Este trabalho apresenta um estudo sobre interjeições em viés funcionalista através de uma análise comparativa dos usos linguísticos de expressões de assombro e de estranheza do português paulistano em relação ao português macaense. A decisão teórico-metodológica ampara-se na Linguística Centrada no Uso, na linha cognitivo-funcional, estudada por meio das obras de Heine, Claudi e Hünnemeyer (1991), Tomasello (2003), Gonçalves, Lima-Hernandes e Casseb-Galvão (2007), Givón (2009), dentre outros autores. Este campo teórico tem como âmago a preocupação em lidar com dados que preservem os contextos de produção de uso. Distinguir entre expressões de assombro e de estranheza não é uma tarefa fácil nem em dicionários e nem em gramáticas. É até mesmo impossível, atualmente, afirmar com certeza tal distinção pela ausência de investigação mais a fundo da pragmática e dos processamentos mentais envolvidos em conjunto com as produções linguísticas. O objetivo geral do estudo é o de introduzir uma nova pesquisa sobre interjeições ao verificar se existem diferenças nos usos de expressões interjetivas entre as duas variedades investigadas, indagando a questão da marginalidade dessa classe de palavras entre gramáticos e linguistas. Os dados para a investigação partiram de dois materiais. O primeiro corpus é constituído por registros audiovisuais oriundos de filmes paulistanos coletados por Guerra (2011) e de inquéritos realizados por Lima-Hernandes et alii (2012) e Rodrigues (2013). As expressões interjetivas presentes nestes materiais são comparadas com um segundo corpus composto por usos linguísticos manifestados por macaenses, falantes de língua materna cantonesa e portuguesa, registrados em gravações de teatro, conversas informais e entrevistas em programas televisivos e de rádio da península. Interjeições são preponderantemente de ordem pragmática, pois os seus significados derivam quase que exclusivamente da entonação do falante e do contexto em que se inserem. Apesar da pouca atenção recebida por gramáticos e linguistas, são estratégias comunicativas utilizadas fartamente em nosso cotidiano e, portanto, representam uma rica fonte de investigação. / This research presents a study on interjections in a functionalist perspective through a comparative analysis on language usages of astonishment and strangenesss expressions in Paulistano and Macanese Portuguese. The theoretical basis and methodological decision are sustained by the Usage-based Linguistics, in a cognitive functional bias, studied in the works of Heine, Claudi and Hünnemeyer (1991), Tomasello (2003), Gonçalves, Lima-Hernandes and Casseb-Galvão (2007), Givón (2009), among other authors. This theoretical field has as its core the concern to deal only with data that preserve the contexts of usage production. Distinguish expressions between astonishment and strangeness is not an easy task in dictionaries or even in grammar books. Currently, it is even impossible to claim for sure that these expressions have a distinction because of the absence of a deeper investigation, focused on pragmatics and mental processes involved jointly with linguistic productions. The general objective of this project is to introduce a new research on interjections, verifying if there are differences in usages of these expressions between the two language varieties investigated and to inquire about the marginalization of this word class by grammarians and linguists. Data utilized for investigation are originated from two materials. The first corpus is composed by audiovisual records derived of Paulistano movies compiled by Guerra (2011) and interviews made by Lima-Hernandes et alii (2012) and Rodrigues (2013). The interjective expressions observed will be compared with a second corpus composed by linguistic usages of Portuguese displayed by Macanese, speakers of Cantonese and Portuguese as mother languages, recorded in theater presentations, informal dialogues and interviews realized by TV and radio programs. Interjections have the pragmatic order as a predominant characteristic because their meanings derive almost exclusively from the intonation of the speaker and the context inserted. Despite of the minimal attention gave by grammarians and linguists, they are communicative strategies heavily utilized in our daily life and, consequently, are a rich source of investigation.

