A partir de las nuevas políticas de gestión de residuos de la Planta Santa Fe de Celulosa de la Compañía Manufacturera de Papeles y Cartones (CMPC), ubicada en la Octava región de Chile en la ciudad de Nacimiento, y debido al eventual término de la vida útil del área de desechos controlados (ADC) que esta posee, se realizó un estudio con el objeto de producir compost a partir de tres diferentes desechos sólidos que esta genera. El objetivo principal de este estudio fue utilizar estos residuos para evaluar el potencial uso de estos RISes como compost, según la Norma Chilena (NCh) 2880 del año 2005 “Compost-clasificación y requisitos”, la cual clasifica el compost como tipo A o B dependiendo de su calidad; el compost tipo B presenta algunas restricciones en su uso. Particularmente, se estudió el proceso de compostaje, producido a través de la biodegradación aeróbica, de Lodos de la planta de tratamientos de efluentes primarios y secundarios, Corteza de Eucalipto proveniente de la descortezadora y una mezcla de Dregs/Grits (7:3) ambos proveniente de la planta química recuperadora de licor blanco utilizado en el proceso de digestión de la madera. El trabajo realizado consistió en el montaje de tres experimentos con el fin de comparar las características finales de los residuos compostados. En el primer experimento se evaluó la mezcla de los residuos en distintas proporciones, en pequeños volúmenes. En un segundo experimento, debido a la línea de estudio recomendada por la empresa, se realizó el compostaje de los residuos por separado. Finalmente, en un tercer experimento, se realizó una mezcla Lodos/Corteza 1:1 con el objeto de comparar su caracterización final con los resultados obtenidos en el segundo experimento. De acuerdo a la NCh 2880 (2005) los experimentos se monitorearon periódicamente, determinando variación de la temperatura, pH, humedad, densidad aparente, conductividad eléctrica, materia orgánica, carbono orgánico, nitrógeno total, relación C/N, concentración de metales pesados y número de las bacterias presentes. Los resultados demuestran que en los experimentos realizados no se logró tal como se esperaba, un aumento de la temperatura por sobre los 35°C, lo que habría dado cuenta de la participación de microorganismos termófilos, típicos en estos procesos. Además se observó, con las caracterizaciones finales de los residuos, que ninguno de ellos podrían ser clasificados como compost Tipo A. No obstante, los Lodos y la mezcla Lodos/Corteza con una proporción mayor a 2:1 serían los mejores candidatos para producir compost Tipo B, si se lograra disminuir las concentraciones de Níquel y Zinc.

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<p>This essay deals with different survival strategies in Hemingway´s <em>The Sun Also Rises</em>, with a focus on three of the characters: Jake, Brett and Cohn. They all try to survive mentally in post-war Europe, and have different ways of handling their traumas.</p>

This essay deals with different survival strategies in Hemingway´s The Sun Also Rises, with a focus on three of the characters: Jake, Brett and Cohn. They all try to survive mentally in post-war Europe, and have different ways of handling their traumas.

This thesis proposes to show that Hemingway's novels reveal a change of attitude which culminates in an increased faith in the ultimate goodness and dignity of man.

Call number: LD2668 .T4 1965 H39 / Master of Science

The period following World War I can be characterized in literature by the trauma and changes that promoted crises of masculinity. These crises, however, are not discussed between the men that suffer similar feelings of insecurity and anxiety; not approached as a tension in need of resolution. Exploring the narrative voices of Nick, Jake, Darl and Anse in The Great Gatsby, The Sun Also Rises, and As I Lay Dying, this thesis addresses the ways in which this unspoken phenomenon is essential to the modernist male narrative. I propose that, despite the widespread nature of this phenomenon, it is the voice of the individual – the preoccupations of his consciousness – that is the most appropriate point through which to examine these crises of masculinity.

