A obrigatoriedade e responsabilidade pelo gerenciamento de resíduos de serviços de saúde atribuídas a todo gerador é legitimada pelo impacto advindo da periculosidade dos mesmos à saúde humana e ao ambiente. Esse fato impõe que o gerador elabore seu plano de gerenciamento de resíduos e crie instrumentos de prevenção de acidentes e de gestão desses resíduos. Escolheu-se como objeto deste estudo a Faculdade de Saúde Pública da Universidade de São Paulo, para análise do gerenciamento dos resíduos com foco, principalmente, na segurança ocupacional. O objetivo foi desenvolver modelo de Procedimento Operacional Padrão (POP), da geração ao descarte de cada grupo de resíduos gerados pelos laboratórios de ensino e pesquisa em saúde, na instituição estudada, como instrumento de gestão auxiliar e complementar ao respectivo plano de gerenciamento de resíduos de serviços de saúde, contemplando a normativa vigente relativa a resíduos, saúde, ambiente e segurança dos trabalhadores. O método envolveu a seleção de dois laboratórios para o estudo de caso, considerando os resíduos gerados. Para ambos foram realizados: a) identificação dos resíduos gerados e práticas utilizadas nas diferentes etapas do gerenciamento; e b) identificação dos riscos ocupacionais, por meio de revisão documental e entrevista com funcionários, com registro de campo e fotográfico. Os dados obtidos foram confrontados com a legislação e normas vigentes. Houve ainda participação em reuniões da Comissão de Gerenciamento de Resíduos e busca de informações junto a funcionários da instituição e do serviço de limpeza terceirizados. A análise possibilitou a proposição de um caderno contendo 11 POPs para 9 distintos tipos de RSS, para os resíduos gerados nos laboratórios estudados, que contempla todos os tipos de resíduos gerados nos diversos laboratórios da instituição, além de dois POPs adicionais que tratam um da segurança e saúde do trabalhador e outro das disposições gerais relativas ao gerenciamento dos RSS. O conjunto de POPs proposto agregou as exigências normativas de interface vigentes e padronizou as práticas, rotinas e procedimentos nas diversas etapas do gerenciamento interno. O resultado do estudo nos dois laboratórios mais complexos possibilitou a elaboração de um caderno contendo POPs a serem aplicados a todos os 18 laboratórios da instituição. Os procedimentos organizados em um POP institucional para o setor contribuirá para a qualidade no processo de gerenciamento para reduzir a descontinuidade de práticas advindas da rotatividade de funcionários e a minimização dos riscos ocupacionais, melhorando a saúde e segurança do trabalhador do setor / The obligation and responsibility for the waste management from health services by every generating entity are validated by the impact proceeding from their hazardous effects on human health as well as the environment. Consequently, there is a demand for the generating entity to create tools for both accident prevention and management of such residues. The object being chosen for such case study is Faculdade de Saúde Pública da Universidade de São Paulo (Public Health Faculty, USP) for the analysis of the management of such residues with main focus on occupational safety. The objective was to develop a model of Standardized Operational Procedure, SOP, from the phases of generation to discard of each of the groups of residues generated by educational and health research laboratories, in the institution studied, as a management tool aiming to aid, and complement the respective management plan of residues from health services, enforced by the law, which contemplates not only the obligations determined by the effective norm relative to the residues but also those relative to health, environment and safety of workers involved in the various phases of such management. The Method consisted on the selection of two laboratories in the institution studied, taking into account the residues they generated. For both laboratories it was carried out: a) identification of the residues generated and the practices used in the various phases of the management; and b) identification of the occupational risks, by means of documentation revision and queries with the personnel, with field and photographic records. The findings were compared with the legislation and effective