O objetivo deste trabalho foi incluir o méson escalar $\\kappa$ na núvem de mésons estranhos do próton e verificar se, desta forma, a contribuição de estranheza para as suas propriedades eletromagnéticas poderia ser explicada pelo modelo da núvem mesônica. Os observáveis que quantificam tal contribuição são os fatores de forma estranhos elétrico ($G_E^s$) e magnético ($G_M^s$), que têm sido objeto de grande interesse experimental nos últimos 10 anos. Usando a versão da nuvem que inclui o méson $\\kappa$, nós calculamos $G_E^s$ e $G_M^s$ em função do momento transferido dentro do intervalo 0 $\\leq Q^2 \\leq$ 1,2 GeV$^2$, de modo a abranger toda a gama de dados disponíveis no momento. Comparamos nossos resultados com os dados existentes para $G_E^s$ e $G_M^s$ e encontramos um ótimo acordo entre experimento e modelo, demonstrando que a inclusão do $\\kappa$ na núvem de mésons do próton é fundamental para que o seu conteúdo de estranheza possa ser compreendido. / The goal of this work was to include the scalar $\\kappa$ meson on the meson cloud of the proton, and then to verify if the strangeness contribution to the electromagnetic properties of the proton could be explained by the meson cloud model. The observables that quantify such a contribution are the electric ($G_E^s$) and magnetic ($G_M^s$) strange form factors, which have been subject of great experimental interest in the last 10 years. Using the version of the cloud which includes the $\\kappa$ meson, we calculated $G_E^s$ and $G_M^s$ as a function of the transferred momentum in the interval 0 $\\leq Q^2 \\leq$ 1.2 GeV$^2$, to cover the full range of available data at the time. We compared our results with existing data for $G_E^s$ and $G_M^s$ and we found a good agreement between experiment and model, showing that including $\\kappa$ on the meson cloud of the proton is crucial to understand its strangeness content.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:46:41Z No. of bitstreams: 1 Luciana Moura Barreto.pdf: 2966425 bytes, checksum: 0b98d971d7f505cb9ce14840bb743e73 (MD5) / Made available in DSpace on 2017-07-11T12:46:41Z (GMT). No. of bitstreams: 1 Luciana Moura Barreto.pdf: 2966425 bytes, checksum: 0b98d971d7f505cb9ce14840bb743e73 (MD5) Previous issue date: 2017-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main purpose of this study is to analyse the different method executions from Brecht in the cinema. This concerns more particularly on finding the strangeness effect, as proposed in Brechtian epic theatre, in the context of the following group of cinematographic achievements scripted by the playwright himself: Zeitprobleme:wie der Arbeiter wohnt (1930; How the berliner worker lives), by Slatan Dudow, Kuhle Wampe oder: Wem gehort die Welt? (1932; Kuhle Wampe or Who owns the worls?) by Slatan Dudow and Hagmen also die! (1943) by Fritz Lang. The theoretical references are from Brechtian doctrinaire along his main enshrined studies, for instance, those studies proposed by playwrights like Fredreric Ewen, Walter Benjamin, Frederic Jameson and, in Brazil, Gerd Bornheim and Fernando Peixoto. In addition to this first theoretical position about theory of cinema and works of filmic analysis, such as Eisenstein, Robert Stam, Jacques Aumont, Laurente Jullier, Michel Marie, Michèle Lagny and, in Brazil, Ismail Xavier. It will be considered theatrical elements which are part of the studied filmography as well as text, music, players acting, scenario, clothing, camera angle and installation, trying to highlight the existence of Brechtian methodology in these film productions / Esta pesquisa tem como principal objetivo analisar as diferentes execuções do método de Brecht no cinema. Trata-se mais especificamente de reencontrar o efeito do estranhamento, tal como foi proposto no teatro épico brechtiano, no âmbito do seguinte conjunto de realizações cinematográficas roteirizadas pelo próprio dramaturgo: Zeitprobleme:wie der Arbeiter wohnt (1930; Como vive o trabalhador berlinense), de Slatan Dudow, Kuhle Wampe oder: Wem gehort die Welt? (1932; Kuhle Wampe ou A quem pertence o mundo?) de Slatan Dudow e Hagmen also die! (1943; Os carrascos também morrem!) de Fritz Lang. Os referenciais teóricos contemplados vão dos textos doutrinários brechtianos aos principais estudos que lhes foram consagrados, a exemplo daqueles propostos por autores como Fredreric Ewen, Walter Benjamin, Frederic Jameson e, no Brasil, Gerd Bornheim e Fernando Peixoto. Acrescentam-se a esta primeira frente teórica trabalhos sobre teoria do cinema e obras de análise fílmica, a exemplo daqueles propostos por Eisenstein, Robert Stam, Jacques Aumont, Laurente Jullier, Michel Marie, Michèle Lagny e, no Brasil, Ismail Xavier. Serão analisados elementos cênicos que compõem a filmografia pesquisada, a saber: texto, música, atuação dos atores, cenário, indumentária, ângulo de câmera e montagem, que tentem evidenciar a existência do método brechtiano nessas produções cinematográficas

