A Dissertation submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Science. Johannesburg, 2016. / Plastic scintillators play a key role in reconstructing the energy and tracks of hadronic particles that impinge the Tile Calorimeter of the ATLAS detector as a result of high energy particle collisions generated by the Large Hadron Collider of CERN. In the detector, plastic scintillators are exposed to harsh radiation environments and are therefore susceptible to radiation damage. The radiation damage effects to the optical properties and structural damage were studied for PVT based commercial scintillators EJ200, EJ208, EJ260 and BC408, as well as PS based UPS923A and scintillators manufactured for the Tile Calorimeter. Samples of dimensions 5x5x0.3 mm were subjected to irradiation using 6 MeV protons to doses of approximately 0.8 MGy, 8 MGy, 25 MGy and 25 MGy using the 6 MV tandem accelerator of iThemba LABS. Results show that damage leads to a reduced light output and loss in transmission character. Structural damage to the polymer base and the formation of free radicals occur for doses ≥ 8 MGy leading to reduced scintillation in the base and re-absorption of scintillation light respectively. Scintillators containing a larger Stokes shift, i.e. EJ260 and EJ208 exhibit the most radiation hardness. EJ208 is recommended as a candidate to be considered for the replacement of Gap scintillators in the TileCal for the 2018 upgrade. / LG2017

A dissertation submitted to the Faulty of Science, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Science. April 2017. / Plastic scintillators, situated in the Tile Calorimeter (TileCal) of the ATLAS detector at the Large Hadron Collider (LHC), play an integral part in the detection of diffractive, energetic hadronic particles that result from high energy proton-proton collisions. As these particles traversetheplastic, theresultantdecayofthepolymerbaseemitsluminescentlightwhichacts as a signature of this interaction. However, the deleterious radiation environment in which the plastics are situated ultimately degrade the plastic through the formation of free radicals which initiate chemical reactions and alter the structure of the plastic. Radical formation was studied using electron paramagnetic resonance (EPR) spectroscopy in six plastic scintillator types of either polystyrene (PS) or polyvinyl toluene (PVT) base, and computational EPR studies were conducted on two small monomer structures and two large polymer, plastic-like computer models. Damage was simulated in the computational models by removing an increasing number of hydrogen atoms. Plastic samples, of volume 500 ⇥500 ⇥ 250 µm, were to subjected protons accelerated to 6 MeV using the tandem accelerator at iThemba LABS, Gauteng, to increasing target doses of 0.8 MGy, 2.5 MGy, 8.0 MGy, 25 MGy, 50 MGy, and 80 MGy. The experimental EPR data taken after two weeks of the sample exposure to air indicate the presence of peroxy-type radicals that initiate chemical reactions, discolour the plastic, and decrease the efficiency of the plastic. Furthermore, the data suggests that damaged PS and PVT samples are susceptible to different mechanisms of radiation damage. However, results pertaining to the decrease in the g-factor and the increase in normalised EPR intensity suggest that all plastics behave similarly using an EPR analysis as a function of dose. Thus, the EPR analysis could not identify a specific plastic that would perform better than the existing plastics used in the TileCal. The computational chemical potential results indicate that electron transfer between damaged pristine and damaged models is possible. In the two small damaged models, the computational EPR data indicate the presence of a various stable akyl-like radicals depending on the site from which the hydrogen atoms are removed. In the two large damaged models, these results indicate a number of alkyl-, benzyl-, and cyclohexadienyl-like radicals. / LG2017

