Situações de mascaramento são frequentes na ficção de Clarice Lispector, se fazendo notar em muitos de seus contos, crônicas e romances. Este estudo analisa os modos como tais momentos, de revelação e disfarce, são configurados pela escritora em textos de sua produção contística, efetuando análise temático-estilística de algumas de suas narrativas. Na obra de Clarice, a presença das máscaras adquire diferentes significações, mesmo o vocábulo máscara figura com diferentes sentidos. Tomando por base os próprios escritos claricianos, foram selecionadas quatro noções de máscara que serviram de esteio para esta pesquisa: a máscara objeto, acessório parte de figurinos; a maquiagem-máscara, pintura do rosto que assume a função de disfarçar e proteger as personagens; a máscara psicossocial, os diversos papéis, modos de ser e funções que o sujeito assume ao longo da vida; e a linguagem-máscara, a própria substância do texto compreendida enquanto disfarce. O estudo do corpus selecionado indica que, para Clarice, as máscaras são imbuídas de caráter paradoxal, podendo esconder ou revelar algo sobre aquele que a veste. Em algumas situações, elas são sentidas como essenciais para o contato com o Outro, e, em outras, como impedimento para a vida livre da personagem. O processo de (des)mascaramento é retratado enquanto contínuo e constante ao longo da existência, sendo composto por dois movimentos: o vestir a máscara, que ganha ênfase nos textos referentes a personagens mais jovens (crianças e adolescentes); e o momento em que se percebe que a versão de si assumida não representa mais quem se é, instante de queda da máscara, destacado nos contos que abordam protagonistas adultas. Deve-se ressaltar, contudo, que não é possível afirmar que as personagens claricianas fiquem sem a máscara o desejo de uma vida, e de uma escrita, sem máscaras permanecendo como busca utópica. / The use of the mask is frequent in Clarice Lispector\'s fiction, being notable in many of her short stories, chronicles and novels. In this work, we shall present a study of how the moments of revelation and disguise are structured by the author in some of her short stories, through the analysis of it\'s thematic and stylistc aspects. In Lispector\'s production, the presence of the masks acquires different meanings, the very word appearing with different senses. Four notions of mask were selected from her own writings as a cornerstone for this research: the mask as an object, part of a costume, an accessory; the makeup working as a mask; the psychosocial mask; and the language understood as a disguise itself. The study of the selected corpus will indicate that the masks are constructed as a paradox in Lispector\'s works since it hides or reveals the one who wears it. In some situations they are understood as essential for living in society, and, in others, as impediments for a free, spontaneous life. The process of wearing (multiple) masks is continuous and constant during lifetime, and composed by two steps. On one hand, there is the movement of wearing the mask, step that has great emphasis in the short stories about children and teenagers. On the other hand, we can see the mask dropping as it is highlighted in the narratives about adults. However, it should be noted that it is impossible to say that Lispector\'s characters can stay without the mask the desire for a type of life and writing without any remaining mask as an utopian search.

Esta dissertação é resultado de uma pesquisa voltada à formação do artista circense e teatral na linguagem do palhaço e tem como objeto de estudo a investigação da prática pedagógica do Programa de Formação de Palhaço para Jovens dos Doutores da Alegria. Desde o século XVIII, o processo de organização dos artistas circenses passou por várias transformações e a partir das décadas de 1950 e 1960, com o surgimento das escolas de circo, a forma de transmissão de conhecimentos, até então de caráter geracional e familiar, começou a sofrer alterações. Apesar disso, a discussão envolvendo o estudo da formação na linguagem do palhaço é bastante recente. Através do método antropológico etnográfico, conhecido como observação-participante, esta dissertação documenta o processo de formação desta escola e sua trajetória desde 2004, identificando especificidades artístico-pedagógicas de processos de aprendizagem da tradição circense, assim como de uma linhagem de artistas teatrais da Europa central, que culmina na proposta metodológica da escola criada por Jacques Lecoq, na França, e o interesse do curso pelas relações entre as figuras presentes em folguedos, da cultura popular brasileira, e a linguagem do palhaço. Além disso, um dos resultados dessa investigação apresenta a relevância do papel do jogo nos processos de formação desta linguagem. / This dissertation is the result of a research investigating the formation of circus and theatrical artists in the language of clowning, and has as its object of study the investigation of the pedagogical practices of the \'Youth Clown Training Program\' by Doutores da Alegria. Since the eighteenth century, the way in which circus artists organize themselves has undergone several transformations, and since the 1950s and 1960s, with the arising of circus\' schools, the way knowledge has been transmitted, which up to this point had been of a generational and family nature, began to change. Despite this, the discussion involving the study of clowning language training is quite recent. Through the ethnographic anthropological method known as participative observation, this dissertation documents the formation process of this school and its trajectory since 2004, identifying artistic and pedagogical specificities of its learning processes of circus tradition, as well as of a lineage of Center European theatrical artists that culminates in the methodological proposal of the school created by Jacques Lecoq in France, and the course\'s interest by the relationship between folklore figures present in Brazilian´s popular culture, and the language of the clown. Moreover, one of the results of this investigation presents the relevance of the role of play in the processes of formation of this language.