norms. In addition, there were meetings with the participation of The Waste Management Committee and collection of information from the institution personnel and outsourced cleaning service workers. The analysis enabled the elaboration of a notebook which contains 11 SOPs for 9 distinctive types of RSS for the residues generated in the studied laboratories - which contemplate all the types of residues generated in several laboratories of the institution; as well as two additional SOPs, whereby one focuses on safety and workers health, and the other on the general dispositions relative to the management of RSSs. The set of proposed SOPs added the effective norm interface requirements and standardized the practices, routines and procedures in the various phases of the internal management. The result of the study in the two most complex laboratories enabled the elaboration of a notebook which contains SOPs to be applied in all 18 laboratories of the institution. The procedures organized in an institutional SOP for the sector will contribute to the quality in the management process in order to reduce the discontinuity of practices originated in the turnover of worker, as well as to the diminishing of occupational risks, improving the health and safety of the workers of the sector

Submitted by Larissa Silva (larissasilva@ufpa.br) on 2018-04-03T16:14:42Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação_VivenciaPoeticaCorpo.pdf: 5772309 bytes, checksum: 3ed8ef93e420b262f8f745dd58e97e1a (MD5) / Approved for entry into archive by Larissa Silva (larissasilva@ufpa.br) on 2018-04-03T16:16:51Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação_VivenciaPoeticaCorpo.pdf: 5772309 bytes, checksum: 3ed8ef93e420b262f8f745dd58e97e1a (MD5) / Made available in DSpace on 2018-04-03T16:16:51Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação_VivenciaPoeticaCorpo.pdf: 5772309 bytes, checksum: 3ed8ef93e420b262f8f745dd58e97e1a (MD5) Previous issue date: 2017-06-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / El tema de la presente investigación es la comprensión de las vivencias de procesos corporales conscientes de personas que debido a la condición social, psicológica y económica hacen de la calle su vivienda. Para captar los significados y sentidos de las vivencias, utilizamos recursos artísticos como mediadores de la expresividad y manifestación de la subjetividad de los participantes investigados, favoreciendo a la posibilidad de reflexionar sobre la condición de ser en el mundo, afectado por la condición de vivir en las calles. El estudio contiene un diseño orientado por un enfoque cualitativo exploratorio, transdisciplinar, cruzando las fronteras del Arte, la Antropología y la Psicología, configurando la investigación como un proceso creativo y relacional, en el que la investigadora y los participantes son constructores de conocimiento. La investigación se realizó en el Centro de Referência Especializado para População em Situação de Rua, Centro POP, en Belém/PA, teniendo como objetivo: comprender de qué manera las prácticas artísticas afectaban a las personas que asistían al Centro de POP; identificar las percepciones de los participantes acerca de su cuerpo y la conciencia de bienestar, ante la vivencia de actividades artísticas. Las bases teóricas para dialogar con los fenómenos fueron: la Antropología del Cuerpo, los Estudios de Performance, la Etnocenología y la Fenomenología Hermenéutica, componiendo un soporte para comprender e interpretar el cuerpo como testimonio de la vivencia artística. La intervención en el Centro tuvo una duración de siete meses, con la participación de 10 a 15 personas, ya que, las personas que frecuentan el Centro tienen una asistencia irregular. La mayoría de los participantes fueron hombres, con edades entre 20 y 55 años. Las estrategias metodológicas utilizadas fueron un desdoblamiento de la danza al performance y la creación de una acción titulada: "Vivencia Poética del Cuerpo". Sobre los resultados obtenidos, destacamos que la mayoría de los participantes, tenían cuerpos magros con tonificación muscular y manifestaban tensión en la espalda, los hombros y el cuello. En los estados emocionales expresaban nostalgia, tristeza, libertad y alegría en el uso del cuerpo. Destacamos en las experiencias colectivas, un efecto marcante: