abstract: There has been debate and uncertainty on two important issues in the Basin of Mexico: the formation of Epiclassic city-states following Teotihuacan state collapse (ca. A.D. 650), and the nature of the subsequent Early Postclassic Tula state expansion. I evaluate the Basin as a case of regeneration of socio-political complexity using stylistic and compositional pottery analysis to examine patterns of interaction from the Epiclassic (ca. A.D. 600/650-850) through the Early Postclassic (ca. A.D. 850-1150). I selected representative specimens of temporally diagnostic pottery from the three large settlement clusters in the northwestern Basin (Tula and the Zumpango region), the northeastern Basin (Teotihuacan Valley), and the southeastern Basin (Cerro Portezuelo, the Ixtapalapa and Chalco regions) to assess: 1) participation in regional cultural complexes, 2) direct exchange or local production of particular pottery types, 3) regional variation in the production of pottery. For certain time periods, ceramic patterns among smaller settlements clusters were distinguished. The combination of chemical and attribute analysis provided a robust method for identifying regional variation in pottery. Chemical characterization using Instrumental Neutron Activation Analysis (INAA) was used to provide fine-scaled compositional reference groups to assess regional production and exchange. Stylistic and technological attributes were used to define highly visible decorative traditions that were easily copied and low visibility production steps that were learned. Teotihuacan withdrawal from the southeastern Basin prompted reorganization and adoption of a distinctive pottery complex. Epiclassic settlement patterns throughout the Basin were reorganized into nucleated settlement clusters with unoccupied areas between them. Results indicate regional participation in the Coyotlatelco pottery tradition and a strong pattern of consumption of locally produced pottery by settlement cluster. Tula underwent significant urban growth in the Early Postclassic, while the Basin was marked by a process of "ruralization" as the Epiclassic centers dispersed and settlements filled the previously unoccupied landscape. Tula expanded its influence into the Basin with varying degrees of integration. The closest settlements in the northwestern Basin acquired the most Tula-produced pottery. The Teotihuacan Valley and Cerro Portezuelo settlements consumed mostly locally produced Tula style pottery. The southeastern settlements were least connected to Tula and initiated interactions towards Puebla-Tlaxcala. / Dissertation/Thesis / Notes authorizing use of figures. Not to be posted to public or part of publication / Ph.D. Anthropology 2011

This study explored the extent of agreement between principals and teachers relative to the teachers' style, the extent of agreement between principals and teachers relative to the most effective match between teachers and students with various characteristics, and how classroom placement decisions are made. Participants consisted of 25 principals and 61 teachers. Principals and teachers completed the Teaching Style Inventory (Grasha, 1996) as a description of the teacher's teaching style. Then, participants reviewed three vignettes of students with varying characteristics and completed a Teaching Style Inventory, to identify the style they thought appropriate for each student. An additional 5 principals and 5 teachers were interviewed to explore the class placement process used in the participants' schools. Results revealed that principals and teachers were not in agreement in their ratings of teacher style, with principals rating teachers significantly higher on the delegator style, than teachers rated themselves. Principals and teachers also did not agree with each other in their ratings of the teacher styles needed by the students. Significant differences were found in the ratings depending on who completed the measures (principal or teacher). In interviews, class placement decisions were reported to be based on students' academic and social-emotional/behavioral skills, need for supplemental support services, and parent feedback, but not teaching style, as anticipated. Teaching style, however, was considered as a part of the conceptualization of the term "match". Implications are discussed relative to the class placement process and educator evaluation systems.

