Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-12-12T14:44:32Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação - Pedro Henrique Amorim Anjos.pdf: 9970150 bytes, checksum: 29bca81f576fbdecd909c0ab24d68ce5 (MD5) / Made available in DSpace on 2016-12-12T14:44:32Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação - Pedro Henrique Amorim Anjos.pdf: 9970150 bytes, checksum: 29bca81f576fbdecd909c0ab24d68ce5 (MD5) Previous issue date: 2015-02-05 / CNPQ / Consideramos o movimento da interface entre dois fluidos viscosos, imiscíveis e incompressíveis confinados em uma célula de Hele-Shaw radial. Quando o fluido de baixa viscosidade é injetado no centro da célula e desloca radialmente o fluido de alta viscosidade, a instabilidade de Saffman-Taylor entra em ação levando ao crescimento de estruturas em formato de dedos. Dependendo da natureza dos fluidos envolvidos, eles podem molhar as paredes da célula de Hele-Shaw, deixando para trás um filme molhante de espessura finita. Diante disso, investigamos a influência da camada de fluido molhante, deixada pelo fluido deslocado, na dinâmica linear e fracamente não-linear do sistema. Mais especificamente, examinamos como a instabilidade da interface e os mecanismos de formação de padrões (bifurcação e competição de dedos) são afetados pela presença da camada de filme molhante no limite de baixo número de capilaridade. Estudamos também uma variação da instabilidade de Saffman-Taylor usual induzida pela injeção: o problema do levantamento em célula de Hele-Shaw. Nossos resultados analíticos indicam que o molhamento tem um impacto significativo nos padrões não-lineares resultantes. Ele é responsável por uma atenuação na variação do comprimento dos dedos, enquanto que induz o aparecimento de estruturas que apresentam dedos pequenos e largos, provenientes do fluido não molhante, alternados por dedos pequenos e finos pertencentes ao fluido molhante. Durante o processo de levantamento, medidas adquiridas pelo teste de adesão quantificam a força adesiva de um fluido viscoso confinado entre placas paralelas. Experimentos e intensas simulações numéricas indicam que a formação de dedos afeta a força de levantamento, promovendo uma diminuição na magnitude da mesma. Concluímos este trabalho propondo um modelo analítico que forneça a força de adesão considerando não só o efeito de dedos da interface, mas também a ação do molhamento e de estresses viscosos normais. / We consider the interfacial motion between two immiscible, incompressible, viscous fluids in the confined geometry of a radial Hele-Shaw cell. When the less viscous fluid is injected at the center and drives radially the more viscous fluid, the Saffman-Taylor instability takes place leading to the growth of fingerlike shapes. Depending on the nature of the fluids involved, they can wet the walls of the Hele-Shaw cell plates, leaving behind a film of finite thickness. In this framework, we investigate the influence of a thin wetting film trailing behind the displaced fluid on the linear and weakly nonlinear dynamics of the system. More specifically, we examine how the interface instability and the pattern formation mechanisms of finger tip-splitting and finger competition are affected by the presence of such a film in the low capillary number limit. We also examined a variant of the usual injection-driven Saffman-Taylor instability: the lifting Hele-Shaw cell problem. Our analytical results indicate that wettability has a significant impact on the resulting nonlinear patterns. It restrains finger length variability while inducing the development of structures presenting short, blunt penetrating fingers of the nonwetting fluid, alternated by short, sharp fingers of the wetting fluid. During the lifting process, probe-tack measurements evaluate the adhesion strength of viscous fluids confined between parallel plates. Existing meticulous experiments and intensive numerical simulations indicate that fingering formation affects the lifting force, making it to decrease in intensity. We conclude this work by proposing an analytical model that computes the lifting adhesion force by taking into account not only the effect of interfacial fingering, but also the action of wetting, and viscous normal stresses.

L'utilisation étendue des allusions dans Heartbreak House de Bernard Shaw caractérise cette pièce par rapport aux autres oeuvres de l'auteur. Les allusions, du second niveau de lecture, donnent à cette pièce cohérence et unité. À partir de la théorie poststructuraliste de Barthes, l'approche cherche par quels mécanismes Shaw insère dans le texte divers plans de signification. Après une brève revue de la réception générale et de la critique, l'analyse procède par l'examen d'allusions implicites référant à Shakespeare, Lewis Carroll et Sébastian Brandt. Ensuite, l'examen se tourne vers les allusions inconnues référant aux oeuvres d'Oscar Wilde, de Thomas Carlyle, de Samuel Taylor Coleridge, de Walt Whitman, de Joseph Conrad, et de H. G. Wells. Finalement, l'analyse examine le décor en tant que symbole et allusion, fournissant une clef à la compréhension complète de l'oeuvre.

