Objective: The objective of this work was to characterize the nonlinear anisotropic material constitutive response of the interspinous ligament (ISL). Methods: Cadaveric test samples of the interspinous ligament were tested using the anisotropic small punch test. The measured force-displacement response served as experimental input into a system identification optimization routine to determine the constitutive material parameters that replicated the measured material response. Results: The constitutive behavior of the ISL is notably different from that reported for knee, shoulder, and hip ligaments. Specifically, the high collagen fiber content and unique collagen architecture provided a stiffer material response. The results from the present work were compared with available data from the literature for the ISL and were found to be consistent with reported failure stress and strain to failure. Conclusion: The ISL has unique constitutive properties and architecture that provide mechanical and clinical stability to the lumbar spine during flexion. The characterization data obtained during accomplishment of this thesis provide valuable insights into these roles. The present work provides a first step to fully characterize and understand both physiological and pathological motion of the spine. Further research is necessary to clarify the contributions of spinal ligaments to spine stability and how damage to spinal ligaments may contribute to chronic lower back pain.

Metaphor as tool is a concept that has increasing analysis and support in the past several years. Long before the wealth of contemporary analysis, Rachel Carson produced Silent Spring, a book hailed as the motivation for a new environmental movement in the United States. The use of metaphor in Silent Spring is most apparent in the title. The title's focus, however poignant, even moving and motivating, is complemented by a rich set of metaphorical entailments and implications that reinforce and strengthen the title's metaphor and represent systemic forces and practices that lead to and prevent a spring of silence. Carson skillfully appropriated marketing metaphors used by chemical companies to sell insecticides and pesticides. She transformed these metaphors into powerful criticisms of indiscriminate chemical practices, forcefully undercutting industry arguments for chemicals as a means of guaranteeing "control." The effects of Carson's metaphors, built on a strong, complex foundation of scientific studies, invite reader participation and interaction as outlined by Lakoff and Johnson. The metaphors further entertain, educate, explain, describe in the sense of Wittgenstein's language games, and tightly integrate action and language. More fundamentally, her metaphors helped to establish a systems view and nature-oriented paradigm for analyzing, and resolving environmental issues and problems in the United States, creating a framework for debate and policy development and implementation, in the vein of Schon's and Rein's arguments for framing and policy design. The metaphors also set a stage for personal motivation by connecting individual human homes to nature and the global environment. / Master of Science

Este trabalho seleciona e analisa as crônicas nas quais Rachel de Queiroz (1910-2003) abordou o assunto da Segunda Guerra Mundial, durante a sua colaboração com a 2ª Seção do jornal Correio da Manhã (fevereiro de 1944 a março de 1945). Coligem-se e analisam-se os oito textos em que a temática da Guerra é referida, discutida ou aludida, com o objetivo de recuperar o diálogo que as crônicas estabelecem com o momento histórico em que foram publicadas e com a textualidade do jornal, ou as relações estabelecidas com as outras rubricas e cadernos do periódico. Ao explorar a temática da Guerra, a escritora imprime um tom de apelo sentimental aos textos, diferentemente de outros cronistas do período, que abordavam o tema pelo viés político e/ou informativo do conflito, exemplificando assim o hibridismo pertencente ao gênero crônica. / This essay selects and analyses the crônica (newspaper columns) where Rachel de Queiroz (1910-2003) adressed the second war subject during her collaboration for the \"2nd Session\" of the newspaper Correio da Manhã (february 1994 to march 1945). Eight texts are analysed where the war view is referred, discussed or alluded with the purpose of recover the dialogue that the newspaper columns establish with the historical moment when it was published or the relations with another rubrics and sessions from the periodic. By exploring this thematic in her texts, the writer appeals for emotionalism, differently from others writers of the period who used to approach the thematic by political and informative of the conflict view, exemplifying, this way, the hybridity belonging to the crônica (newspaper colunn) genre.