los cuerpos de los participantes en estado de alerta constante, interpretado como estrategia de autocuidado a la supervivencia en el espacio urbano. De los alcances de la investigación, se observó una movilidad considerable en el estado de ánimo de los participantes, manifestando estados de calma y tranquilidad y sensaciones de placer y disfrute. En el uso del cuerpo, más disponibilidad para la exploración corporal y en la autoconciencia, mayor autocuidado del cuerpo propio. / O tema da pesquisa é a compreensão das vivências dos processos corporais conscientes de pessoas que, devido à condição social, psicológica e econômica fazem da rua sua moradia. Para captar os significados e sentidos das vivências, utilizamos recursos artísticos como mediadores da expressividade e manifestação da subjetividade dos participantes, favorecendo a possibilidade de refletir sobre a condição de ser-no-mundo, afetado pela condição de habitar as ruas. O estudo contém um desenho orientado por uma abordagem qualitativa exploratória, transdisciplinar, cruzando as fronteiras da Arte, Antropologia e Psicologia, configurando a pesquisa como um processo criativo e relacional, em que pesquisadora e participantes são construtores do conhecimento. O local da pesquisa intervenção foi o Centro de Referência Especializado para População em Situação de Rua, Centro POP, em Belém/PA, objetivando: compreender as maneiras que as práticas artísticas afetavam as pessoas que frequentavam o Centro POP; identificar as percepções dos participantes acerca do seu corpo e a consciência de bem-estar, ante a vivência das atividades artísticas. As bases teóricas para dialogar com os fenômenos foram: a Antropologia do Corpo, os Estudos da Performance, a Etnocenologia e a Fenomenologia Hermenêutica, compondo um suporte para compreender e interpretar o corpo como testemunho da vivência artística. A intervenção no Centro teve a duração de sete meses, com a participação de 10 a 15 pessoas, já que os frequentadores do Centro são usuários flutuantes. A maioria dos colaboradores foram homens, com idades entre 20 e 55 anos. As estratégias metodológicas utilizadas foram um desdobramento da dança à performance e a criação de uma ação intitulada: “Vivência Poética do Corpo”. Sobre os resultados obtidos, destacamos que a maioria dos participantes, tinham corpos magros com tonificação muscular; manifestavam tensão nas costas, ombros e pescoço; os estados emocionais expressavam saudade, tristeza, liberdade e alegria no uso do corpo. Destacamos nas experiências coletivas, um efeito marcante: os corpos dos participantes em estado de alerta constante, interpretado como estratégia de autocuidado à sobrevivência no espaço urbano. Dos alcances da pesquisa, observou-se uma mobilidade considerável no estado de ânimo dos participantes, manifestando estados de calma e tranquilidade; sensações de prazer e desfrute no uso do corpo; mais disponibilidade para a exploração corporal e na autoconsciência maior autocuidado do corpo próprio.

The subject of this thesis is a genre analysis of Soviet film comedies of the late 60s and the 70s that is based on the reception and production history data. The aim of this research is to grasp this type of comedy as a specific political and socially-cultural phenomenon of the Eastern bloc and its relation to Soviet popular culture. A methodology of the genre analysis will derive from Rick Altman's semantic-syntactic approach, which will allow us to describe the chosen genre group as a complex genre trend set in the unique social, cultural, economic and in this particular case also ideological context, to follow the development and fluidity of the genre trend, as well as to find and to compare mutual attributes of the chosen films. The analysis will not be based solely on the group of the most watched films, but also on the production data focusing mostly on the films' budget, as well as dramaturgic supervision and censorship. Another part of the diploma thesis will be based on the gathered reception data such as contemporary media response and viewer ratings, focusing on the important role that Soviet film comedies played in the period and partially continue to play in the present-day Russian popular culture. Fusion of all analytic parts shall bring us to the basic definition of the Soviet film...

