Submitted by BKAB Setor Proc. Técnicos FGV-SP (biblioteca.sp.cat@fgv.br) on 2013-02-22T14:59:33Z No. of bitstreams: 1 1197900927.pdf: 17676237 bytes, checksum: b1cf41c44c563b2df10719a423c0b002 (MD5) / É objetivo deste trabalho a ánalise comparada do pensamento de dois economista: Milton Frideman que acredita no capitalismo como um sistema que garante a maximização do desenvolvimento e Joan Robinson cujos são diferentes e que propõe o socialismo como solução mais plausível para os problemas econômicos que atingem a maioria dos povos. Esta análise nos permitirá compreender melhor como são tratados e explicados os problemas sócio-econômicos partindo de premissas diferentes sobre suas causas.

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Denna uppsats är en komparativ textanalys av Maj Bylocks lättlästa version av Daniel Defoes Robinson Crusoe (1995) och en längre version av Daniel Defoe, översatt av Britt Edlund (2010). Syftet med analysen är att i jämförelse med den längre versionen, undersöka hur kriterier för en lättläst bok kommer till uttryck i Bylocks lättlästa version. Syftet är även att urskilja fördelar och nackdelar med den lättlästa versionen. Analysen görs utifrån olika kriterier för lättläst från Reichenberg och Lundberg (2008/2009) och Ahlén (2003), och analysens resultat diskuteras främst utifrån Wittings (1979) teorier om handling och språk i en lättläst bok.Analysens resultat visar att flera kriterier för en lättläst bok kommer till uttryck i Bylocks lättlästa version. Vissa kriterier synliggörs dock på ett mer otydligt sätt, bland annat handlingen, där flera detaljer försvunnit i Bylocks lättlästa version. Utifrån analysen visas flera positiva och negativa aspekter. På den positiva sidan visas bland annat att illustrationerna i Bylocks lättlästa version ger stöd till texten och att meningarna är så pass korta att läsaren hinner ta till sig eventuella svåra ord. På den negativa sidan visas bland annat att definitioner på okända ord inte finns med, samt att karaktärerna i boken ges en vag beskrivning vilket kan medföra svårigheter för läsaren att knyta an till karaktärerna.

Geóloga / La isla Robinson Crusoe es una isla oceánica de origen volcánico perteneciente al Archipiélago de Juan Fernández que se ubica en el océano Pacífico en latitud del puerto de Valparaíso. Entre los años 2011 y 2012, pescadores de la zona han encontrado material pumíceo flotante en sus costas, del cual se desconoce su origen. La presente investigación plantea que este material es exótico debido a que presenta una composición química diferente al resto de las rocas de la isla y que se transporta a través de las corrientes marinas hasta llegar al territorio insular. Es por esto que se establece como objetivo establecer el origen de este material piroclástico pumíceo y luego inferir un mecanismo de transporte y trayectoria hasta la isla Robinson Crusoe. Para la realización de esto objetivos, en primer lugar y con el fin de caracterizar la muestra, se realizó un análisis químico mediante la utilización de ICP-OES y ICP-MS y de Microscopio Electrónico de Barrido (SEM). Según estos análisis se identifica que la muestra corresponde a una fonolita. En segundo lugar, se determinó la fuente del material en términos de sus características geoquímicas mediante la construcción de una base de datos de información publicada respecto de piedras pómez de composición fonolítica analizadas en otras regiones del mundo. Se identificaron dos erupciones que pudieron haber originado este material que corresponden a la del volcán McDonald en el año 2005 y al monte Erebus que presenta actividad continuamente todos los años hasta la actualidad. En tercer lugar, a través del estudio de las dinámicas de corrientes en el Pacífico Sur, se describió la trayectoria que sigue el material piroclástico pumíceo en dirección a la isla Robinson Crusoe. Al caer el material en el océano, este habría sido transportado hacia el este por la corriente Circumpolar Antártica, que luego se integra a la corriente de Humboldt transportándose hacia el norte y llegando finalmente a la isla Robinson Crusoe. Este material puede haber recorrido una distancia de 7.000 a 15.000 km con una velocidad de deriva de 13 a17 km/día aproximadamente, por lo tanto llega a la isla entre 1,3 a 2,4 años. Existe la posibilidad de que el material se haya desviado en varias ocasiones antes de llegar a la costa de Robinson Crusoe y que al fragmentarse pueda ser depositado en las playas cercanas y luego regresar al mar en una siguiente gran marea. La dispersión de objetos flotantes en el mar es un fenómeno que cada vez más preocupa a la comunidad científica, ya que además del material pumíceo, desechos y productos de plástico se transportan a través de estas corrientes, generando grandes depósitos de basura en medio de los océanos. El estudio de la dispersión del material pumíceo flotante es útil para entender la dinámica de su desplazamiento una vez ocurrida la erupción, y a la vez importante para un futuro análisis del impacto y peligros que podría acarrear, en especial la presencia de grandes concentraciones conocidas como balsas de pómez . También puede ser útil para la predicción de la propagación de organismos marinos, icebergs o desechos antropogénicos (basura y plástico), entre otros.