Abstract The "Defective" Generation: Disability in Modernist Literature aims to provide an analysis of how Anglo-American authors in the early twentieth century conceived of, utilized, and portrayed disability in their fiction. Building on the existing scholarship in the field of Disability Studies, I argue that modernists revise the tradition of representation to make disabilities a generational trait rather than a sign of individual deviance. In novel after novel, multiple characters exhibit some form of illness or impairment, which appears as both cause and effect of the instabilities and traumas of modernity. Like many of their predecessors, then, these authors portray diverse health conditions as "defects" rather than natural variations in the human body, and most draw little distinction between the types of "disorders" they represent. This perspective, however, becomes particularly destructive in the era leading up to the Holocaust, when eugenical attitudes would lead to the murder or sterilization of over a million people with disabilities. Modernists also continue to exploit disability's potential for metaphor and sometimes evoke traditional stereotypes. Unlike traditional representations, however, these works do not resolve what the authors perceive as the "problem" of disability by curing or eliminating it; instead, they portray characters struggling to lead fulfilling lives despite feeling limited by their health. Working against the public's conception of disability as solely a medical condition, many of these authors further depict the social forces that turn a perceived "difference" into a "disability." The project is arranged into four chapters. In the first, "Idiots and Other Degenerates: Disability at the Dawn of Modernism," I use Joseph Conrad's novel The Secret Agent to illustrate how disability becomes characteristic of a generation, primarily through the influence of degeneration theory. Mocking the popular conception of a society divided into the "fit" and "unfit," Conrad creates a circle of characters who judge others to be degenerate while ignoring their own similar traits. From that beginning, I move in chapter 2, "Modernist Style: The Inward Turn and Portrayals of Mental Illness," to an analysis of the effects of stylistic experimentation on depictions of disability in both Virginia Woolf's Mrs. Dalloway and F. Scott Fitzgerald's Tender is the Night. The authors' use of multiple points of view in these works leads to a representation of both an individual's experience of psychosis and the stigma that can accompany such illness, and, like Conrad, both writers elide the differences between the seemingly able-bodied characters and those they deem disabled. These authors also offer a contrast in perceptions. Whereas Woolf treats shell shock and emotional instability largely as the unavoidable effects of World War I, Fitzgerald links both schizophrenia and alcoholism to decadent behavior, thus aligning himself with the public's perception of illness as a matter of intent. Moving from style to theme, in chapter 3, "Impaired Relationships: Physical Injury and the Pursuit of Romance," I explore the ways in which authors depict physical impairments as obstacles to personal relationships. Through a comparison of Ernest Hemingway's The Sun Also Rises and the "Nausicaa" chapter of James Joyce's Ulysses, I discuss the intersection of gender identity, disability, and romance. I argue against the critical consensus that Jake Barnes feels emasculated by his injury and that Gerty MacDowell is "doomed" to spinsterhood because she limps, contending that both authors allow their characters to maintain a sense of masculinity or femininity consistent with the hegemonic ideals of their time. While Hemingway presents Jake's wound as a physical disability that prevents his having the relationship he desires, Joyce uses Gerty's limp to mark her as an imperfect beauty in preference to an array of idealized iconic images, and in her encounter with Leopold Bloom grants her the sexual attention that she desires. In my final chapter, "African American Modernism and a Deadly Game of Blind Man's Buff," I shift focus from mainstream to African American modernism with an analysis of Richard Wright's Native Son,, addressing the author's use of folklore in relation to the metaphor of blindness. Posing the literally blind Mrs. Dalton as a revenant of the American colonists who ignored the humanity of those they enslaved and as a symbol of continuing oppression, Wright develops Bigger Thomas as both a trickster who exploits the "blindness" of others and a badman who rebels against it. My conclusion then addresses the use of disability metaphors, the attitudes those metaphors expose, and the authors' apparent agreement with or challenges to contemporary perceptions of disability. Although critics have previously analyzed specific works or certain aspects of disability representations during this era, this project seeks a more comprehensive discussion of disability in modernist fiction than currently exists. My hope is that it will enhance our understanding of both the period's literature and the harmful attitudes that existed at the time, which the work of Disability Studies has endeavored to overturn.

A recent report by Terrapin Bright Green “Mid-century (Un) Modern” discusses the desperate condition of mid-century modern high-rises in Manhattan. The article argues that it would be beneficial both economically and environmentally to demolish these buildings and build new ones with an assumed increase in FAR. To re-build, repair or re-skin are the questions Mid-century Modern High-rises (MMH) face today. This study focuses on Houston, Texas, which is very different from New York City both climatically and from a planning stand point. It is dreaded for its hot and humid climate and notorious for its consistent refusal to adopt any zoning. These high-rises in Houston represent the economic success of the city immediately after WWII. These buildings were constructed as the city transformed from the Bayou City to the Space city. In this study I have mapped the status of these high-rises and the strategies that were used to renovate them. The questions I further wish to address are how preservation or energy efficiency are addressed while renovating these buildings. Even preservationists might agree that all buildings are not equal and a new look would benefit some. The real challenge lies in resolving the grey areas, where one is not talking about a Seagram or a Lever House, but a well designed environmentally sensitive building. / text

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