Os efeitos produzidos pela interação da radiação ionizante com os circuitos integrados podem ser classificados em efeitos de eventos únicos (Single Event Effects - SEE), comumente relacionados a problemas transientes, e efeitos de dose total ionizante (Total Ionization Dose - TID), os quais se originam em decorrência do longo tempo de exposição à radiação ionizante. Com relação à proteção desses circuitos, técnicas, como redundâncias temporais e espaciais, podem ser aplicadas a fim de reduzir a ocorrência de eventos transientes. Por outro lado, efeitos de TID e mesmo alguns SEE específicos, como os que causam degradações permanentes do circuito, podem ser atenuados drasticamente através de técnicas propostas em nível de layout. Nesse contexto, este trabalho analisa os conceitos básicos envolvidos na interação da radiação com o transistor MOS, desvios de suas características elétricas e técnicas de atenuação dos efeitos acumulativos aplicadas em níveis de arquitetura de sistemas, de processo de fabricação e de dispositivo. Contudo, este trabalho realiza uma abordagem mais detalhada de técnicas de tolerância em nível de layout. A tolerância em nível de layout do transistor é o resultado da combinação entre tecnologia escolhida agregada ao uso de anéis de guarda (guard rings) e aplicação de técnicas em nível de dispositivo como, por exemplo, a de geometria fechada (enclosed-gate). Este trabalho explora diferentes topologias de geometria fechada analisando diferentes modelagens e estimativas de razão de aspecto (W⁄L). Além disso, todas as análises e propostas apresentadas ao longo deste trabalho levam em conta o ambiente de projeto comercial, de forma que os dispositivos e técnicas propostas possam ser aplicadas e fabricadas utilizando ferramentas de projeto comerciais, respeitando restrições quando a dimensões e espaçamentos entre estruturas de acordo com requisitos comerciais de litografia. Os resultados obtidos corroboram o fato de que ao custo de área é possível que se obtenha um dispositivo mais tolerante à radiação e, neste caso, técnicas de mais alto nível ainda podem ser aplicadas de forma a atingir uma maior eficiência de proteção. / Studies related to ionizing radiation effects into MOS transistors are usually classified into two main groups, Single Event Effects (SEE) and Total Ionization Dose (TID). The former is related to transient effects and the later to the permanent effects which occurs during the whole lifetime of integrated circuits and devices. Architecture level for SEE mitigation techniques usually involves redundancy and majority voters, on the other hand, TID mitigation techniques act avoiding or reducing the weak and critical regions in the layout perspective. In this context this work proposes the analysis of primary physical mechanisms of radiation effects in semiconductor components and MOS transistors by exploring the electrical properties and related degradations. The mitigation (or hardening) techniques are explored not only at the architectural level but also by processes improvements. Nonetheless, this work is primarily focused to achieve a radiation hardened circuit by applying specific changes in the layout perspective making the design named as Radiation Hardened by Design (RHBD). Trading the area and circuit density it is possible to harden the most basic building block of electrical circuits (MOS transistors) and, in this case, by applying higher levels of mitigation techniques it is even possible to harden the entire circuit. Hardening by device is a combination of technology node, use of guard rings and techniques such as Enclosed Layout Transistor (ELT). Thus, this work realizes a comparative study of different proposed models to estimate the effective W/L aspect ratio in ELTs. Moreover, the analysis and approaches presented throughout this work take into account the commercial context, i.e., respecting the commercial Process Design Kits rules.