Submitted by Isabela Canella Sanches (isabelacan@gmail.com) on 2018-06-29T15:50:55Z No. of bitstreams: 1 dissertação mestrado COM GRIFOS PRONTA OFICIAL.pdf: 11142356 bytes, checksum: 9e7ba990b2158c2d9f13c0a113444bdc (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-29T17:16:38Z (GMT) No. of bitstreams: 1 sanches_ic_me_arafcl.pdf: 11071808 bytes, checksum: 03e615990804c4537fe4968ff17a2059 (MD5) / Made available in DSpace on 2018-06-29T17:16:38Z (GMT). No. of bitstreams: 1 sanches_ic_me_arafcl.pdf: 11071808 bytes, checksum: 03e615990804c4537fe4968ff17a2059 (MD5) Previous issue date: 2018-04-27 / Esta proposta de pesquisa está embasada nos estudos bakhtinianos do discurso. De acordo com Bakhtin, pode-se depreender que em todo enunciado há diálogo, ou seja, todo enunciado apresenta uma relação de sentido com outro enunciado, e esse é o princípio do dialogismo. Entendemos que todo discurso é constituído considerando o discurso do outro, estabelecendo, assim, relações de sentido. Destarte, todos os enunciados são dialógicos, sendo todo discurso ocupado pelo discurso alheio. A partir disso, analisamos o aparecimento da palavra do outro nas redações do vestibular da FUVEST, mais especificamente na forma de citações. Focamos nosso estudo na observação do aparecimento de citações nas melhores redações da FUVEST nos anos de 2000, 2001, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011 e 2012. Em seguida, após o levantamento desses dados, procuramos entender de que modo foi feita a apropriação da palavra do outro, ou seja, se por meio do discurso direto ou indireto. Para isso, utilizamos os escritos do Círculo de Bakhtin concernentes ao discurso de outrem e sobre as questões de estilo. Nesse sentido, este trabalho justificou-se pela necessidade de descobrir de que maneira as citações aparecem nas melhores redações da FUVEST. Além disso, ainda pensando na constituição dialógica do sujeito, utilizamos escritos sobre a relação constitutiva entre leitura e escrita e como essa relação influi na elaboração do conteúdo citado pelo candidato. Como resultado, entendemos, a partir da análise do corpus, que grande parte das redações apresenta citação, seja de textos da coletânea oferecida pela prova, seja de textos externos à prova e que constituem a bagagem sócio-histórica e cultural do aluno. O uso de citações é mais recorrente em determinados anos do que em outros e defendemos que isso está relacionado ao tema de redação propost. Ademais, depreendemos, com base no que foi estudado, que o conteúdo citado e que é externo à prova ainda se apoia em textos representantes de um discurso reproduzido na escola. Também que o tipo de discurso mais utilizado pelos candidatos quando citam é o discurso indireto. Observamos, portanto, a relação dialógica proposta pelo Círculo de Bakhtin e entendemos que ela se faz presente quando o candidato elabora a redação durante a prova do vestibular, sendo evidenciada pelo uso da citação. / This research proposal is based on Bakhtin's discourse studies. According to Bakhtin, it can be deduced that in every statement there is dialogue, that is, every statement presents a relation of meaning to another statement, and this is the principle of dialogism. We understand that every discourse is constituted considering the discourse of the other, thus establishing relations of meaning. Thus, all statements are dialogic, and every discourse is occupied by the discourse of others. From this, we analyze the appearance of the word of the other in the writing test from FUVEST entrance exam, more specifically in the form of quotations. We focused our study on the observation of quotations in the best compositions of FUVEST in the years 2000, 2001, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, and 2012. Then, after the survey of these data, we try to understand how the appropriation of the word of the other was made, that is, whether through direct or indirect discourse. For this, we use the writings of the Circle of Bakhtin concerning the discourse of others and about questions of style. In this sense, this work is justified by the need to find out how quotations appear in the best writings tests from FUVEST. In addition, still concerning the individual’s dialogic constitution, we used works about the constitutive relationship between reading and writing and how this relationship influences the elaboration of the content quoted by the candidate. As a result, we understand, from the analysis of the corpus, that most of the writings present a quotation, either from the texts of the collection of texts offered by the exam, or from texts external to the exam that constitute the student’s socio-historical and cultural background. The use of quotations is more used in certain years than in others, and we defend that this is related to the proposed writing theme, since some are more concrete, some more abstract, opening different possibilities to the candidate. In addition, we conclude, based on what has been studied, that the quoted content which is external to the exam is still based on texts representing the literary and cultural canon. Also, the type of discourse most used by the candidates when citing is indirect discourse. We thus observe the dialogical relationship proposed by the Bakhtin Circle and we understand that it is present when the candidate elaborates the essay during the vestibular test, being evidenced by the use of the quotation