Made available in DSpace on 2015-05-14T12:39:56Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 900580 bytes, checksum: 39cf13ab82002200a0cb4b967e9086ba (MD5) Previous issue date: 2013-05-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims to analyze the novel Memorial de Maria Moura focusing on memory in the construction of the protagonist. The approach is supported by the works of Le Goff, Maurice Halbwachs and Michel Pollak, expanding to gender studies. The starting point is the assumption that the protagonist becomes subject of her own story through her family memories. Our conclusion is that Maria Moura, valorizing her family memories empowers herself, understands her family history and becomes able to be herself, that is, she represents one among the multiplicity of her family memories. / A pesquisa em tela tem por objetivo analisar o romance Memorial de Maria Moura, focalizando a memória na construção da protagonista. A abordagem sobre memória tem respaldo no pensamento de Le Goff, Maurice Halbwachs e Michel Pollak, expandindo-a para os Estudos Feministas que contribuem na (re) construção da memória literária feminina. Parte-se do pressuposto de que a protagonista, Maria Moura, se constitui através da memória familiar e se constrói como sujeito resgatando as lembranças do pai, da mãe e do avô. Nesse trajeto ela apodera-se de si, de sua história e apazigua os sentimentos filiais, especialmente na relação mãe e filha.

Este trabalho seleciona e analisa as crônicas nas quais Rachel de Queiroz (1910-2003) abordou o assunto da Segunda Guerra Mundial, durante a sua colaboração com a 2ª Seção do jornal Correio da Manhã (fevereiro de 1944 a março de 1945). Coligem-se e analisam-se os oito textos em que a temática da Guerra é referida, discutida ou aludida, com o objetivo de recuperar o diálogo que as crônicas estabelecem com o momento histórico em que foram publicadas e com a textualidade do jornal, ou as relações estabelecidas com as outras rubricas e cadernos do periódico. Ao explorar a temática da Guerra, a escritora imprime um tom de apelo sentimental aos textos, diferentemente de outros cronistas do período, que abordavam o tema pelo viés político e/ou informativo do conflito, exemplificando assim o hibridismo pertencente ao gênero crônica. / This essay selects and analyses the crônica (newspaper columns) where Rachel de Queiroz (1910-2003) adressed the second war subject during her collaboration for the \"2nd Session\" of the newspaper Correio da Manhã (february 1994 to march 1945). Eight texts are analysed where the war view is referred, discussed or alluded with the purpose of recover the dialogue that the newspaper columns establish with the historical moment when it was published or the relations with another rubrics and sessions from the periodic. By exploring this thematic in her texts, the writer appeals for emotionalism, differently from others writers of the period who used to approach the thematic by political and informative of the conflict view, exemplifying, this way, the hybridity belonging to the crônica (newspaper colunn) genre.

Ce mémoire cherche à dévoiler le mode d’habitation singulier que développe le sujet poétique dans Les vies frontalières et Rabatteur d’étoiles de Rachel Leclerc par l’intermédiaire de l’analyse du motif du « domaine », récurrent dans les deux œuvres. Il s’agira donc de clarifier ce à quoi fait référence ce motif particulier en dégageant les différentes structures le sous-tendant et en tentant d’observer comment son élaboration se fait en parallèle étroit avec celle de la subjectivité des recueils de Leclerc. Ainsi, les trois premiers chapitres du présent ouvrage s’attardent à expliciter l’importance de la structure d’horizon, terme emprunté à Michel Collot, pour saisir la façon unique dont le sujet poétique perçoit l’espace, la temporalité et sa propre subjectivité. Le quatrième chapitre est quant à lui consacré à ce qu’on peut qualifier de structure du chemin, qui vient recouper et enrichir celle de l’horizon. Le croisement de ces deux lignes trace enfin l’espace du domaine et dessine une sorte de T qui supporte l’entreprise poétique dans son ensemble. / This masters thesis’s objective is to reveal the poetic subject’s unique way of occupying space in Rachel Leclerc’s Les vies frontalières and Rabatteurs d’étoiles by analysing the “domain’s” motif, recurrent in the two poetical pieces. Clarifying the meaning of this specific motif will be accomplished through the identification of its different underlying structures and by defining how its development is closely linked to that of the poetic subjectivity in Leclerc’s work. The three first chapters of the present thesis intend to shed light on the importance of the “horizon’s structure”, term barrowed from Michel Collot’s works, to highlight the distinctive manner in which the poetic subject appreciates spatiality, temporality and his own subjectivity. As for the fourth chapter, it expands on what can be called the “road structure” that crosscuts and completes the horizon’s structure. The junction of these two lines creates the domain’s space and its T form supports the poetic undertaking in its full spectrum.