The focus of this essay is the interaction between the male characters in the play Arms and the Man by George Bernard Shaw and how those characters position themselves according to R.W. Connell’s theories on hegemonic masculinity. Connell’s theories can be productively applied to Shaw’s play, highlighting many similarities and exposing interesting patterns. The most striking example of this is the fact that Captain Bluntschli, the character that finally reaches the top of the hierarchical ladder of hegemonic masculinity, does that by repudiating conventional masculine ideals where patriotism, soldiering and violence are core ingredients. Bluntschli’s ascendance within the hierarchy is built upon consent from the other male characters in the play, which is in line with what Connell argues about complicity being one of the most important factors of hegemonic masculinity. The other male characters jointly give way to Bluntschli, thus accepting his general critique of what they used to consider self-evident masculine values and ideals that they have felt compelled to live up to. For Major Sergius Saranoff the new way to look upon masculinity implies great relief. He can finally give in to his true self and let down his guard against the people around him, and he also dares follow his heart and marry below his class.    My conclusion is that Shaw, apart from satirizing love, war and heroism, wanted Arms and the Man to convey a message that there are alternative ways for men to gain respect and be considered highly masculine than through violence, economic power and oppression. If Shaw had been presented with Connell’s theories on hegemonic masculinity he would probably have felt even more inspired in his mission to argue against destructive masculine ideals as expressed in patriotism and war.

One of the musical conductor's fundamental responsibilities is leading others to interpret and create music in a manner that was unfamiliar, unimagined, or inconceivable prior to the rehearsal experience. Regardless of the level or type of musical ensemble being conducted, each person within that ensemble possesses a unique perception of the musical, pedagogical, and stylistic elements, which must be compromised—if not completely abandoned in some instances—in the process of creating a cohesive musical ensemble. In addition to personal musical preparation and leadership, conductors are also responsible for leading, managing, and encouraging the carrying out of necessary administrative details that directly affect the desired musical product, such as resource management and staff development.This study begins by creating the general profile of an ideal leader based on theories common to numerous leadership and management scholars. Then, utilizing the established profile of the ideal leader, Robert Shaw's leadership behaviors and administrative practices were studied, documented, and organized into categories that correspond with those found in the profile of the ideal leader, providing an in-depth profile of Shaw's character, convictions, and competence, both as a human being and as a musician.Robert Shaw was not only an exceptional musician, but also an accomplished leader and manager of multifaceted musical organizations. As a result, Shaw's time was not only occupied with musical study and preparation, but he was equally aware of the administrative and organizational details necessary for the music to reach its highest potential. As is true with all successful leaders, Shaw delegated many duties and responsibilities to others, such as Nola Frink, Charles McKay, and Nick Jones. Even so, he maintained an acute awareness of the multitude of tasks being performed under his aegis. Also a vital leader within his local community, Shaw's leadership reached far beyond the realm of conducting. Frequently speaking in churches, social clubs, and graduation ceremonies, he was an activist for the arts, civil rights, and contemporary music throughout his life. / School of Music

The vapour extraction process, or &amp / #8216 / VAPEX&amp / #8217 / has attracted a great deal of attention in recent years as a new method of heavy oil or bitumen recovery. The VAPEX (vapour extraction) can be visualized as energy efficient recovery process for unlocking the potential of high viscosity resources trapped in bituminous and heavy oil reservoirs. A total of 20 VAPEX experiments performed with Hele-Shaw cell utilizing three different Turkish crude oils. Two different VAPEX solvents (propane and butane) were used with three different injection rates (20, 40 and 80 ml/min). Garzan, Raman and Bati Raman crude oils were used as light, medium and heavy oil. Apart from normal Dry VAPEX experiments one experiment was conducted with CO2 and another one with butane + steam as Wet VAPEX experiment. All experiments were recorded by normal video camera in order to analyze visually also. For both VAPEX solvents, oil production rates increased with injection rates for all crude oils. Instantaneous asphaltene rate for Garzan oil, showed fluctuated performance with propane solvent. Butane showed almost constant degree of asphaltene precipitation. Instantaneous asphaltene rate for Raman and Bati Raman oils gave straight line results with the injection rate of 20 ml/min for both solvent. When the injection rate increased graphs showed the same performance with Garzan oil and started to fluctuate for both solvent. For asphaltene precipitation, propane gave better results than butane in almost all injection rates for Garzan and Raman oil. In the experiments with Bati Raman oil, butane made better upgrading than propane with the injection rate 80 ml/min. With the other two rates, both solvents showed almost same performace.