The aim of my diploma thesis called "Language and Style of Hana Bělohradská" is the linguistic analysis of Hana Bělohradská's works. I will focus mainly on her early works, ie the books which were published especially in the 60's of the 20th century. I will try to compare these texts to the works that were published in the 90's. The thesis will be devided into the theoretical and the practical part. The theoretical part will outline the author's life and the poetics of her works. Then I will briefly define the functional style of her literature. In the practical part I will focus on the analysis of the given works in terms of different language levels. These are the phonetic, morphological, lexical and syntactic levels. For greater transparency, the given phenomena will be explained on the specific parts from the texts examined. In conclusion, I will try to point at the development of language and style in Bělohradská's works.

The theme of this dissertation Anna Sedlmayer's Language and Style is the language and stylistic analysis of some of her chosen works. I tried to cover all her work, so I compare her individual works that were published in the 40th, 60th and 90th years of the 20th century. The dissertation contains the theoretical and practical part. I dedicate the author's life and a short presentation of her works in the theoretical part. The theoretical findings about the functional style of the art literature follow. I focus on the analysis of the individual texts from the view of the phonetic, morphologic, syntactical and lexical linguistic level. I add some concrete examples from the chosen works for image. I tried to summarize Anna Sedlmayer's characteristics of the language and style at the end of my dissertation.

Em portas lógicas CMOS, tanto o atraso de propagação como a curva de saída estão fortemente ligados ao número de dispositivos PMOS e NMOS conectados em série nas redes de carga e descarga, respectivamente. O estilo lógico ‘standard CMOS’ é, em geral, otimizado para um dos planos, apresentando então o arranjo complementar no plano oposto. Consequentemente, o número mínimo de transistores em série não é necessariamente alcançado. Neste trabalho, apresenta-se um método para encontrar o menor número de chaves (transistores) em série necessários para se implementar portas lógicas complexas CMOS. Um novo estilo lógico CMOS, derivado de tal método, é então proposto e comparado ao estilo CMOS convencional através do uso de uma ferramenta de caracterização comercial. A caracterização elétrica de conjuntos de funções de 3 a 6 entradas foi realizada para avaliar o novo método, apresentando significativos ganhos em velocidade, sem perdas em dissipação de potência ou em área. / Both the propagation delay and the output slope in CMOS gates are strongly related to the number of stacked PMOS and NMOS devices in the pull-up and pull-down networks, respectively. The standard CMOS logic style is usually optimized targeting one logic plane, presenting then the complemented topology in the other one. As a consequence, the minimum number of stacked transistors is not necessarily achieved. In this work, a method to find the lower bound of stacked switches (transistors) in CMOS complex gates is presented. A novel CMOS logic style, derived from such method, is then proposed and compared to conventional CMOS style through a commercial cell characterizer. Electrical characterization of sets of 3- to 6-input functions was done in order to evaluate the new method. Significant gains in propagation delay were obtained without penalty in power dissipation or area.