Made available in DSpace on 2016-03-15T19:45:30Z (GMT). No. of bitstreams: 1 AnaRozaSilva.pdf: 540125 bytes, checksum: 3b72286d80582d382f890d668126b68b (MD5) Previous issue date: 2007-02-02 / Fundo Mackenzie de Pesquisa / This paper aims to comprove the personality of the talented chronicler, Rachel de Queiroz. The focus of the study is the stylistic dimension of the chronicles published in the section Última Página, of the magazine O Cruzeiro, in 1940 at 1970. Her style is based on exploration of the linguistics standards like colloquiality, some grammatical categories of the textual functions, the metalinguistic function and the parenthesis s discursive-textual functions. / O objetivo deste trabalho de pesquisa é comprovar o perfil da habilidosa cronista, Rachel de Queiroz. Em decorrência desse propósito, o foco do estudo é a dimensão estilística das crônicas publicadas na seção Última Página da revista O Cruzeiro no período de 1940 a 1970. O estilo da cronista é criado com base na exploração de marcas lingüísticas de coloquialidade, de certas categorias gramaticais de função textual, da função metalingüística e das funções discursivo-textuais dos parênteses.

Ce mémoire cherche à dévoiler le mode d’habitation singulier que développe le sujet poétique dans Les vies frontalières et Rabatteur d’étoiles de Rachel Leclerc par l’intermédiaire de l’analyse du motif du « domaine », récurrent dans les deux œuvres. Il s’agira donc de clarifier ce à quoi fait référence ce motif particulier en dégageant les différentes structures le sous-tendant et en tentant d’observer comment son élaboration se fait en parallèle étroit avec celle de la subjectivité des recueils de Leclerc. Ainsi, les trois premiers chapitres du présent ouvrage s’attardent à expliciter l’importance de la structure d’horizon, terme emprunté à Michel Collot, pour saisir la façon unique dont le sujet poétique perçoit l’espace, la temporalité et sa propre subjectivité. Le quatrième chapitre est quant à lui consacré à ce qu’on peut qualifier de structure du chemin, qui vient recouper et enrichir celle de l’horizon. Le croisement de ces deux lignes trace enfin l’espace du domaine et dessine une sorte de T qui supporte l’entreprise poétique dans son ensemble. / This masters thesis’s objective is to reveal the poetic subject’s unique way of occupying space in Rachel Leclerc’s Les vies frontalières and Rabatteurs d’étoiles by analysing the “domain’s” motif, recurrent in the two poetical pieces. Clarifying the meaning of this specific motif will be accomplished through the identification of its different underlying structures and by defining how its development is closely linked to that of the poetic subjectivity in Leclerc’s work. The three first chapters of the present thesis intend to shed light on the importance of the “horizon’s structure”, term barrowed from Michel Collot’s works, to highlight the distinctive manner in which the poetic subject appreciates spatiality, temporality and his own subjectivity. As for the fourth chapter, it expands on what can be called the “road structure” that crosscuts and completes the horizon’s structure. The junction of these two lines creates the domain’s space and its T form supports the poetic undertaking in its full spectrum.