A presente pesquisa pretende examinar as possibilidades estéticas e subjetivas inerentes a máscaras pós-humanas. A fim de analisar a abordagem artística da face, selecionamos algumas obras de Lygia Clark, Hyungkoo Lee, France Cadet e Sterling Crispin para estudos de caso. Estes, destacados nos capítulos um, dois, três e quatro, nos permitem analisar de forma detalhada, trabalhos que esclarecem indutivamente a dinâmica da situação investigada. Em diálogo com os estudos de caso, é conduzida pesquisa de laboratório em que a face é também elaborada como máscara artística no âmbito da produção da pesquisadora, criada a partir da confluência entre meios artesanais, de produção de massa e meios digitais, ao gerar modelos tridimensionais e sua consequente representação física por meio da fabricação digital. Agrupamos as obras de acordo com vínculos aos procedimentos artísticos de recriação, dissimulação e simulação. Determinados assuntos surgidos das análises das obras ganharam embasamento teórico por meio de tópicos conceituais que discutem aspectos estéticos e subjetivos. Para a realização do estudo, desenvolvemos pesquisa bibliográfica, estudo de caso das obras dos artistas selecionados, pesquisa em laboratório e participações em congressos e mostras ligadas à Arte Tecnológica. Os resultados subjetivos e perceptivos da manipulação da face na arte tecnológica refletem o questionamento acerca da construção de singularidades e as transformações na concepção de ser humano. Assim, intenciona-se contribuir com o meio acadêmico, a sociedade e as artes na discussão sobre as subjetividades emergentes em contexto tecnológico. / This research intends to examine the aesthetic and subjective possibilities inherent to posthuman masks. In order to analyze the artistic approach of the face, we selected some works by Lygia Clark, Hyungkoo Lee, France Cadet and Sterling Crispin for case studies. These, highlighted in chapters one, two, three and four, allow us to analyze in detail works that clarify inductively the dynamics of the situation investigated. In dialogue with the case studies a laboratory research is conducted where the face is also fabricated as an artistic mask within the scope of the researcher\'s production, created from the confluence of artisanal, mass production and digital media, generating three-dimensional models and its consequent physical representation through digital fabrication. We grouped the works in accordance with the artistic procedures of recreation, dissimulation and simulation. Certain issues arising from the analysis of the works have gained theoretical basis through conceptual topics that discuss aesthetic and subjective aspects. For the study, we developed bibliographic research, case study of the works of selected artists, laboratory research and participation in congresses and exhibitions related to Technological Art. The subjective and perceptive results of the manipulation of the face in the technological art reflect the questioning about the construction of singularities and the changes in the concept of human being. Thus, it intends to contribute to academia, society and the arts in the discussion about emerging subjectivities in technological context.