Thesis--Copenhagen. / "Bibliographical appendix": p. [384]-390.

Thesis--Copenhagen. / "Bibliographical appendix": p. [384]-390.

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.S.)--Northwestern University, 1934. / Includes bibliographical references (leaves [68-71]).

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-05Bitstream added on 2014-06-13T19:55:18Z : No. of bitstreams: 1 furlanetto_pf_me_assis.pdf: 716688 bytes, checksum: bc0efde3dd6db151baa0ee30dc1a663b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / As obras de um dos mais conhecidos humoristas brasileiros, Millôr Fernandes, já foram bastante exploradas pelos pesquisadores de uma forma geral. Mesmo assim, há ainda uma vertente desse autor a ser estudada: o Millôr tradutor. O nosso objetivo nesta dissertação é analisar a peça Pygmalion, escrita por George Bernard Shaw em 1913, e sua tradução para o português pelo autor-tradutor Millôr Fernandes em 1963. A peça em cinco atos trata do professor de fonética Henry Higgins que se prontifica a transformar Eliza Doolittle, uma vendedora de flores que fala o dialeto cockney, em uma verdadeira dama, ensinando-a a falar “corretamente”. O que nos chama a atenção nesta obra de Shaw é o dialeto cockney e as muitas expressões que encontramos no decorrer da peça. A nossa intenção é, portanto, mostrar as soluções encontradas por Millôr ao traduzir Pygmalion. No primeiro capítulo, temos um panorama geral do gênero teatral, da tradução em si e posteriormente a história da tradução de teatro, assunto pouco explorado até hoje pelos teóricos e que nos é importante para que possamos ter uma visão geral da linha que cada um destes teóricos seguem. No segundo capítulo exploramos um pouco acerca do autor da peça, George Bernard Shaw, mostrando suas obras, sua vida e suas características principais, além de termos uma análise da peça com o objetivo de que os leitores possam entender quais são os pontos principais da obra e sua idéia central. O terceiro capítulo é o que nomeia esta dissertação, pois é onde analisamos a tradução para o português de Pygmalion, mostrando quais foram as maiores dificuldades encontradas por Millôr, chamado por nós de autor-tradutor, e as soluções apresentadas por ele para resolver o problema da... / The works by one of the most known Brazilian humorists, Millôr Fernandes, have already been explored by many researchers in general. However there is still an aspect of this author to be studied: Millôr as a translator. Our main objective in this dissertation is to analyze the work Pygmalion written by George Bernard Shaw in 1913 and translated to Portuguese by the author-translator Millôr Fernandes in 1963. The play is divided in five acts and deals with the phonetics professor, Henry Higgins, who is in charge of transforming Eliza Doolittle, a flower saleswoman who speaks cockney dialect, in a truthful lady, teaching her how to speak English properly. What draws our attention in Shaw’s work is the cockney dialect and the plenty of expressions that we can find in the play. Our main intention here is to show the difficulties and the solutions found out by Millôr during Pygmalion translation. In the first chapter we have a general panorama about the theatre genre, the translation itself and later about the history of the theatre translation, a subject that is not much explored by scholars and that is very important for us because we can have a general view of each tendency that these scholars follow. The second chapter explores a little bit about the play author, George Bernard Shaw, showing his works, his life and his main characteristics, besides having a play analysis to allow the readers a better understanding about the main points of the play and its central idea. The third chapter names this dissertation and analyses the Portuguese translation, showing the major difficulties found by Millôr, whom we call an author-translator, and the solutions he presents to the cultural... (Complete abstract click electronic access below)