O presente estudo teve como objetivo principal aplicar a canção em sala de aula, para medir o seu grau de influência na aprendizagem do aluno no contexto de LE, particularmente da língua alemã. Com base no levantamento bibliográfico, foi constatado que a canção é uma ferramenta importante no ensino-aprendizagem de LE. Porém, sentiu-se falta da descrição dos resultados a partir da sua aplicação em sala de aula. Nos livros didáticos e em sala de aula, há, geralmente, canções elaboradas. No entanto, para despertar a motivação dos alunos da faixa etária de 13-14 anos das 8as séries de uma escola particular de São Paulo, houve a preocupação em selecionar uma canção autêntica que correspondesse ao universo de interesses dos jovens. Antes da escolha da canção houve a preocupação em definir a canção autêntica, segundo Parnitzke (1997). Dentre as canções autênticas, foi adotada a canção popular, que vai ao encontro dos interesses dos jovens. Dessa forma compreende-se por canção popular uma melodia cantada, com uma estrutura conjugada de língua e música, que compõem uma unidade. As suas partes melódicas são fáceis de cantar e de memorizar, as entoações e o ritmo orientam-se pelo texto. Engloba os gêneros musicais cantados, que são produzidos e divulgados em massa. A escolha da canção popular iniciou com um questionário respondido por jovens alemães da mesma faixa etária do público-alvo, passando pela definição do objetivo de aprendizagem para a sua aplicação e pela consideração dos critérios de escolha de canções estabelecidos por Setzer (2003), entre outros autores. O objetivo de aprendizagem com a canção concentrou-se na identificação de fonemas vocálicos característicos da língua alemã, ausentes no português do Brasil, visando uma melhor compreensão na comunicação oral. Para medir o grau de aprendizagem dos fonemas vocálicos, optou-se pela aplicação de um ditado antes e após o uso da canção em quatro grupos, dos quais um representou o grupo-controle, ou seja, não realizou a atividade com a canção. Após a aplicação da canção e a realização do segundo ditado verificou-se que, embora ainda ocorressem diversos erros ortográficos, houve uma melhora na compreensão auditiva refletida na representação de grafia dos fonemas específicos da língua alemã pelos alunos. Ao mesmo tempo, verificou-se que no grupocontrole essa melhora não ocorreu. Diante disso, conclui-se que a canção é um instrumento importante para a aprendizagem da LE. / The application of songs as class room activity, aiming at the measurement of their influence, presumed positive, on the pupils learning process of foreign languages, is the main goal of this study. From the literature review one concludes that songs are considered useful foreign language teaching tools. Nevertheless, there is a lack of measurements showing how effectively music influences the learning process. Text books usually present songs which are deliberately composed for teaching purposes. Considering 13-14 year old students, an authentic song, and thus motivating since it brings up young peoples concerns, was selected. Prior to the choice, Parnitzkes (1997) definition of authentic song was presented and discussed. Among the universe of authentic songs, the so called pop music was chosen, as it meets young peoples expectations. Pop song is understood as a sung tune with an integrated structure of music and language which composes a unity. Its melody is easily sung and memorized, its intonation and rhythm are guided by the lyrics. It comprises songs that are mass orientated and broadcast. The song selection process began with a questionnaire completed by young German students aged like the ones considered in this research, followed by the definition of the learning goal and of the choice criteria proposed by Setzer (2003), among others. The learning goal was focused on the identification of German language characteristic vocal phonemes which are absent in the Portuguese language spoken in Brasil, aiming at the improvement of listening comprehension skills. Four groups of students were considered, one of which was the control group that did not have contact with the song, and in order to measure the learning progress on the phonemes, the students did one dictation prior to and after the song activity. An analysis of the errors made by the students on both dictations showed that, excepting the students of the control group, there was an improvement in their listening comprehension skills, measured by the reduction of spelling mistakes. According to this, one confirms that the song is an important foreign language learning tool

La notion de culinarité est « dans toutes les bouches » sans avoir été l'objet d'une définition en marketing et comportement du consommateur. Pour combler cette lacune, cette thèse s’est attachée à explorer les contours de la culinarité et proposer un mix design expérientiel x culinarité au service du ravissement du consommateur. Après de premières explorations basées sur des analyses de contenus sur internet (NGram Viewer et Google) et des entretiens semi-directifs qui ont affiné la compréhension du concept, la recherche a consisté en une analyse polymorphe des dimensions et pratiques autour de la notion de culinarité. S'appuyant sur une multiangulation des terrains de recherche, les quatre études empiriques ont été : 1) des études de cas au Grand Restaurant ; 2) une observation participante d’un Mooc en design culinaire ; 3) des manipulations de la culinarité au