Situações de mascaramento são frequentes na ficção de Clarice Lispector, se fazendo notar em muitos de seus contos, crônicas e romances. Este estudo analisa os modos como tais momentos, de revelação e disfarce, são configurados pela escritora em textos de sua produção contística, efetuando análise temático-estilística de algumas de suas narrativas. Na obra de Clarice, a presença das máscaras adquire diferentes significações, mesmo o vocábulo máscara figura com diferentes sentidos. Tomando por base os próprios escritos claricianos, foram selecionadas quatro noções de máscara que serviram de esteio para esta pesquisa: a máscara objeto, acessório parte de figurinos; a maquiagem-máscara, pintura do rosto que assume a função de disfarçar e proteger as personagens; a máscara psicossocial, os diversos papéis, modos de ser e funções que o sujeito assume ao longo da vida; e a linguagem-máscara, a própria substância do texto compreendida enquanto disfarce. O estudo do corpus selecionado indica que, para Clarice, as máscaras são imbuídas de caráter paradoxal, podendo esconder ou revelar algo sobre aquele que a veste. Em algumas situações, elas são sentidas como essenciais para o contato com o Outro, e, em outras, como impedimento para a vida livre da personagem. O processo de (des)mascaramento é retratado enquanto contínuo e constante ao longo da existência, sendo composto por dois movimentos: o vestir a máscara, que ganha ênfase nos textos referentes a personagens mais jovens (crianças e adolescentes); e o momento em que se percebe que a versão de si assumida não representa mais quem se é, instante de queda da máscara, destacado nos contos que abordam protagonistas adultas. Deve-se ressaltar, contudo, que não é possível afirmar que as personagens claricianas fiquem sem a máscara o desejo de uma vida, e de uma escrita, sem máscaras permanecendo como busca utópica. / The use of the mask is frequent in Clarice Lispector\'s fiction, being notable in many of her short stories, chronicles and novels. In this work, we shall present a study of how the moments of revelation and disguise are structured by the author in some of her short stories, through the analysis of it\'s thematic and stylistc aspects. In Lispector\'s production, the presence of the masks acquires different meanings, the very word appearing with different senses. Four notions of mask were selected from her own writings as a cornerstone for this research: the mask as an object, part of a costume, an accessory; the makeup working as a mask; the psychosocial mask; and the language understood as a disguise itself. The study of the selected corpus will indicate that the masks are constructed as a paradox in Lispector\'s works since it hides or reveals the one who wears it. In some situations they are understood as essential for living in society, and, in others, as impediments for a free, spontaneous life. The process of wearing (multiple) masks is continuous and constant during lifetime, and composed by two steps. On one hand, there is the movement of wearing the mask, step that has great emphasis in the short stories about children and teenagers. On the other hand, we can see the mask dropping as it is highlighted in the narratives about adults. However, it should be noted that it is impossible to say that Lispector\'s characters can stay without the mask the desire for a type of life and writing without any remaining mask as an utopian search.

Esta dissertação é resultado de uma pesquisa voltada à formação do artista circense e teatral na linguagem do palhaço e tem como objeto de estudo a investigação da prática pedagógica do Programa de Formação de Palhaço para Jovens dos Doutores da Alegria. Desde o século XVIII, o processo de organização dos artistas circenses passou por várias transformações e a partir das décadas de 1950 e 1960, com o surgimento das escolas de circo, a forma de transmissão de conhecimentos, até então de caráter geracional e familiar, começou a sofrer alterações. Apesar disso, a discussão envolvendo o estudo da formação na linguagem do palhaço é bastante recente. Através do método antropológico etnográfico, conhecido como observação-participante, esta dissertação documenta o processo de formação desta escola e sua trajetória desde 2004, identificando especificidades artístico-pedagógicas de processos de aprendizagem da tradição circense, assim como de uma linhagem de artistas teatrais da Europa central, que culmina na proposta metodológica da escola criada por Jacques Lecoq, na França, e o interesse do curso pelas relações entre as figuras presentes em folguedos, da cultura popular brasileira, e a linguagem do palhaço. Além disso, um dos resultados dessa investigação apresenta a relevância do papel do jogo nos processos de formação desta linguagem. / This dissertation is the result of a research investigating the formation of circus and theatrical artists in the language of clowning, and has as its object of study the investigation of the pedagogical practices of the \'Youth Clown Training Program\' by Doutores da Alegria. Since the eighteenth century, the way in which circus artists organize themselves has undergone several transformations, and since the 1950s and 1960s, with the arising of circus\' schools, the way knowledge has been transmitted, which up to this point had been of a generational and family nature, began to change. Despite this, the discussion involving the study of clowning language training is quite recent. Through the ethnographic anthropological method known as participative observation, this dissertation documents the formation process of this school and its trajectory since 2004, identifying artistic and pedagogical specificities of its learning processes of circus tradition, as well as of a lineage of Center European theatrical artists that culminates in the methodological proposal of the school created by Jacques Lecoq in France, and the course\'s interest by the relationship between folklore figures present in Brazilian´s popular culture, and the language of the clown. Moreover, one of the results of this investigation presents the relevance of the role of play in the processes of formation of this language.