Countless centuries has sailed by since humanity first discovered the method of travelling across the far stretched oceans that divided undiscovered continents. As noted by Le Corbusier, these liners were deemed being an engineering feat of the twentieth century, as their design resembled an epitome of indulgence and hospitality. As the average lifespan of a commercial liner is 25 years, the shipping industry is reaching a pinnacle point in time where countless ships will be decommissioned. As these vessels were originally built to be both functional and appealing in nature, why have them reduced to hazardous scrap metal, when they can be repurposed on land? In order to physically implement such an interior endeavor, both a decommissioned ship ideal in typology and status, along with a suited location for docking was to be advocated. The selection of Robinson Dry Dock as host and the SS Nomadic as habitant allowed for the spatial intervention of a retail-orientated and recreational facility to be envisioned. As opposed to the mere institution of a heritage approach, the appendage of a new layer is proposed that will allow for past recollection and future addition thereon - thus a palimpsest of design in terms of programmatic response and actual materiality. As the spatial and structural formation of vessels primarily rely on steel and the construction of a dock on concrete, these materials will be probed comprehensively in standings of their vulnerability to degradation. Proposed avenues of material investigation permits corrosion protection, historic decay preservation and intentional oxidation techniques that can conceivably ground potential design implementations. The decisive spatial outcome aims to endorse the idea that corrosion can act as a tool of architectural beautification, rather than a mere entity of intimidation. This idea is heightened by the insertion of a microbrewery that factually exemplifies the splendor of aging. Rather than promoting slavish alternative shipbreaking approaches and mere demolition practices, layered architectural alteration, as outlined by Fred Scott in his book, On Altering Architecture, will allow for the creation of a spatial intervention that is honest, nonintrusive and profound. / Ontelbare eeue het verby geseil sedert die mensdom 'n reismetode ontwikkel het wat hul in staat sou stel om uitgestrekte oseane, wat onontdekte kontinente verdeel, te verken. Soos opgeteken deur Le Corbusier, was hierdie lynbote beskou as 'n kordaatstuk vir ingenieurswese in die 20ste eeu, aangesien die ontwerp daarvan getuig van toegeeflikheid en gasvryheid. Omdat die gemiddelde leeftyd van 'n kommersi?le boot 25 jaar is, het die skeepindustrie 'n punt bereik waar heelwat skepe onaktief verklaar is. As hierdie werktuie oorspronklik bedoel was om funksioneel sowel as aantreklik van aard te wees, waarom dit dan reduseer tot 'n hoop skrootmetaal as dit vir 'n ander doel op land aangewend kan word? Ten einde so 'n poging te implementeer, moes 'n onaktiewe boot, tesame met 'n gepaste ligging vir die dok daarvan, voorgestel word. Die keuse van Robinson Droogdok as gasheer en die SS Nomadic as inwoner, laat ruimte vir 'n omgewings-vriendelike produk waarin die moontlikheid van kleinhandel en fasiliteite vir vermaak, voorkeur geniet. Teenoor die blote ingesteldheid van 'n erfenis-aanslag, is die byvoeging van 'n nuwe laag voorgestel, wat ruimte laat vir dit wat in die verlede gevestig is, sowel as toekomstige byvoeging ? dus 'n palimpses van ontwerp in terme van 'n programmatiese oplossing en materialiteit. Soos wat die ruimtelike en struktuele formasie van werktuie hoofsaaklik afhanklik is van staal en die konstruksie van 'n dok uit beton, sal hierdie materiale deeglik en omvattend ondersoek word in terme van hul kwesbaarheid wat degradering betref. Voorgestelde maniere om hierdie materiale te ondersoek en te toets, sal beskerming teen roes, asook historiese verval en doelbewuste oksidasie-tegnieke insluit, wat moontlik die grondslag kan l? vir potensi?le ontwerp implementering. Die uitkoms kan die idee bevorder dat verval en agteruitgang kan bydra tot argitektuele verfraaiing, eerder as om 'n blote entiteit vir intimidasie te wees. Hierdie idee word verder bevorder deur die 'n mikro-brouery by te voeg, wat die glorie van oudword beklemtoon. Eerder as om skeepsloping en blote vernietiging voor te staan, sal argitektuele verandering, soos uiteen gesit deur Fred Scott in sy boek, On Altering Architecture, die skep van 'n ruimtelike ingryping toelaat wat eerlik, nie-opdringerig en grondig sal wees. / Mini Dissertation (MInt (Prof))--University of Pretoria, 2016. / Architecture / MInt (Prof) / Unrestricted