Cette thèse a pour objectif d’interroger l’expérience d’Alain Robbe-Grillet. Il s’agit de mettre en relief le monde imaginaire du Nouveau Romancier, principalement les différents rapports qui se tissent entre la littérature et la perception. La façon dont ce que ressent l’écrivain intègre l’imaginaire littéraire est au centre de cette recherche. Les rapports de l’écrivain au monde, sollicitent différents registres sensitifs. Ses personnages manifestent sans cesse des perceptions visuelles, auditives, gustatives, olfactives et tactiles, qui alimentent leur imaginaire et mettent au devant de la scène ce qu’ils éprouvent. Mais chaque réalité, aussi familière soit-elle, est vécue et ressentie de manière étrange. L’étrangeté est au coeur des réalités, des motifs spatiaux, temporels et plus largement culturels, à la fois identifiables et méconnaissables. Dominée par de multiples métamorphoses perceptives, l’écriture n’échappe pas à l’ambigüité qui finit par devenir la norme. À vrai dire, telle est la condition de l’être. Le romancier exploite aussi la création littéraire pour dire la singularité du personnage. Les animaux sont objets d’expériences vécues et traduisent la subversion de l’être sous des formes diverses. De ce fait, le personnage est confiné dans l’isolement, où il vit sa liberté et considère comme vérité ce qu’il ressent. Ses vêtements, son corps, son nom… fragilisent l’identité et érotisent une écriture sous l’emprise de la subjectivité. / This thesis questions Alain Robbe-Grillet’s concept of experience. The idea is to underline the imaginary world of the Nouveau Romancier, mainly the different relationships that are developing between literature and perception. The way sensation embeds literary imagination is central to this research. The writer’s perceptions of the world calls for several sensory dimensions. Robbe-Grillet’s characters are always experiencing visual, auditory, gustatory, olfactory and tactile perceptions, which feed their imagination and emphasis what they feel. But each reality, as familiar as it can be, is lived and felt in a strange way. Strangeness is at the centre of realities, spatial and temporal motives and more widely cultural motives, which are identifying and unrecognizing at the same time. As it is overcome by several perceptual metamorphoses, writing itself cannot escape its ambiguity, which’s becoming its norm. So is the condition of the being. The writer also exploits literary creation to depict the singularity of characters. Animals are objects of lived experiences and represent the subversion of the being through different shapes. Consequently, the character is confined to isolation, where he experiences his freedom and considers what he feels as the truth. His clothes, his body, his name weaken his identity and eroticise the writing due under influence of subjectivity.

Charmed hadron production has been studied in 225 pb^-1 of data collected with the ZEUS detector in the HERA-II runnning period. Studies were made in the D* → D⁰π → Kππ decay channel to determine the potential for the microvertex detector to improve charm signals. Integrated cross sections were measured for the decays D⁰ → K⁰_sπ⁺ π⁻, D^± → K⁰_s π^±, D^±_s → K⁰s K^± and Lambda^±_c → Lambda⁰π^± in the kinematic region 5< Q² < 1000 GeV², 0.02 < y < 0.7, 1.5 < pT(D,Lambda_c) < 20.0 GeV, -1.6 < pseudorapidity(D, Lambda_c) < 1.6. The D⁰ cross section was additionally measured down to pT(D⁰) > 1.0 GeV. Differential cross sections as a function of Q², x, pT(D) and pseudorapidity(D) were measured for the D⁰, D^±, and D_s^± channels. The measurements were compared to next-to-leading order (NLO) QCD calculations, and good agreement found for all variables in all channels over the measured kinematic region. The strangeness-suppression factor, gamma_s = D_s^±/(D^± + D⁰), was measured and found to be in good agreement with values previously measured at HERA and elsewhere, and with the DJANGOH and RAPGAP Monte Carlo. The ratio of charmed baryons to mesons, Lambda_c^±/(D^± + D⁰), was measured and also found to be in good agreement with Monte Carlo.

The prospects of studying multi-strange and charmed antihyperon-hyperon physics and CP violation in hyperon decays in the upcoming PANDA experiment at FAIR, Germany, have been studied in this thesis. The angular dependence on polarisation parameters in the decay of the spin 3/2 Omega hyperon was calculated using the density matrix formalism. Expressions for the angular distributions in the Ω -&gt; ΛK and the subsequent Λ -&gt; pπ decays were derived. Simulations were performed for the pbar p -&gt; Ξ+ Ξ-, pbar p -&gt; Ω+Ω- and pbar p -&gt; Λc-Λc+ reactions. Special attention was given to the reconstruction of spin variables. It is shown that PANDA will register tens of events per second for the pbar p -&gt; Ξ+Ξ- reaction. This should be compared to the previously existing data of a handfull of events. For the other two reactions the event rates will be lower, but still reasonably high. This will be the first measurements of these reactions. It is shown that spin variables can be reconstructed in all three reactions for all production angles of the hyperons. Simulations concerning the possibility to measure CP violation parameters in hyperon decays were also made for the reactions pbar p- &gt; Λbar Λ and pbar p -&gt; Ξ+Ξ-. It was found that false signals from detector asymmetries disappears if no particle identification criterium is used and the analysis is restricted to events were the hyperon decays occur close to the beam axis. The effect of the magnetic field in the PANDA detector on the measurement of hyperon spin variables was investigated for the case of pbar p -&gt; Λbar Λ. The effect was observed to be small for polarisation and negligible for spin correlations.