restaurant ; 4) trois expérimentations sous forme de restaurants éphémères, supports d’une enquête et d’observations. Dès lors, les conclusions apportées proposent une définition de la culinarité (déterminant Plaisir et 4 dimensions QCSP : Q-Qualité, C-Créativité, S-Savoir-Faire, Partage), confirmant l’intérêt d’un mix design expérientiel x culinarité pour ravir le consommateur et introduisent ce que serait le marketing culinaire. / The culinary is in everybody’s mouth without having been defined neither in marketing or in the field of consumer’s behavior. In order to limit this lack of concept, this thesis aims at exploring the ideas behind the culinary and to suggest a mix experiential design x « culinariness » for a consumer’s delightment. After the first exploration based on content analysis on the internet (NGram Viewer and Google) and semi-directive interviews that have revealed part of the concept, the research consisted in a polymorphic analysis of the dimensions and uses of the culinary. Built on a multiangulation of the research, the four empirical studies were : 1) case studies of quality restaurants ; 2) participating observation of a Mooc on food design ; 3) tests on the dimensions of the culinary at the restaurant ; 4) three experimentations as pop up restaurants enabling somes observations on spot and investigations. Thus, the results of this study lead to a definition of the culinary (Pleasure as a determinant and 4 dimensions QCKS: Q-Quality ; C-Creativty ; K-Know-how ; S-Sharing). They attest the point of an experiential design x culinary mix in order to delight the consumer and introduce a culinary marketing.

This study investigates the upper ocean circulation along the west Australian coast, based on recent observations (WOCE ICM6, 1994/96) and numerical output from the 1/6 degree Parallel Ocean Program model (POP11B 1993/97). Particularly, we identify the source regions of the Leeuwin Current, quantify its mean and seasonal variability in terms of volume, heat and salt transports, and examine its heat balance (cooling mechanism). This also leads to further understanding of the regional circulation associated with the Leeuwin Undercurrent, the Eastern Gyral Current and the southeast Indian Subtropical Gyre. The tropical and subtropical sources of the Leeuwin Current are understood from an online numerical particle tracking. Some of the new findings are the Tropical Indian Ocean source of the Leeuwin Current (in addition to the Indonesian Throughflow/Pacific); the Eastern Gyral Current as a recirculation of the South Equatorial Current; the subtropical source of the Leeuwin Current fed by relatively narrow subsurface-intensified eastward jets in the Subtropical Gyre, which are also a major source for the Subtropical Water (salinity maximum) as observed in the Leeuwin Undercurrent along the ICM6 section at 22 degrees S. The ICM6 current meter array reveals a rich vertical current structure near North West Cape (22 degrees S). The coastal part of the Leeuwin Current has dominant synoptic variability and occasionally contains large spikes in its transport time series arising from the passage of tropical cyclones. On the mean, it is weaker and shallower compared to further downstream, and it only transports Tropical Water, of a variable content. The Leeuwin Undercurrent carries Subtropical Water, South Indian Central Water and Antarctic Intermediate Water equatorward between 150/250 to 500/750 m. There is a poleward flow just below the undercurrent which advects a mixed Intermediate Water, partially associated with outflows from the Red Sea and Persian Gulf. Narrow bottom-intensified currents are also observed. The 5-year mean model Leeuwin Current is a year-round poleward flow between 22 degrees S and 34 degrees S. It progressively deepens, from 150 to 300 m depth. Latitudinal variations in its volume transport are a response to lateral inflows/outflows. It has double the transport at 34 degrees S (-2.2 Sv) compared to at 22 degrees S (-1.2 Sv). These model estimates, however, may underestimate the transport of the Leeuwin Current by 50%. Along its path, the current becomes cooler (6 degrees C), saltier (0.6 psu) and denser (2 kg m -3). At seasonal scales, a stronger poleward flow in May-June advects the warmest and freshest waters along the west Australian coast. This advection is apparently spun up by the arrival of a poleward Kelvin wave in April, and reinforced by a minimum in the equatorward wind stress during July. In the model heat balance, the Leeuwin Current is significantly cooled by the eddy heat flux divergence (4 degrees C out of 6 degrees C), associated with mechanisms operating at submonthly time scales. However, exactly which mechanisms it is not yet clear. Air-sea fluxes only account for ~30% of the cooling and seasonal rectification is negligible. The eddy heat divergence, originating over a narrow region along the outer edge of the Leeuwin Current, is responsible for a considerable warming of a vast area of the adjacent ocean interior, which is then associated with strong heat losses to the atmosphere. The model westward eddy heat flux estimates are considerably larger than those associated with long lived warm core eddies detaching from the Leeuwin Current and moving offshore. This suggests that these mesoscale features are not the main mechanism responsible for the cooling of the Leeuwin Current. We suspect instead that short lived warm core eddies might play an important role.

Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study considers the crossover between Western art music string instruments and popular musics in the context of extra-musical promotion and critical reception. It examines four artists in the period 1995 to 2005. These four examples are: U.K./Australian string group bond; Australian string group FourPlay; U.K. violinist Nigel Kennedy; and U.K. violinist Vanessa-Mae. It also draws on other relevant cases to illuminate the discussion. The primary aim of the study is to discover and analyse the complex ways that parties engage, consciously or unconsciously, with the term “crossover”. The inherent complexity of the term is not commonly captured by scholarly musical writing since crossover is often regarded simply as a marketing term. The study begins by establishing the scholarly and popular context of the crossover between the Western art music string tradition and popular forms. Nine constructions or layers of meaning evoked by the term “crossover” are then identified. In the context of each of these nine constructions, the work continues by exploring how the term “crossover” is used in the promotion and critical reception of the examples. It is argued that crossover is constructed as a marketing category, to mark individuality, to provide media shortcuts and signposts, to evoke associations of prestige and of credibility, to increase accessibility, to encourage confrontation and to take part in larger musical debates. This research thus identifies multiple layers of meaning evoked by the term that are “subject to change” and that, in turn, illuminate deeper social and cultural implications of “crossingover”, ones which no doubt themselves continue to change. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1338922 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Large and ever-increasing numbers of chemicals, including large quantities of a broad spectrum of organic compounds are used in modern society. More than 30 000 of the more than 100 000 chemical substances registered in the EU are estimated to be daily used, of which many will be discharged into the waste-streams handled by municipal sewage treatment plants (STPs). The main objective of the work underlying this thesis was to improve understanding of the relationships between the characteristics of sewage contaminants and their sewage treatment efficiency. Further objectives were to examine the relationships between socio-economic uses of chemicals and sludge quality, and the effects of regulatory actions on sludge quality. The quality of the sewage sludge and the levels and distribution patterns of the sludge contaminants, both within and between the STPs, seem to remain quite constant over time. The overall findings indicate that the levels of contaminants in sewage sludge seem to be largely independent of the location, size and treatment techniques applied at the STPs, and generally, of the types of human activity connected to them. The total and relative concentrations of the sludge contaminants were found to be fairly constant on a dry weight basis, with some exceptions, indicating that the pollutants originate from broad usage and diffuse dispersion rather than (industrial) point sources. The proportion of cyclic methylsiloxanes recovered in sludge seems to strongly depend on their vapour pressure, which decreases with the number of siloxane units. The higher water solubility and biodegradability of organophosphorus flame retardants and plasticizers than polybrominated diphenyl ethers (PBDEs) were also reflected in lower percentages (relative to their national use) found in sludge. Significant time-trends in levels of a-third of the sludge contaminants included in the annual national measurement program were detected over a period of seven years. The levels of compounds displaying significant time-trends generally decreased following declines in the quantities used nationally. However, a quarter of these compounds showed increasing trends, of which the linear methylsiloxanes followed the same trend as used quantities. The decaBDE was also found to be increasing in sludge, probably as a result of the phase-out of pentaBDE and octaBDE. The results indicate that the STP removal efficiency of anthropogenic substances, in Sweden, is generally good and that STPs, at least those in cold climates, do not efficiently remove certain polar contaminants. A non-targeted screening (by use of environmetrics and GCxGC-TOFMS) was performed and found to fulfil the objective to assess the STP removal efficiency, with emphasis to systematically analyse which compound classes that are not efficiently removed using the current STP technology. Many polar aromatic compounds were identified to be poorly removed. The acquired data on levels, profiles and variations in sludge contaminants (sludge quality) extend both the available information and understanding of the degree and nature of sludge contamination, which should help attempts to track changes in its contaminants and revisions, if necessary, of guideline values. This thesis also contributes to improve the knowledge base for the development of future STP technologies, and that archived sewage sludge can be used in retrospective analysis of new and emerging pollutants.