nÃo hà / Esse trabalho tem como escopo apresentar a importÃncia da utilizaÃÃo do cinema na sala de aula como documento histÃrico e como recurso didÃtico para uma aprendizagem dialÃgica significativa e crÃtica da disciplina histÃria AlÃm disso traÃa uma retrospectiva do cinema e de sua utilizaÃÃo para a educaÃÃo em vÃrios recortes histÃricos e em vÃrios paÃses inclusive no Brasil desenvolvendo uma breve memÃria da histÃria do cinema educativo em Fortaleza Na pesquisa de campo entrevistas foram realizadas com trÃs experientes professores de histÃria que utilizam regularmente o cinema em suas aulas AlÃm do que ele busca ressaltar que a competÃncia para ver adquirida com o uso do cinema nas aulas de histÃria contribuirà para a formaÃÃo de pessoas crÃticas participativas e sensÃveis valores dos quais nos quedamos tÃo carentes / This work has the ain of showing the importance of using movies in the classroom as a historical document and as a didactical source for a dialogical significative and critical learning of the discipline History Besides it makes a retrospective of cinema history and its use for education through many historical flashes and in many countries including Brazil developing a brief memory of educative cinema in Fortaleza In the field research interviews had been carried through with three experienced history teachers who regularly use the cinema in its lessons After all it emphasiles that the competence of seeing acquired with the use of movies in History classes will contribute to the formation of critical people participative and sensible values of which we find ourselves so much deficient

This thesis engages with the contribution made by literary and visual representations to debates about woman's role in Britain and America between 1860 and 1917. During, that is, a period of transition from the relative securities of the early Victorian period until the radical social shifts propelled by the First World War. I introduce design reform debates in painting and interior design, and examine how these were approached by George Eliot, Henry James and Edith Wharton, both in the homes they actually lived in, and those they created in their fictions, particularly for their female characters. Issues of the aesthetic and the moral, and the shifting relationships between them, underpin responses to art and design of the period, and are reflected generally in the literary and visual arts. The representation of women in domestic space, in actual and literary interiors, necessarily has ideological implications regarding the proper place of women within society. Thus, directly and obliquely, questions were repeatedly being asked about what constituted a desirable and fulfilling life for women in this society, and how such a life was to be achieved. To support my contention that this is a wide debate, I am looking at representational paintings of women in interiors, and advice about decoration in manuals of household taste, to augment the primary focus of the thesis on various fictional portraits of ladies. In the Introduction I discuss some recent examinations of women's space and place in Victorian society in art historical, literary and cultural studies. I explain the ideology of separate spheres and how it was interpreted in the plan and decoration of the home, underpinning the codification of interior decoration. I consider also how theorisations of 'the gaze' have been used to analyse representations of women and to explore issues of female empowerment. In Chapter One I examine the history of the design reform movement, Aestheticism, the application of the separate spheres in practice and the influence of manuals of household taste on how the home was actually decorated. Women's taste was a contested issue and the conceptual conflation of the women's body with the house formed the background to Aesthetic paintings of women. Some women decorators, often connected to radical political movements, used their professionalism to make the home a site of power, countering the seeming entrapment of women within the interior. In Chapter Two I examine George Eliot's unconventional home life, particularly the decoration of The Priory. I discuss how she utilised interiors and related themes of seeing and commodity fetishism in the explication of character in The Mill on the Floss, Middlemarch and Daniel Deronda. Sympathy with the wider world enables Eliot's female characters to transcend the destruction of subjectivity threatened by constriction within an unhappy home. In Chapter Three I examine how Henry James dealt with the complicated conceptual relationship of Europe and America in The Europeans, using themes of the search for a home and the theatricality of self-presentation. I explain his notion of the House of Fiction, which was expanded by Edith Wharton. In The Portrait of a Lady, taste is used as a moral indicator in his discussion of the 'envelope of circumstance', with Aestheticism as the background to its use. James theorises the status of women as objects within interiors and what this means for Isabe1' s developing consciousness, as she searches for a husband and home. James uses the ambiguities of 'seeing' to explore how good taste is reached at expense of human relationships. In Chapter Four I discuss Henry James's own search for a home in his later years, and the significance of Lamb House. I discuss his friendship with Edith Wharton and compare their taste in decoration and how this related to moral themes in their novels. In The Spoils of Poynton good or bad taste seems to divide people morally. However, the rigidity of these divisions is questioned, and Fleda and Mrs Gereth discover unhappiness as an authentication of experience, in a small home without men. In Chapter Five I discuss Edith Wharton's development as a writer, the homes she grew up in and how this relates to the decoration and creation of her own homes. Her highly theorised approach to interior decoration is demonstrated by The Decoration of Houses, which was put into practice in her own homes, finding its most perfect expression in The Mount. Wharton's experiences of creating a home for herself gave her the strength to write out of a society disinclined to attribute serious artistic effort to women, and her writings re-enacted the problems she encountered living in this society. In Chapter Six I examine Wharton's The Houseo! Mirth, Ethan Frome and Summer, employing Wharton's aesthetic theories as a key to interpretation of her fictional works. Lily Bart is seen within different interiors as she descends through society, and gender issues are illuminated by a discussion of how the tableau vivant at the centre-point of the book brings together themes of theatricality and the gaze. Lily's self-fashioning is fraught with misreadings by her society, disastrous for her search for a happy and beautiful home. The poorer setting of the two novellas demonstrates that Wharton applied her theories across social strata. For Wharton, the achievement of a happy home, morally decorated, could be impossible for women in American Victorian society. In the Conclusion I look at paintings by progressive artists which enacted the instabilities of cultural change in their depiction of women in interiors. The Great War destroyed the bourgeois interior that the fictional women I have discussed found it so difficult to remain within. The rejection of the constrictions of separate spheres became part of a new feminist project, articulated by Virginia Woolf and Catherine Carswell. Women no longer felt the need to be constrained by the gilded cage, and looked for possibilities lying outside of the drawing room.