A presente dissertação desenvolvida na área de poéticas visuais, linha de pesquisa em “contextos e processos de criação, inserção e documentação”, centra-se sobre o processo criativo de ações artísticas realizadas em âmbito urbano e inseridas no contexto cotidiano. Visando a prática de trabalhos próprios, este estudo se desenvolve a partir de ações realizadas no período de 2009-2011, nas cidades de Porto Alegre/ Brasil e Valência/Espanha. Esta produção é aqui analisada recorrendo a referenciais teóricos e práticos do campo da arte, problematizando cada proposição por variados conceitos. / The current dissertation developed in the area of visual poetics, line of research on “contexts and processes of creation, insertion and documentation”, focuses on the creative process of artistic actions undertaken in the urban context and inserted into everyday life. Aiming on practice of own works, this study develops from actions taken during the period of 2009-2011, at the cities of Porto Alegre/Brazil and Valencia/ Spain. This production is also analyzed using theoretical and practical references of the field of art, questioning each proposition on several concepts.

A presente dissertação desenvolvida na área de poéticas visuais, linha de pesquisa em “contextos e processos de criação, inserção e documentação”, centra-se sobre o processo criativo de ações artísticas realizadas em âmbito urbano e inseridas no contexto cotidiano. Visando a prática de trabalhos próprios, este estudo se desenvolve a partir de ações realizadas no período de 2009-2011, nas cidades de Porto Alegre/ Brasil e Valência/Espanha. Esta produção é aqui analisada recorrendo a referenciais teóricos e práticos do campo da arte, problematizando cada proposição por variados conceitos. / The current dissertation developed in the area of visual poetics, line of research on “contexts and processes of creation, insertion and documentation”, focuses on the creative process of artistic actions undertaken in the urban context and inserted into everyday life. Aiming on practice of own works, this study develops from actions taken during the period of 2009-2011, at the cities of Porto Alegre/Brazil and Valencia/ Spain. This production is also analyzed using theoretical and practical references of the field of art, questioning each proposition on several concepts.

Made available in DSpace on 2015-05-14T12:11:59Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 723774 bytes, checksum: b7faf3aab257b281988f8f619b4d8aab (MD5) Previous issue date: 2010-04-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study aims to understand the conceptual web that permeates the notion of labor by Marx in the Economic and Philosophical Manuscripts. We relate the notion of labor, as productive human activity, to three other concepts: human essence, strangeness and freedom. In the relationship between labor and human essence labor shall be viewed, generally, as the activity of the metabolism between man and nature, and in that sense it is the peculiar brand of men to the animal kingdom, because only they have the ability to create their own world according to their will. The relationship between labor and strangeness intends to show particular forms of labor in what private property prevails, especially to describe the modern conditions of life. The last part inserts a problem to healthy understanding of Marx's thought, is also the labor that creates possibilities of human emancipation, thus relating directly to the concept of freedom, seen as an overcoming of estrangement and, at the same time, the realization of the human essence. The three concepts are therefore complementary and indispensable to understanding the meaning of human history in Marx. / Este estudo tem o objetivo de compreender a teia conceitual que permeia a noção de trabalho apresentada por Marx nos Manuscritos Econômico-filosóficos. Relacionamos a noção de trabalho enquanto atividade produtiva humana a três outros conceitos: essência humana; estranhamento e liberdade. Na relação entre trabalho e essência humana o trabalho deve ser visto de maneira geral, como a atividade de metabolismo entre o homem e a natureza, e nesse sentido ele é a marca peculiar dos homens perante o reino animal, pois somente eles possuem a capacidade de criar o seu próprio mundo de acordo com sua vontade. A relação entre trabalho e estranhamento serve para expor formas particulares de trabalho em que impera a propriedade privada, sobretudo para descrever as modernas condições de vida. A última relação insere um problema salutar à compreensão do pensamento de Marx, é também o trabalho que cria as possibilidades de emancipação humana, relacionando-se assim diretamente ao conceito de liberdade, vista como uma superação do estranhamento e ao mesmo tempo a realização da essência humana. Os três conceitos são, portanto, complementares e indispensáveis para o entendimento do sentido da história humana em Marx.