目前大部分的聽眾主要是透過歌詞與樂曲的搭配來了解音樂所要表達的內容，因此歌詞創作在目前的音樂工業是很重要的一環。一般流行音樂創作是由作曲人與作詞人共同完成，然而有另一種方式是將既有的詩詞做為歌詞，接著重新譜曲的方式產生新的流行音樂。這種創作方式是讓舊有的詞或曲注入新的生命力，得以流傳到現在。因此本研究希望可以為一首旋律推薦適合配唱的歌詞，以對數位音樂達到舊曲新詞的加值應用。本論文包括兩個部分，分別為：(1)自動分析歌詞的詞式，找出每個段落的位置與其段落的標籤；(2)詞曲結構搭配，找出相符合結構的詞與曲，並且同步每個漢字與音符。 本論文的第一部分為詞式分析，首先將歌詞擷取四個面向的特徵值，分別為(1)句字數結構；(2)拼音結構；(3)詞性；(4)聲調音高。第二步驟，利用這四種特徵值分別建立詞行的自相似度矩陣(Self Similarity Matrix)，並且利用這四個特徵的自相似度矩陣產生一個線性組合自相似度矩陣。第三步驟，建立在自相似度矩陣上我們做段落分群以及家族(Family)組合找出最佳的分段方式，最後將找出的分段方式利用我們整理出來的規則讓電腦自動標記段落標籤。第二部分為詞曲結構搭配，首先我們將主旋律的樂句以及歌詞的詞句做第一層粗略的對應，第二步驟，將對應好的樂句與詞句做第二層漢字與音符細部的對應，最後整合兩層對應的成本當做詞曲搭配的分數。 我們以KKBOX音樂網站當做歌詞來源，並且請專家標記華語流行歌詞資料庫的詞式。實驗顯示詞式分析的Pairwise f-score準確率達到0.83，標籤回復準確率達到0.78。詞曲結構搭配中，查詢的歌曲其原本搭配的歌詞，推薦排名皆為第一名。 / Nowadays, lots of pop music audiences understand the content of music via lyrics and melody collocation. In general, a Chinese pop music is produced by composer and lyricist cooperatively. However, another producing manner is composing new melody with ancient poetry. Therefore, we want to recommend present lyrics for a melody and then achieving value-added application for digital music. This thesis includes two subjects. The first subject is lyrics form analysis. This subject is finding the block of verse, chorus, etc., in lyrics. The second subject is structure alignment between lyrics and melody. We utilize the result of lyrics form analysis and then employ a 2-tier alignment to recommend present lyrics which is suitable for singing. In lyrics form analysis, the first step, we investigate four types of feature from lyrics: (1) Word Count Structure; (2) Pinyin Structure; (3) Part of Speech Structure; (4) Word Tone Pitch. For the second step, we utilize these four types of feature to construct a SSM(Self Similarity Matrix), and blend these four types of SSM to produce a linear combination SSM. The third step is clustering blocks and finding the best Family combination based on SSM. Finally, a rule-based technique is employed to label blocks of lyrics. For the second subject, the first step is aligning music phrases and lyrics sentences roughly. The second step is aligning a word and a note for corresponding phrase and sentence. Finally, we integrated the cost of two-level alignment regarded as the lyrics and melody collocation score. We collect lyrics from KKBOX, a music web site, and invite experts label ground truth of lyrics form. The experimental result of lyrics form analysis shows that the proposed method achieves the Pairwise f-score of 0.83, and the Label Recovering Ratio of 0.78. The experiment of structure alignment between lyrics and melody shows that the original lyrics of query melodies are ranked number one.