The present thesis investigates comics journalism, which is a subsection within the comics medium combining sequential images and journalism, and which has met with popular acclaim in the wake of Joe Sacco’s popularity in the 1990s. Since then, many examples of comics journalism have been published. However, the subject has not been comprehensively studied except for extensive research focusing on Sacco. This study aims to go some way towards filling this gap. This thesis focuses mainly on comics war journalism covering the turmoil in the Middle East and the Israeli-Palestinian conflict by selecting graphic novels by two different authors from divergent backgrounds: Ayşegül Savaşta: Irak Şahini (Ayşegül at War: The Iraqi Falcon) by Kemal Gökhan Gürses from Turkey, and Jerusalem: Chronicles from the Holy City by the Quebecois author Guy Delisle. There are four main chapters in this thesis. The first chapter, ‘Comics Journalism’, analyses this hybrid genre and tries to place it with a theoretical framework. The second chapter, ‘National Identities and Comics Journalism’, discusses how national identities are represented in comics journalism. The third chapter examines Ayşegül Savaşta: Irak Şahini and shows how comics journalism can function as a response to a war. The fourth chapter discusses Jerusalem: Chronicles from the Holy City and explores comics journalism as cultural reportage. This thesis argues that the roots of comics journalism can be found in the Glasgow Looking Glass of 1825. While Joyce Brabner and Lou Ann Merkle together created today’s understanding of comics journalism, Joe Sacco popularized the genre via his coverage of the Palestinian issue and the Bosnian War. Another conclusion is that the September 11 attacks explain the rise of comics journalism, as output related to comics journalism has since blossomed. I will claim that comics journalism functions as an alternative to mainstream journalism and serves to show unreported news. Additionally this thesis will find that stereotypes play a very important role in picturing the relationship between comics and national identities, and will show how Muslim stereotypes have changed in comics, especially in superhero comics, produced after 9/11. This observation leads me to argue that comics journalists, regardless of their backgrounds, use essentially the same stereotypes when they draw Middle Easterners, Arabs especially, although negative Muslim stereotypes are very rare in comics journalism. Since religion and nationalism are undeniably intermingled in the Middle East, the comics journalists studied here employ Islam as a part of their narratives.