Som operationssjuksköterskor med lång erfarenhet av operationssjukvård har diskussioner kring munskyddets vara eller icke vara funnits, huruvida munskyddet verkligen skyddar patienten mot postoperativ infektion, eller varför munskydd egentligen behövs. I rollen som operationssjuksköterska ingår ett ansvar för patientens säkerhet, däribland ingår att se till att hygienrutiner följs.Om en patient får en postoperativ infektion orsakar det ett extra stort lidande för patienten, vilket även kan innebära att vårdtiden blir längre. Om operationssjuksköterskor kan undvika detta lidande för patienten genom att använda och hantera skyddsutrustningen i form av munskydd på rätt sätt uppnås ett av målen på operationssalen. Problemformuleringen är: på vilka vetenskapliga grunder rekommenderas användandet av munskydd? Syftet med studien är att beskriva på vilka grunder munskydd bör användas på operation.Metoden är litteraturstudie som är en litteraturöversikt. För att kunna besvara det formulerade problemet används resumé review, sammanfattande översikt, där 9 artiklar sammanställdes, som alla belyste munskyddets betydelse på operation.Resultatet visar att personal inte behöver munskydd för att förhindra en postoperativ infektion inom allmänkirurgi när den utförs i lokaler som följer dagens standard. Men i kirurgi, där implantat opereras in, är forskningen ringa i miljöer där patienter deltagit och det saknas därför evidens om munskydd skyddar eller inte mot postoperativ infektion. Det framkommer att munskydd kan fungera som stänkskydd mot smittor för personalen på operationssalen, överförda av stänk och via luften. Skäl till att inte använda munskydd kan vara ekonomiska, det vill säga i kostnadsbesparande syfte.Nyckelord: Masks*, surgical mask*, surgical wound infection* / Program: Fristående kurs

Les questions sur l’existence de l’écriture en Afrique ont toujours intéressé les milieux intellectuels, entre ceux qui pensent que l’écriture sur le continent est un phénomène nouveau, issu de la colonisation et ceux qui le remettent en question. La présente thèse se propose d’analyser la présence de l’écriture dans la société traditionnelle fang et démontrer que toute société a cette volonté d’inscription du sens afin de perpétuer la mémoire collective (rites, croyances et organisation sociale). C’est à travers le masque que cette problématique sera étudiée : le masque comme ce qui permet de lire cette « pensée de l’écriture ». Le second temps de ce travail, abordera le masque dans la littérature, à ses différents niveaux d’appréhension (masque culturel et masque social) sans les considérer comme hétérogènes mais pour en souligner la complémentarité. Puis, voir également comment l’écriture littéraire s’approprie le fonctionnement du masque chez deux auteurs : Ludovic Obiang et Sami Tchak, par la dissimulation ou encore le voile. L’intérêt ici est de reconsidérer la place des motifs traditionnels dans la littérature africaine contemporaine, comme tentative de réponses aux problématiques actuelles. / Questions about the existence of writing in Africa have always interested intellectual circles, between those who think that writing on the continent is a new phenomenon resulting from colonization, and those who challenge it. The present thesis proposes to analyze the presence of the writing in the traditional Fang society, and to demonstrate that every society has that will of inscription of meaning in order to perpetuate the collective memory (rites, beliefs and social organization). It is through the mask that that problematic will be studied: the mask as the means of reading that "thought of writing". The second stage of this work, will deal with the mask in literature, through its different levels of apprehension (cultural mask and social mask) without considering them as heterogeneous, but to emphasize its complementarity. Then, this work will also highlight how the literary writing appropriates the functioning of the mask in two authors: Ludovic Obiang and Sami Tchak, through concealment or veil. The interest here is to reconsider the position of traditional symbols in contemporary African literature, as an attempt to answer to current questions.