Entre le style de Gilles Deleuze et le plaisir du texte de Roland Barthes: le texte. Une écoute de mots et de choses. L'écriture surtout et tout ce qu'elle dérange: la pensée, le corps, une couleur sans lieu. Déplacer les mots, découper les énoncés: un procédé. Le double, le monstre, le Corps sans Organe, la mort, la dissipation, le sens, l'événement. Une obsession, subtil peut-être: le jaune, le jaune-événement. Répétition: le jauneinsistance, persistance. Parole, son, chose, effet. De poésie? Le texte: il parle du jaune. Mais il parle plutôt de ce que disparaît et devient transparent. Du corps immobile, de sa pénible chute et de sa disparition. Qu'est-ce qu'il y a après l'oubli? Peutêtre le jaune. Un corps bouleversé? D'un corps défait ce que reste c'est l'intensité. Le jaune intense. De l'écriture ce que reste c'est la marque. / Entre o estilo de Gilles Deleuze e o prazer do texto de Roland Barthes: o texto. Uma escuta das palavras e das coisas, a escritura em primeiro plano e tudo o que ela desestabiliza: o pensamento, o corpo, uma cor sem-lugar. Tirar as palavras de seu lugar, trabalhar com recortes de frases: um procedimento. O duplo, o monstro, o Corpo sem Órgãos, a morte, o esvaecimento, o sentido, o acontecimento. Uma obsessão, sutil talvez: o amarelo, o amarelo-acontecimento. Repetição: o amarelo insistência, persistência. Palavra, som, coisa, efeito. De poesia? O texto: fala do amarelo. Mas, antes, do que desaparece e se torna transparente. Do corpo imóvel, de sua dura queda e de seu esvair-se. O que há depois do esquecimento? Talvez o amarelo. Um corpo desarrumado? De um corpo desfeito, o que resta é o intenso. Amarelo intenso. Amar-elo. Do amar, o elo. Da escrita, a marca. Redonda-me(nte)-amarela.

A pintura de si anunciada nesta dissertação não versa sobre nenhum tipo padrão de estilo, tampouco sobre normas do bem vestir. Busca, antes, modos de escapar do já instituído para pensar esta ação que nos acompanha diariamente, como uma artesania da existência que implica múltiplos modos de viver. Por isso, toma o dandismo como disparo para pensar um modo de vida que conjugue existência com aparência numa proposta ético-estética destinada a fortificar a alma. Como alguém evita as coisas mecânicas, ao produzir seu estilo pedagógico, faz com que surja o dândi educador, trazendo consigo suas histórias para (re)criar novos estímulos. O modo de vestir como projeto educacional nos coloca a pensar sobre as forças que motivam tais pinturas: a roupa, a ação de vestir e se conduzir em meio à vida. Vida como obra de arte, sendo o si da roupa tratado com Michel Foucault e o conceito de subjetivação. Viver implica correr riscos através de uma experimentação diária que nos torna potentes e únicos, formadores de novos valores. Por isso, é também uma pedagogia em prol de novas possibilidades de vida. Essa pintura, possível de ser pensada através dos pensamentos de Gilles Deleuze e Georges Didi-Huberman, permite fabricar o conceito roupa de sensação, uma possibilidade inventiva, uma enchente de ideias, um vazio, uma fruição que percorre o corpo todo. A produção de figurinos cria forças que motivam tais pinturas. Por isso, é também um trabalho de composição entre superfícies fora de subterfúgios. Operações da moda que implicam uma toilette do pensamento feita de políticas de resistências, que se relacionam e se afetam entre si. O corpus do corpo da professora pesquisadora em moda e figurino vê no vestir uma ação para pensar o seu próprio fazer, sua didática feita de divagações, delírios, interlúdios e (inter)calações. Formas nunca plenas, que seguem inacabadas, abertas aos delírios. O que é permanente é a escrita do que se faz, procedimentos repetidos que, porém, nunca se repetem. Um pensamento descontínuo, pela escolha dos autores, pela escolha da temática, pela vida de quem escreve, pela vida que se inscreve. Tal como se aprende a caminhar, tal como dormir e acordar todos os dias, se vestir todos os dias, as ações, embora se repitam, nunca reproduzem os movimentos idênticos, pois existe aí uma vontade de mundo que muda, ao sabor dos humores, ao sabor do destino. / The painting itself announced this dissertation is not about no master formula of style, either on well-dressed standards. Search before, ways to escape the already set up to think this action, which accompanies us every day, as a craftsmanship of existence which involves multiple ways of life. So take the dandy as trigger to think about a way of life that combines existence and ethical and aesthetic appearance a proposal to fortify the soul. As someone avoids the mechanical things, to produce his pedagogical style, makes emerge the educator Dandy, bringing their stories to (re)create new push. The mode of dress as an educational project puts us to think about the forces that motivate such paintings: the clothes, the action of dress and conduct themselves in the midst of life. Life as a work of art, and the other the treated clothes with Michel Foucault and the concept of subjectivation. Living means taking risks through daily experimentation that makes us powerful and unique, forming new values, so it is also a pedagogy towards new possibilities of life. This painting, possible to be thought through the thoughts of Gilles Deleuze and Georges Didi-Huberman, allows manufacturing the clothing concept of sensation, an inventive possibility, a flood of ideas, an emptiness, an enjoyment that runs through the whole body. The production of costumes design creates forces that motivate such paintings. So it is also a work of composition between surfaces without of subterfuge. Fashion operations which imply a toilet thought, made of resistances that relate and affect each other. The teacher's body corpus researcher in fashion and costume seen in the dressing action to think your own doing, his teaching made of ramblings, delusions, interludes and interleaves. Never full recipe, which follow unfinished, open to delusions. What is permanent is the writing that is done, repeat procedures, which, however, never repeated. A discontinuous thinking, the choice of authors, the choice of the theme for the life of the writer, the life which follows. As one learns to walk, as sleep and wake up every morning, get dressed every day, the shares although it repeat never reproduce the same movements, as there a world that changes will, at the mercy of the moods, the flavor of the destination.