This study analyses the invisible forms of repression in the Bolivian art system by interpreting Roberto Valcárcel’s artwork in the light of Herbert Marcuse’s ideas on repression and liberation as expounded in Eros and Civilization. It considers, on the one hand, Valcárcel’s artwork in relation to the liberating role that Marcuse attributes to art (via phantasy, polymorphous eroticism, and Orphic paradigm). On the other hand, it explores the strategies devised by Valcárcel against repression, such as self-promotion, multiple texts, play, humour and unmasking certain repressive truths. The reading of Valcárcel’s work via Marcuse is supported by archival research from contemporary newspapers, exhibition documentation and Bolivian art history, which provide relevant information about the sorts of latent repression to which Valcárcel’s artworks responds. The dissertation is organised in five chapters in which examples of repressive beliefs are unveiled. Chapter One examines El Movimiento Erótico (The Erotic Movement, 1983) and the manifold strategies used by Valcárcel to escape the traps of a presumed type of sexual liberation (sexist and genital oriented) and capitalism’s culture industry. Chapter Two discusses artworks where the intentional construction of open meaning challenges the norm of a univocal creation and consumption of art. Chapter Three studies some of Valcárcel’s humorous identities in contrast with the dramatic, and overly serious self-perception of Bolivians artists. Chapter Four explores Valcárcel’s use of play, black humour and deceit as effective devices to escape hidden authoritarianism in society during dictatorial regimes. Chapter Five analyses how Valcárcel’s work unveils the latent repression in the idealisation of indigenous heritage through play and anti-thesis. The dissertation introduces a new topic into the study of art in Bolivia – veiled repression – at the same time that it sheds light on the potential of the artwork of Roberto Valcárcel to open new ways of historicizing and thinking about art in Bolivia.

No description available.

This thesis describes a project investigating conceptions of design in the community of design stakeholders. A 'democratization of design' is identified, in terms of a widened mode of design engagement. The origins of the project are located in the accompanying observation that 'design means different things to different people'. The project has three aims: (i) to establish the contemporary UK context for the social study of design; (ii) to expand upon the identified theme of the democratization of design; and (iii) to empirically investigate conceptions of design in the community of design stakeholders. The first two aims are fulfilled through a review and discussion of existing secondary sources. The third aim is fulfilled by primary research, in the form of an empirical interview study conducted with design stakeholder informants. The interview study embodies an interpretative phenomenological theoretical perspective, and employs qualitative research method. A theoretical sample of 31 interview informants was drawn from five design stakeholder groups: Business; Designers; Education; Promotion; Users. Conceptions of design within the collected interview data are investigated through a template analysis. An analysis of collected interview data is presented in the form of an holistic map or 'template' of the data organized by thematic discussion of 'design'. These empirical findings are presented and discussed narratively and graphically. A total of 41 interrelating 'conceptions of design' are identified. Empirical findings are synthesized with the response to aims (i) and (ii). This generates two main final research outcomes: firstly, a degree of informant scepticism and ambivalence is apparent towards the heightened political, cultural and economic profile for design; secondly, the democratization of design is seen as a worthy ideal, but one which is difficult to realize. In conclusion, a number of further implications of the project are also discussed.

Since the 1960s contemporary art has seen a paradigm shift occur that has rejected the individual perspectives of modernity and begun to consider the value of connective and participatory aesthetics. New process-led and technologically-based practices have shifted the emphasis away from the art object and onto the art process, rendering the approach to making art a much more connected and relational one. In parallel, the curatorial role has radically shifted since it was first popularised in the 1970s. With less emphasis on the archival and more on the mediation and dissemination of practices, the role has risen to the forefront of the contemporary art arena, yet the actual methods of curation have not evolved in relation to the practices they curate, revealing an acute lack of curatorial convention for exhibiting and disseminating process-led practices. Employing the term Social Practice to actively define this ever-evolving body of process-led works, this research is situated at the juncture between the social outputs of reciprocal artworks and the curator’s role in exhibiting them. In establishing curation as a practice and situating it at a well-founded and clear point of perspective, this thesis argues that a clearer understanding of curatorial practice will in turn formulate an active and more integrated way of working. Focussed on the curation of media and performative practices specifically, and through four practical case studies: Becoming Electric, Fast and Slow Networks, Scatter Projects and Turnstile, in curatorial and exhibition practice, a dynamic form of curatorial practice is made manifest. This Social Curation seeks to contextualise fully the potential of exhibitions as structures of communication and exchange, maximising social interaction and engagement across curatorial approach, process and outcome. This thesis engages performative and participative approaches in its development of a research bricolage, revealing through practice how curation can function in an open and relational way. It contributes to methodical innovation through its use of a real-life initiative to test and ground the research strategies, and to the fields of artistic and curatorial research through original and responsive strategies towards evolving exhibition formats. Overall it has sought and revealed the means to both situate and question new ways of thinking and methods of working within the dynamic of the everyday.