A Congregationalist by choice and a Calvinist by tradition, Marilynne Robinson has a theological background that significantly influences the development of her fictional characters, especially in her Pulitzer Prize winning novel, Gilead. Much has been written about Robinson's particular brand of Calvinism—by both Robinson herself and other literary critics—which tends to be far more hopeful about grace, agency, and the beauties of the natural world than traditional interpretations allow. Little, however, has been written about how the trajectory of Congregationalism as an organizational force in the national narrative influences the decisions of and relationships between her fictional characters. Gilead depicts three generations of Congregationalist ministers whose personalities, preaching styles, and interpersonal relationships reflect and parallel the history of Midwestern Congregationalism in the United States from the abolitionist period to the mid-twentieth century—at which point, Robinson claims, Congregational influence all but disappeared. Robinson develops these characters in ways designed to dramatize and critique Congregationalism's various responses to the cultural and historical pressures of slavery, war, denominationalism, and the proper relationship between a minister and his congregation. In the novel, John Ames III becomes a reconciliatory figure in a tradition fraught with interpretational extremes: the scriptural literalism of John Ames I and the scriptural relativism of John Ames II. He is not, however, a perfect balance of such interpretations, but rather exemplifies characteristics of "both and neither." In depicting the three ministers this way, Robinson critiques, defends, and reshapes contemporary understanding of Puritan influence on American history just as she demonstrates how that history shapes the relationships among the characters. Ultimately, Gilead is both a supplement to and an extension of Robinson's nonfiction writing (The Death of Adam, Absence of Mind, and When I Was a Child I Read Books), which also attempts to revise current interpretations of Calvinist thought and rekindle contemporary interest in early American religious influence.

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This thesis examines the variance in human development paths and policies pursed on the island of Hispaniola by the governments of the Dominican Republic and Haiti. The different paths have resulted in significant dissimilarities in contemporary levels of economic and social development across the island. Starting from the theoretical perspective of Acemplgu and Robinson (2012), I find that institutional explanations can only explain part of this divergence. I argue that a more complete explanation needs to take into consideration the role played by class, color, and race. I also find that foreign intervention, particularly the occupation of both countries by the US Marines in the 20th century, helped direct the development strategies of each country in different directions.

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique. / This research work is based on the study of the play Adiós, Robinson (Goodbye, Robinson), a radio script written by Julio Cortázar in 1977, published in 1984, reedited in 1995 -after the death of the author-, and broadcast in every continent in the late 1970s. The analysis of this piece was carried out taking into consideration two different but complementary perspectives: one more formal or technical and the other ideological. Thus, on the one hand, radio drama is examined as a type of discourse that uses a specific language -radiophonic language-, and constitutes “a theatrical presentation written for radio", based on the works of Rudolf Arnheim, Armand Balsebre and Etienne Fuzellier. On the other hand, the text contextualized by referring to the troubled situation in Latin America in the 1970s, and relating the topic of "decolonization" to that of liberation. Before addressing the subject of radio drama -including its origins in Argentina, the first pieces for radio, and the characteristics of its format- and taking the author Jesús Martín-Barbero as a source of reference, a brief history of melodrama is presented. This genre, characterized by strong emotional content, is very much present in Latin America, particularly in radio drama and soap operas. After describing Cortázar’s writing style, the script is analyzed from a viewpoint that focuses mainly on the categories of space and time, which are especially of interest when studying a piece of radio drama. Finally, this study pretends to demonstrate that Julio Cortázar did not write Adiós, Robinson as a mere piece of radio entertainment. On the contrary, the author, aware of the power exercised by this type of media, uses it to reach a wider audience and present it with an anti-colonial fable.