O objetivo deste estudo foi verificar as relações entre estilos parentais percebidos e uso de drogas por adolescentes, além de testar o poder preditivo dos estilos parentais para o consumo dessas substâncias psicoativas. Para tanto, aplicou-se um inventário sobre o uso de drogas e uma escala de estilos parentais em 649 estudantes de escolas públicas e particulares, 55% eram do sexo feminino, com média de idade de 14,9 anos (DP=1,6). Constatou-se maior frequência de usuários de drogas entre os participantes do ensino fundamental, os de escolas públicas e os com percepção de estilo parental negligente. As variáveis idade, tipo de escola, exigência e responsividade parental compuseram um modelo preditivo para o consumo de drogas. Os resultados indicaram a importância do estilo autoritativo para a prevenção e do negligente para o risco do uso de drogas. / The aim of this study was to verify the relationship between perceived parenting styles and drug use by adolescents, in addition to test the predictive power of parenting styles for the consumption of psychoactive substances. The instruments used were an inventory about the use of drugs and the Brazilian adaptation of a parenting styles scale. The participants were 649 students from public and private schools, 55% were female with a mean age of 14.9 years (SD=1.6). The results showed a higher frequency of drug users among students of elementary and public schools, and among those who presented a perception of negligent parenting style. The variables age, type of school, demandingness and responsiveness composed a predictive model for drug use. The results pointed out the importance of the authoritative style for prevention and the negligent style as a risk factor for drug use.

Whether they are gracing movie screens, tweeting about the size of their baby bump, or being photographed by the paparazzi in their swimwear accidently on purpose, celebrities compel consumers to care. Despite the pervasive consumer interest in celebrities, the fundamental process of how and when consumers develop relationships with and attachments to them is a subject that has been underexplored by marketing scholars, a discipline whose activities are often turbocharged by celebrities. In this research project, celebrities are viewed as brands in and of themselves, and accordingly, are examined through the prism of marketing's brand relationship literature. Drawing upon that literature and narrative transportation theory, a theoretical model of the celebrity brand attachment process is developed and empirically tested over the course of four online experiments. Results indicate that narratives about celebrity brands transport consumers to a place where they feel and behave as if they are in a communal-like relationship with the celebrity brand, despite their awareness of the contrary. These feelings and behaviors are lasting and manifest themselves back in the real world with increases in attachment and intention to consume more celebrity brand narratives. Furthermore, differences in the narrative type (on-stage vs. off-stage) and celebrity brand type (achieved vs. attributed) are found to impact the relationship between narratives and attachment level, while brand type and attachment style type are not found to significantly impact the narrative - attachment relationship.