da autora migrante, diferentes perspectivas de estar no mundo e de construir formas potentes de pertencer a um lugar na contemporaneidade. Além de abordagens teóricas, foram utilizados experimentos poéticos que resultaram na criação de uma obra Instalação chamada Cidade/Labirinto, que mescla vídeo performances, esculturas, um ato performativo e uma publicação montada com colagens feitas a partir de impressos coletados nas derivas. / This paper proposes an ethical and aesthetic analysis of urban space in search of a territory of Belonging in the city of São Paulo. It is an interdisciplinary research, that uses the method of cartography and art as an epistemological search to observe in everyday migrant author, different perspectives of being in the world and to build powerful forms of belonging to a place in the contemporary time. They were used in addition to theoretical approaches, poetical experiments that resulted in the creation of a work installation called Cidade/Labirinto that mixes video performances, sculptures, a performative act and a publication mounted with collages made above printed collected in drifts.

La gazéification est un procédé de conversion thermochimique permettant de convertir un combustible solide en gaz de synthèse (syngaz), composé notamment de H2 et CO. L’utilisation de déchets non-dangereux sous forme de CSR doit, en plus de fournir une énergie avec de bons rendements, respecter les normes environnementales. Nos travaux évaluent les performances énergétiques et environnementales de la gazéification à l’air de CSR (bois, pneus, plastiques, boues de STEP) en réacteurs en lit fixe co-courant à l’échelle pilote et industrielle. Les méthodes d’analyse utilisées permettent un suivi de la composition du syngaz, ainsi que des polluants (soufrés, azotés, goudrons, métaux lourds) dans les effluents du procédé, par rapport à une ressource propre (bois brut). Les performances de gazéification du CSR Bois sont identiques au Bois. Cependant un ajout de 20%m de CSR Pneus, Plastique ou Boues de STEP à du CSR Bois conduit à une diminution de H2 et CO compensée par une augmentation d’hydrocarbures légers (CH4, C2), conduisant à un pouvoir calorifique similaire, compris entre 4,9 et 5,4 MJ/Nm3. Les performances de gazéification sont légèrement plus fiables avec les mélanges de CSR, entre 35 et 49% alors qu’elles atteignent 48 à 52% pour le Bois et le CSR Bois. Par rapport au Bois, seuls les composés azotés sont en plus grand nombre pour le CSR Bois. Pour les mélanges de CSR, les teneurs en goudrons, composés soufrés et azotés sont plus élevées. De plus, les teneurs en métaux lourds sont plus élevées dans les fines particules que dans les charbons, demandant probablement un traitement particulier. / Gasification is a thermochemical conversion process converting solid fuel into synthetic gas (syngas), containing H2 and CO. Sorting waste to produce SRF aims to allow a better energy recovery of waste, while satisfying environmental regulations. This study focuses on energetic and environmental performances of the air gasification of SRF (wood, tire, plastics, sewage sludge) using downdraft fixed bed reactors at pilot and industrial scale. Analytical procedures allow quantification of syngas composition as well as pollutant contents (sulfur, nitrogen, tars, heavy metals) in gasification outlet streams, considering raw wood as a reference. SRF Wood gasification performances are identical to Raw Wood. However adding 20%w of SRF Tire, Plastics or Sewage Sludge to SRF Wood leads to a decrease in H2 and CO contents, balanced by an increase in light hydrocarbons (CH4, C2), resulting in a similar syngas calorific value, ranging between 4.9 and 5.4 MJ/Nm3. Gasification performances are slightly lower with SRF mixes, ranging between 35 and 49%, while reaching 48 to 52% for Raw Wood and SRF Wood. Compared to Wood, only nitrogen containing pollutants are in higher concentrations with SRF Wood. In the case of SRF mixes, tars, sulfur and nitrogen containing pollutants are in higher concentrations. Moreover, heavy metals contents are higher in fine particles than in chars, resulting in a particular post-treatment.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / Nesta dissertaÃÃo, acompanho as trajetÃrias de jovens âafinadosâ com o gÃtico em seus circuitos de lazer na cidade de Fortaleza, a fim de observar como eles vivenciam uma experiÃncia com esse mundo artÃstico em diferentes espaÃos e eventos musicais. Trago para a pesquisa os seguintes questionamentos: como esses jovens produzem uma experiÃncia com o gÃtico a partir desses encontros? O que distingue ou caracteriza essa experiÃncia? O trabalho compreende uma descriÃÃo das trajetÃrias, eventos, performances, consumos e afetos que constituem e caracterizam esses encontros, ao mesmo tempo em que busca traÃar a multiplicidade de interaÃÃes e de fluxos que atravessam as subjetividades desses jovens. Na investigaÃÃo, utilizo o conceito de mundo artÃstico elaborado por Becker (2010) como estratÃgia metodolÃgica para pensar o universo gÃtico como uma rede de cooperaÃÃo entre indivÃduos em torno de trabalhos de arte, no caso, a arte gÃtica. / In this dissertation, I accompany young trajectories tune with the Gothic in their leisure circuit in Fortaleza city, in order to observe how they lived an experience with this art world in different spaces and musical events. I bring to research the following questions: how these young people produce an experience with gothic from these meetings? What distinguishes or characterizes this experience? The work includes a description of the trajectories, events, performances, consumptions and affections that constitute and characterize these meetings, while seeking to describe the multiplicity of interactions and flows through the subjectivities of these young people. During the investigation, I use the concept of art world prepared by Becker (2010) as a methodological strategy into think of the gothic universe as a network of cooperation between individuals around artworks in the case, the Gothic art.

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-04-10T17:47:48Z No. of bitstreams: 1 Aquivototal.pdf: 2468381 bytes, checksum: 8f96e778981206f36a1cb075bf76e1d8 (MD5) / Made available in DSpace on 2018-04-10T17:47:49Z (GMT). No. of bitstreams: 1 Aquivototal.pdf: 2468381 bytes, checksum: 8f96e778981206f36a1cb075bf76e1d8 (MD5) Previous issue date: 2016-08-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Based on gender studies, media representation and Queer Theory, this research discusses the construction of identities, bodies and sexualities of trans characters in Pedro Almodovar's films, on the assumption that the filmmaker uses in his work elements that create questions about the conception of subjects, showing new ways of thinking truths about individuals, presented in his films, from slippery and fluid optical that does not hold the intelligibility standards that try to crystallize the social understanding of the bodies, identities and sexual experiences. / Baseado nos estudos de gênero, representação midiática e Teoria Queer, a pesquisa discute a construção das identidades, corpos e sexualidades das personagens trans nos filmes de Pedro Almodóvar. O trabalho parte do pressuposto que o cineasta utiliza em sua obra elementos que criam questionamentos sobre a concepção dos sujeitos, mostrando novas formas de pensar as verdades sobre os indivíduos, apresentados, nas suas películas, a partir de óticas escorregadias e fluidas que não se prendem às normas de inteligibilidade que tentam cristalizar a compreensão social acerca dos corpos, das autoafirmações identitárias e das vivências sexuais. As personagens revelam que determinados saberes tidos como únicos são mais plurais e múltiplos do que as regras normativas tentam impor.