L’esthétique du vide en photographie est aussi ancienne que le médium lui-même. Son origine remonte aux premiers balbutiements de la technique qui, visant à obtenir une représentation exacte de la nature, s’est retrouvé confrontée aux forces résistives du réel. À l’insu de tous, cette esthétique émergea d’une tension entre le geste de l’inventeur, du créateur, qui souhaite accomplir son projet – forcer la “nature” à son dessein – et le réel qui résiste et entrave les tentatives. Toute la photographie “primitive” est marquée plastiquement par ce tiraillement entre des forces antagonistes. L’illusion, tant souhaitée, d’une représentation fidèle se déroba, laissant à la postérité la beauté de ces images sans pareille, ouvrant l’espace aux possibles. Les zones obscures, troubles et vides ont participé activement à doter ces photographies d’une aura, plongeant les spectateurs dans des contemplations et des rêveries sans fin. La phénoménalité du monde a marqué de son sceau l’esthétique photographique, transformant paradoxalement les projets technicistes, épris de précision, en aventures plastiques singulières et étranges. Ce grand écart entre désir d’appréhension et résistance du réel a produit des effets, des traces tangibles de l’étrangeté même du monde. La maturité du médium et de ses acteurs aidant, il n’y a eu, ensuite, qu’un pas à franchir pour que coïncident ces traces et les questionnements philosophiques qui en résultent. Le vide, élément majeur de cette esthétique, fut repris à bon escient comme stratégie au service du sentiment du sublime. Pour mettre en scène ces problématiques, nous convoquons l’histoire du médium photographique et, avec elle, ses plus illustres acteurs. Cela nous servira de fil d’Ariane pour parcourir les deux siècles qui nous séparent de l’invention de la photographie et voir comment, au cours de l’histoire de ce médium, des photographes ont réactivé cette esthétique. Cette thèse se propose, à travers de riches analyses historiques, techniques et théoriques, d’évaluer les résonances de l’esthétique du vide en photographie, qui consiste à vider l’espace représentatif plutôt qu’à le remplir. Par des études de cas, pratique raisonnée de prises de vue à l’appui, nous tenterons aussi de démontrer comment la photographie est devenue, au fil du temps, un médium privilégié de contemplation, d’observation, d’examen critique des espaces laissés vacants au sein du tissu urbain et comment la dialectique entre lieux réels et représentations photographiques permet, en retour, une réflexion sur les enjeux paysagers de nos espaces urbains. / The aesthetic of emptiness in photography is as old as the medium itself. Its origin goes back to the early days of the technique, which, aimed at obtaining an exact representation of nature, was confronted with the resistive forces of reality. Unbeknownst to all, this aesthetic emerged from a tension between the act of the inventor, the creator, who wishes to accomplish his project - to force "nature" to his design - and the real that resists and hinders attempts. All "primitive" photography is plastically marked by this tension between antagonistic forces. The illusion, so much desired, of a faithful representation fainted, leaving to posterity the beauty of these unique images, opening space to possibilities. The dark, troubled and empty areas actively participated in endowing these photographs with an aura, plunging viewers into contemplations and endless reveries. The phenomenality of the world has marked with his seal the photographic aesthetics, paradoxically transforming technicist projects, loving precision, in singular and strange plastic adventures. This great gap between the desire for apprehension and the resistance of reality has produced effects, tangible traces of strangeness of the world. The maturity of the medium and its actors helping, there was, then, only a step to cross to coincide these traces and philosophical questions that result. The emptiness, a major element of this aesthetic, was appropriately used as a strategy in the service of the feeling of the sublime.To stage these issues, we convene together the history of the photographic medium and most famous actors. This will serve as a clue to glance to the two centuries that separate us from the invention of photography and see how, in the history of the medium, photographers have reactivated this aesthetic. This thesis proposes, through rich historical, technical and theoretical analyzes, to evaluate the resonances of the vacuum aesthetic in photography, which consists in emptying the representative space rather than filling it. Through case studies, reasoned practice of shooting in support, we will also try to demonstrate how photography has become, over time, a privileged medium of contemplation, observation, critical examination of spaces left vacant within the urban fabric and how the dialectic between real places and photographic representations allows, in return, a reflection on the landscape issues of our urban spaces.