This paper is about our collective fascination for the social medium Instagram, and our lively discussions about why certain images may be more so-called "Liked" than others and why some individuals becomes more successfull on Instagram than others. Thanks to our own daily use of Instagram, the idea was born to study and look at how some individuals build their brand through this social medium. With social media new ways to construct and communicate images have appeared. Artists, celebrities and companies use media as a channel for communication and marketing. In our study, we focus on the use of Instagram for marketing purposes by Rachel Brathen, one of the worlds most well-known yogainstructors. We apply semiotic analyses to study the pictures uploaded to her Instagram account. Erving Goffmans (1959) theory of framing as well as theoretical perspectives on branding, social media and communications provide the theoretical framework of our study. The study shows that framing is used by Rachel Brathen in her instagram account which is visible in the way she chooses the enviroment, decor and props that are aimed to generate inspiration excitement and anticipation. We also see that Rachel use storytelling as a key component in her images. As the constantly growing amount of her followers and likes shows this strategy stimulates the audience. / Vår uppsats handlar om vår gemensamma fascination för Instagram, och våra livliga diskussioner om varför vissa bilder får mer så kallade ”Likes” än andra och varför vissa individer slår igenom på sociala medier och varför vissa inte gör det. Tack vare vårt eget dagliga användande av Instagram föddes idén om att studera och att titta på vilka strategier vissa individer använder i sin marknadsföring via Instagram. Med hjälp av sociala medier har det uppkommit nya sätt att konstruera och kommunicera sin image på vilket vi också märker i vårt eget användande. Artister, kändisar och företag använder mediet i sin marknadsföring samt för att ytterligare ha en kanal att kommunicera i. För att avgränsa undersökningen tittar vi på en av världens största yogainstruktörer på Instagram, nämligen Rachel Brathen, alias Yogagirl. I vårt arbete vill vi undersöka bildmaterial från hennes instagramkonto och därifrån göra en semiotisk analys som kommer besvara vår frågeställning. Den teori vi kommer använda är både forskningslitteratur från Erving Goffman (1959) och vetenskapliga artiklar om varumärkesbyggande, sociala medier och kommunikation. Resultatet visar att en generell trend bland Rachels bilder som hon publicerar är att hon väljer inramning med omsorg, det vill säga hon väljer miljö, dekor och rekvisita som genererar inspiration, spänning och förväntan. Detta verkar stimulera publiken och locka allt fler följare. Rachel har också en grund som yogalärare och undervisar och ger sin publik kunskap via Instagram, vilket kan vara nyckeln till framgången bakom Yogagirl.

OLIVEIRA, Gilberto Gilvan Souza. O livrinho que desencadeou o resto: circulação e produção do romance O Quinze de Rachel de Queiroz pela livraria José Olympio Editora (1948-1990). 2017. 199f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em História, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-02-21T15:27:36Z No. of bitstreams: 1 2017_dis_ggsoliveira.pdf: 2665074 bytes, checksum: b3e727efa54867adabb2ef5b88cce3d2 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-03-03T12:45:35Z (GMT) No. of bitstreams: 1 2017_dis_ggsoliveira.pdf: 2665074 bytes, checksum: b3e727efa54867adabb2ef5b88cce3d2 (MD5) / Made available in DSpace on 2017-03-03T12:45:35Z (GMT). No. of bitstreams: 1 2017_dis_ggsoliveira.pdf: 2665074 bytes, checksum: b3e727efa54867adabb2ef5b88cce3d2 (MD5) Previous issue date: 2017 / Em 1948 chegava ao mercado livresco a primeira edição do romance O Quinze de Rachel de Queiroz com o selo da Livraria José Olympio Editora. A supracitada edição compunha a publicação intitulada Três Romances (O Quinze, João Miguel e Caminhos de Pedras). Entre os anos de 1938 a 1991, período no qual a editora deteve os direitos de publicação das obras de Rachel Queiroz, foram produzidas 44 edições para o primeiro romance da escritora. O presente trabalho analisa como o livro O Quinze tornou-se um produto editorial da Livraria José Olympio Editora, ou seja, como a editora produziu, publicizou, atribuiu significados e divulgou a obra.