「知識經濟」時代裡，知識透過流通而生成更多文化資產帶給人類價值。知識，向來就是共有共享的。但起自智慧財產權出現後，開始出現知識私有、知識買賣的情形出現。難道，是著作權(copyright)戰勝了著作義(Copyleft)？近年來全球掀起一片「告！告！告！」的熱潮，無論是美國的Napster訴訟案，還是台灣的「成大MP3」事件；還是微軟在美國的反托拉斯訴訟，或是在台灣面臨合理議價調查，都顯示「著作權」引發的相關問題蔓延全世界。 本研究將知識/文化商品視為資訊資本主義社會的生產工具，並且探討當「智慧」變成「財產」時，資本主義、國家機器爭權奪利的過程中出現的問題與爭議。研究者先就著作權的政治經濟脈絡耙梳出「著作權」不是「道德問題」，而是「經濟問題」，更是國際關係中藉以制衡弱勢小國的利器。 實證部分以1960-2002年間台灣著作權發展過程中三個衝突事件為例，包括1960年代的《大英百科全書》翻印風波、1980年代的「蘋果電腦侵權事件」，及1990年代跨國公司進入後的台灣流行音樂產業作為個案，具體驗證台灣著作權發展過程中，的確受到資本主義與國家機器及國際依賴關係的影響。最終以近年來網際網路發展蓬勃，連帶引出的著作權爭議作結，本研究除了對台灣著作權的政治經濟發展提出看法外，亦在結論中對知識/文化產業，及著作權規範的未來發展提出意見。 / Under knowledge-based economy, knowledge brings more value to human beings by spreading and then generating cultural properties. Although sharing is the essential characteristic of knowledge, there have been some arguments that knowledge is private and knowledge can be traded after the idea of intellectual property rights emerged. Does it mean Copyrights overtops “Copyleft”? In recent years, there have been more and more lawsuits related to copyrights such as Napster vs. RIAA in 1999 in the US, and IFPI vs. NCKU MP3 lawsuit in 2001 in Taiwan. Moreover, Microsoft, the worldwide leading software company, also faced US federal government’s antitrust violations prosecution, and rational price investigation by Taiwan government. All these cases indicate that copyright has caused problems all over the world. This thesis regards both the knowledge and cultural products as the producing tools of information capitalism society. It also discussed the conflicts between Capitalism and state apparatuses when “knowledge” became “property.” By examining the context of political economy in intellectual property, the author achieved two conclusions. First of all, the copyright is not a moral issue but an economic one. Secondly, in international society, copyrights have been the weapon for powerful nations to control the powerless ones. We cited three copyright conflicts in Taiwan from 1960-2002, including the reprint issue of Encyclopaedia Britannica in the 1960s, copyright violation case of Apple Computer in the 1980s, and the international pop music piracy disputes in the 1990s, the author made an empirical research to conclude that the development of copyright in Taiwan indeed was affected by the capitalism, the state apparatuses, and the international interdependency. This thesis ended with the prospective copyright issues originated from the burgeoning Internet industry. Not only did the research indicate some suggestions regard to the development of political economy in copyright, also made comments about the future development of knowledge/culture industry’s copyright regulation.