The act of wearing a mask, of concealing one’s identity, has been one of the most enticing but controversial cultural practices since the 1500s. Masking evoked an even bolder act of self-fashioning when enacted by the female sex, since the gesture came to be read as a materialization of the deceitful and duplicitous character of woman’s nature, proclaimed by the major state and religious institutions of the early modern era. The ubiquity of this cultural and religious trope, however, has overshadowed a parallel dimension of this phenomenon: women’s appropriation of masking as means to obtain cultural agency and public (in)visibility in the context of a number of sartorial, theatrical, and entertainment practices. How visual representations of female masking served both maskers and audiences to navigate the social, moral, and cultural implications of this reality constitutes the subject of the present study. This dissertation explores the gendering of the act of (un)masking and its dissemination in visual culture during the early modern period in England, looking at four different cultural and chronological settings: the Carnival, the Stuart court masque, the Restoration urban space, and the Georgian masquerade. Through the examination of women’s uses of masks and their artistic representations in these different contexts, the author argues that the iconography of the (un)masked woman not only pervaded contemporary imagery, but also acted as a primary vehicle to comment on, formulate, and negotiate models of femininity throughout the early modern period. As this was a quintessential form of self-fashioning, central to a number of pageants, entertainments, and rituals, the analysis of women’s masking and its depictions reveals the core of early modern attitudes to power, gender, and class, in both the public and private realms. In order to flesh out such ideological discourses, this study considers a wide range of visual depictions and cultural practices, including drawings, prints, paintings, ephemera, costumes, fashion accessories, cosmetic customs, and architectural settings. In methodological terms, this dissertation applies an interdisciplinary, feminist, and art-historical perspective to the study of early modern masking in England, engaging at the same time with a number of interpretative tools from the fields of the history of costume, dance, theatre, and literature.

<p>Detta examensarbete utreder avståndsbedömning med hjälp av bildbehandling och stereoseende för känd kamerauppställning.</p><p>Idag existerar ett stort antal beräkningsmetoder för att få ut avstånd till objekt, men metodernas prestanda har knappt mätts. Detta arbete tittar huvudsakligen på olika blockbaserade metoder för avståndsbedömning och tittar på möjligheter samt begränsningar då man använder sig av känd kunskap inom bildbehandling och stereoseende för avståndsbedömning. Arbetet är gjort på Bofors Defence AB i Karlskoga, Sverige, i syfte att slutligen användas i ett optiskt sensorsystem. Arbetet utreder beprövade</p><p>Resultaten pekar mot att det är svårt att bestämma en närmask, avstånd till samtliga synliga objekt, men de testade metoderna bör ändå kunna användas punktvis för att beräkna avstånd. Den bästa metoden bygger på att man beräknar minsta absolutfelet och enbart behåller de säkraste värdena.</p>

In the context of transistor size miniaturization the motivation of this work was focused on the fabrication process of planar double gate devices. We proposed in this work three process flows based on the use of buried mask which could allow the fabrication of self-aligned planar double gate transistors. The novel concept of buried mask consists into modifying the etch rate of a buried polysilicon or oxide layer. This etch rate modification being defined by ion implantation, etch stop or scacrificial zones aligned with the implantation mask can thus be fabricated. This technique solve the alignment of the front and back gate. Ion implantation causes damages to the implanted target, and is used to dope semiconductor material. If the implanted atoms have a small radii they can induce stress to the implanted lattice. These three consequences of ion implantation, damage, doping and stress are used to modify the etch rate of oxide and polysilicon. High etching selectivity are reached, which allow the fabrication of a localized buried sacrificial or etch stop zone, called buried mask. The definition of the buried mask being done by ion implantation, it opens the possibility to fabricate a buried mask aligned with the implantation mask. Although some more work has to be invested to fabricate planar double gate MOS using buried mask in polysilicon, this concept of buried mask, which could also be called anisotropic wet and vapor etching, is foreseen as a very promising technique in MEMS micromachining and for bio sensor applications.