This thesis examines the notions of self and no-self, specifically in light of the actor’s experience and manner of engagement in actor training. Arguing that the actor’s assumptions and beliefs regarding self affect embodiment and engagement in training, the thesis highlights the importance of considering these notions, and proposes some practical explorations. Training experiences in theatrical biomechanics and the work of Nicolás Núñez are reflected upon as practical references for the investigation. The lack of a fixed ongoing self in experience is identified as a key stance in considerations within philosophy, psychology and neuroscience, and the consequences, for the actor, of conceiving an independent, on-going self as existing in experience are suggested to lead to a perceived dualism that is at times considered to interfere in the actor’s work. The thesis suggests an understanding of self as a ‘myth’ created through ‘storytelling,’ conceptualisation and embodied metaphor, and as a process of neurological mapping as argued by George Lakoff and Mark Johnson, Antonio Damasio, Louis Hoffman and others. For considering the notion of no-self and the actor’s potential for operating without a sense of personal identity, the thesis draws on the no-self theory of Buddhism and ‘attunement’ and the ‘self-cultivation’ model proposed by Nagatomo Shigenori and Yuasa Yasuo. Drawing on no-self theory, the questions regarding dualism in the actor’s experience, a transformation of habitual patterns of movement and action, everyday consciousness and the actor’s manner of engagement in training are examined. Identifying actor-training as a process of self-exploration and self-definition in the work of Phillip Zarrilli, Eugenio Barba and others, the thesis argues for the importance of considering the notions of self and no-self and introduces alternative models for this examination.

Écriture, histoire et identité entretiennent des rapports étroits entre le milieu du IXe siècle et le milieu du XIIe siècle à Saint-Sauveur de Redon, Saint-Magloire de Léhon, Dol et Alet/Saint-Malo. À partir de l’exemple de ces deux abbayes et de ces deux sièges épiscopaux, il s’agit de déceler les enjeux entre la production de textes et les processus idéologiques et culturels du moment. Plus largement, cette étude s’enracine dans la réflexion sur la fonction du passé et sur ses usages, en particulier dans le cadre de la formation des identités des communautés monastiques et des sièges épiscopaux. À la lumière des acquis historiographiques récents sur les pratiques de l’écriture, on se propose d’étudier l’ensemble des productions textuelles, qu’elles soient hagiographiques, historiographiques ou diplomatiques. L’analyse de la mise en texte des moments fondateurs de l’histoire des communautés monastiques et des sièges épiscopaux dans un premier temps et leur mise en perspective dans un second temps montre que ce sont à des moments charnières, au cours desquels se redéfinissent les pouvoirs ecclésiastiques et laïques, en particulier dans la seconde moitié du IXe siècle et de la fin du XIe siècle jusqu’au milieu du XIIe siècle, que les unes et les autres se sont attachés à mettre par écrit la mémoire de leur passé en élaborant des stratégies discursives afin de légitimer ou délégitimer des situations contemporaines / From the middle of the ninth century to the middle of the twelfth century, at Saint-Sauveur de Redon, Saint-Magloire de Léhon, Dol and Alet/Saint-Malo, there appears to be a close link between writing, history and identity. Basing our analysis on the exemples of those two abbeys and those two episcopal sees, we shall see how the writing of texts interact with the ideological and cultural framework of the time. On a broader level, this study is rooted in the historical revision on the fonction and uses of the past and how, in particular, it may come to shape the identities of the monastic communities and the episcopal sees. We shall focus on the whole textual production, be it hagiographic, historiographic or diplomatic, in the light of the recent developments in hagiographic studies as regards the practice of writing. The analysis of how the founding events in the history of the monastic communities and the episcopal sees were recorded into words and then put into perspective has revealed that it was at the key moments when the ecclesiastical and secular powers were redefined – especially in the second half of the ninth century and from the end of the eleventh century to the middle of the twelfth century – that they all took to writing down the memory of their past, elaborating discursive strategies that would legitimize or delegitimize contemporary events