REDOSCHI, M.E. O autor \"florentino\" da literatura suíça em língua italiana: Francesco Chiesa. 2008. 90 pag. Dissertação (mestrado) - Faculdade de Filosofia Letras e Ciências Humanas, Universidade de São Paulo, São Paulo, 2008. A Suíça é um país situado no centro da Europa ocidental e conta com quatro idiomas oficiais: o alemão, o francês, o italiano e o romanche. A Confederação Helvética possui vinte e seis unidades administrativas, denominadas Cantões, formados ao longo da história, que contam com um alto grau de autonomia. O idioma de Dante está presente como língua materna de boa parte da população do Cantão de Ticino e de quatro vales alpinos no vizinho Cantão Grisões, onde divide espaço com o alemão e o romanche. É apresentado o contexto formativo do italiano falado na região, que se padronizou em torno da norma toscana a partir do Séc XVI, graças à qualidade das escolas mantidas por religiosos como São Carlos Borromeo. Eram utilizadas as gramáticas e métodos mais modernos disponíveis na época. Nesta encruzilhada de civilizações, de área habitada equivalente à cidade de São Paulo e ABCD, surgiu Francesco Chiesa. Foi o primeiro escritor suíço a efetivamente a desbravar o árduo mercado editorial italiano, colocando assim o nome de sua região definitivamente nos manuais de língua e literatura. À sua numerosa produção em poesia e prosa, soma-se a longeva biografia (1871-1973). Destacam-se suas atividades como professor de língua, historia da arte, jornalista e defensor do patrimônio artístico e cultural de origem lombarda de sua terra. Em 1925 seria publicado Tempo di marzo, que se tornaria sua obra mais conhecida no exterior. Um retrato da sociedade agrária do Ticino do início do novecentos, o romance é uma transposição lírica da realidade histórica da região. À medida que o garoto Nino transcorre o final de sua infância, passamos a conhecer melhor a geografia, usos e costumes do Ticino de antigamente. Por sua escrita límpida, fluída, quase \"manzoniana\" o romance foi discutido e ensinado nas escolas do norte da Itália, como exemplo de redação em italiano padrão. Completado em 1943, Io e i miei, é uma obra \'moderna\', dentro da estética Chiesiana. Lançado em pleno período da guerra, fatores logísticos impediram que o livro tivesse a merecida repercussão. Uma espécie de híbrido de conto e romance, lá são narrados os conflitos internos de uma família de viúvos recasados, da filha Serafina e do filho Manlio. São evidenciados sobretudo os dramas do pai. Um pessimismo e uma resignação lânguida, em contraste à jovialidade e alegria de Tempo di marzo, permeiam a narrativa. O registro melancólico dos vilarejos em decadência é comparado à extratos de Il fondo del sacco, escrito pelo romancista grisonês de temática realista Plinio Martini, cerca de trinta anos mais tarde. Francesco Chiesa foi o primeiro e o mais \"florentino\" dos escritores suíços de expressão italiana. / ABSTRACT REDOSCHI, M.E. The \"florentine\" author of Switzerland\'s literature in italian: Francesco Chiesa. 2008. 90 pag. Master\'s Thesis - Faculty of Filosofy, Letters and Human Sciences (FFLCH), Universidade de São Paulo, São Paulo, 2008. Switzerland is a country located at the center of western Europe with four official languages: German, French, Italian and Romansch. The Helvetian Confederation has twenty-six highly autonomous administrative units, called Cantons, formed throughout history. Dante\'s language is present as the mother tongue of the bulk of Canton Ticino\'s population as well in four alpine valleys on the nearby Canton Grisons. There it shares space with Swiss-German and Romansch. The background for the formation of the Italian spoken in the region, which had standardized around tuscan rules from the sixteenth century - thanks to the quality of schools maintained by clerics such as Saint Charles Borromeo - is presented. The most modern grammars and teaching methods available at the time were used. At this crossroads of civilizations, with an inhabited area equivalent to the city of São Paulo and a few nearby suburbs, appeared Francesco Chiesa. He was the first Swiss author to effectively brave the italian book market, thus inscribing his region\'s name forever on the Italian language and literature textbooks. Added to his prolific production in prose and verse, is his longevous biography (1871-1973). Worthy of note are his activities as professor of italian, art history, journalist and supporter of his land\'s lombardic cultural and artistic heritage. In 1925 would be published Tempo di marzo, which would become his best known work abroad. A portrait of agrarian Ticino society at the early nineteen-hundreds, the romance is a lyric transposition of the region\'s historical realities. As the boy Nino moves toward the end of his childhood, we get to experience the geography, customs and traditions of yesteryear Ticino. By virtue of his clear, fluid, almost \"manzonian\" writing, the novel was discussed and taught at Northern Italy schools. It was used as a model in italian composition classes. Finished in 1943, Io e i miei, is a \'modern\' work, within Chiesa\'s style. Released right in the middle of wartime, logistical factors prevented the book from having a much deserved accolade. A sort of hybrid between a short story and a novel, it narrates the internal conflicts of a family of remarried widowers, the daughter Serafina and the son Manlio. In evidence are the father\'s issues. A pessimistic tone, of quiet languishing and resignation, in contrast to the youthfulness and joy of Tempo di marzo strides the narrative. The melancholic account of deserted, decadent villages is compared to extracts of Il fondo del sacco, written third years later by the Grison native Plinio Martini, which had embraced realism themes. Francesco Chiesa was the first and most \"Florentine\" of Italian speaking Swiss authors.

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This thesis focuses on the negotiation of power and identity between Swiss students and instructors in the Swiss classroom. Although Schriftdeutsch1 is the official language of secondary schools in Switzerland, speakers often practice code-switching, which serves many conversational functions (Auer 1998). This paper examines how Germans-peaking Swiss use code-switching strategies to negotiate power and identity in the classroom. My data is drawn from interactions in the classroom and a short interview. Using a constructivist methodology based on conversation analysis (Antaki & Widdicombe 1998; Meinhof & Galasinski 2005; Pavlenko & Blackledge 2004), I analyse classroom discussion in terms of the discourse functions of code-switching and how Swiss German is used to negotiate power and identity in interaction. This thesis reveals an unmarked classroom situation and shows that codeswitching fulfills important functions in classroom discourse. / Applied Linguistics

En même temps: Diss. phil.-hist. Bern, 2001. / Index. Bibliogr.

The purpose of this thesis is to destabilize notions that representations of ‘Indians’ as they appear in contemporary Switzerland, Germany, and France are benign. Rather, Europeans in this region rely on ‘playing Indian’ and consuming Indianness to understand themselves as white modern subjects. I demonstrate how this operates through two case studies and argue that colonialism persists through symbolic dialectical processes between North America and Western Europe. Colonial discourse, and regimes of representation, concerning Indianness circulate across geographical locations. I link these symbolic representations to ongoing material struggles of Indigenous peoples for self-determination and land rights. Switzerland’s foreign investments and free trade with Canada for natural resources on unceded Indigenous territories implicates them in a neoliberal colonial paradigm that continues to dispossess peoples of their land. I turn to Indigenous artists and international solidarity networking as potential strategies that address both symbolic and material processes of colonization.

The purpose of this thesis is to destabilize notions that representations of ‘Indians’ as they appear in contemporary Switzerland, Germany, and France are benign. Rather, Europeans in this region rely on ‘playing Indian’ and consuming Indianness to understand themselves as white modern subjects. I demonstrate how this operates through two case studies and argue that colonialism persists through symbolic dialectical processes between North America and Western Europe. Colonial discourse, and regimes of representation, concerning Indianness circulate across geographical locations. I link these symbolic representations to ongoing material struggles of Indigenous peoples for self-determination and land rights. Switzerland’s foreign investments and free trade with Canada for natural resources on unceded Indigenous territories implicates them in a neoliberal colonial paradigm that continues to dispossess peoples of their land. I turn to Indigenous artists and international solidarity networking as potential strategies that address both symbolic and material processes of colonization.