Successful field waterflood is a crucial prerequisite for improving the performance before EOR methods, such as ASP, SP, and P flooding, are applied in the field. Excess water production is a major problem in mature waterflooded oil fields that leads to early well abandonment and unrecoverable hydrocarbon. Gel treatments at the injection and production wells to preferentially plug the thief zones are cost-effective methods to improve sweep efficiency in reservoirs and reduce excess water production during hydrocarbon recovery. There are extensive experimental studies performed by some researchers in the past to investigate the performance of gels in conformance control and decreasing water production in mature waterflooded reservoirs, but no substantial modeling work has been done to simulate these experiments and predict the results for large field cases. We developed a novel, 3-dimensional chemical compositional and robust general reservoir simulator (UTGEL) to model gel treatment processes. The simulator has the capability to model different types of microgels, such as preformed particle gels (PPG), thermally active polymers (TAP), pH-sensitive microgels, and colloidal dispersion gels (CDG). The simulator has been validated for gel flooding using laboratory and field scale data. The simulator helps to design and optimize the flowing gel injection for conformance control processes in larger field cases. The gel rheology, adsorption, resistance factor and residual resistance factor with salinity effect, gel viscosity, gel kinetics, and swelling ratio were implemented in UTGEL. Several simulation case studies in fractured and heterogeneous reservoirs were performed to illustrate the effect of gel on production behavior and water control. Laboratory results of homogeneous and heterogeneous sandpacks, and Berea sandstone corefloods were used to validate the PPG transport models. Simulations of different heterogeneous field cases were performed and the results showed that PPG can improve the oil recovery by 5-10% OOIP compared to waterflood. For recovery from fractured reservoirs by waterflooding, injected water will flow easily through fractures and most part of reservoir oil will remain in matrix blocks unrecovered. Recovery from these reservoirs depends on matrix permeability, wettability, fracture intensity, temperature, pressure, and fluid properties. Chemical processes such as polymer flooding (P), surfactant/polymer (SP) flooding and alkali/surfactant/polymer (ASP) flooding are being used to enhance reservoir energy and increase the recovery. Chemical flooding has much broader range of applicability than in the past. These include high temperature reservoirs, formations with extreme salinity and hardness, naturally fractured carbonates, and sandstone reservoirs with heavy and viscous crude oils. The recovery from fractured carbonate reservoirs is frequently considered to be dominated by spontaneous imbibition. Therefore, any chemical process which can enhance the rate of imbibition has to be studied carefully. Wettability alteration using chemicals such as surfactant and alkali has been studied by many researchers in the past years and is recognized as one of the most effective recovery methods in fractured carbonate reservoirs. Injected surfactant will alter the wettability of matrix blocks from oil-wet to water-wet and also reduce the interfacial tension to ultra-low values and consequently more oil will be recovered by spontaneous co-current or counter-current imbibition depending on the dominant recovery mechanism. Accurate and reliable up-scaling of chemical enhanced oil recovery processes (CEOR) are among the most important issues in reservoir simulation. The important challenges in up-scaling CEOR processes are predictability of developed dimensionless numbers and also considering all the required mechanisms including wettability alteration and interfacial tension reduction. Thus, developing new dimensionless numbers with improved predictability at larger scales is of utmost importance in CEOR processes. There are some scaling groups developed in the past for either imbibition or coreflood experiments but none of them were predictive because all the physics related to chemical EOR processes (interfacial tension reduction and wettability alteration) were not included. Furthermore, most of commercial reservoir simulators do not have the capability to model imbibition tests due to lack of some physics, such as surfactant molecular diffusion. The modeling of imbibition cell tests can aid to understand the mechanisms behind wettability alteration and consequently aid in up-scaling the process. Also, modeling coreflood experiments for fractured vuggy carbonates is challenging. Different approaches of random permeability distribution and explicit fractures were used to model the experiments which demonstrate the validity and ranges of applicability of upscaled procedures, and also indicate the importance of viscous and capillary forces in larger scales. The simulation models were then used to predict the recovery response times for larger cores.

Indulgent and desirable, luxury both boasts and seduces. Luxury is an elaboration on the essential, manifest in forms of etiquette and exclusion. Films index both reality and fantasy. They reflect, denounce, and exaggerate, making them invaluable cultural documents. Post-World War Two, the ease of air travel, mass production of goods, and foreign influence changed the face of luxury. By examining the films To Catch a Thief (1955), La Dolce Vita (1960), and Breakfast at Tiffany’s (1961) – all three from the era of this shift in luxury – this essay excavates this change, by examining the narrative, objects, and architecture of selected scenes.

O objetivo da tese é estudar o narrador do romance A Menina que Roubava Livros, publicado em 2005 pelo autor australiano Markus Zusak. A história enfoca Liesel Meminger, uma menina de nove anos adotada por um casal alemão que, não sendo entusiasta do regime Nazista, esconde um Judeu em seu porão durante a Segunda Guerra Mundial. A imagem da morte como narrador é a principal característica da obra de Zusak, que apresenta uma entidade coletora de almas que observa as experiências de Liesel e tece comentáros sobre os seres humanos. A fim de analisar tal narrador, esta dissertação se apóia em estudos de Carl Gustav Jung, Gilbert Durand e, em certa medida, em Sigmund Freud. Também utiliza premissas teóricas do campo da narratologia, tendo Gérard Genette e Mieke Bal como principais vozes representativas. A dissertação está dividida em três capítulos. O capítulo 1 oferece um panorama acerca da construção da morte enquanto imagem arquetípica, enquanto personificação e enquanto narrador. Nesse capítulo, as perspectivas teóricas de Jung, Durand, Genette e Bal são prevalentes. O objetivo é entender como a morte é representada como ideia e como imagem. O capítulo 2 foca nas implicações da morte. Assim, analiso a morte de indivíduos, a pulsão de morte (que toma de assalto muitas das personagens), a morte em massa e a morte social como uma consequência direta da guerra. O objetivo desse capítulo é visualizar a morte como um tema. Para tanto, são aplicados alguns conceitos freudianos, como pulsão de morte e melancolia. O capítulo 3 oferece uma leitura narratológica do romance, ao relacionar a morte aos aspectos de focalização, tempo e espaço. O obejtivo do último capítulo é analisar como a morte se posiciona enquanto observador dos fatos narrados. Na conclusão, apresento minhas considerações finais acerca da utilização desse peculiar narrador em A Menina que Roubava Livros e seu papel na construção do romance e na formulação do tom da narrativa. / The aim of this dissertation is to study the narrator of the novel The Book Thief, published in 2005 by the Australian author Markus Zusak. The story centers upon Liesel Meminger, a nine-year old girl fostered by a German couple who are not enthusiasts of the Nazi regime and hide a Jewish man in their basement during World War II. The image of death as the narrator is the main feature in Zusak’s novel, which presents a soul collecting entity who observes Liesel’s experiences and makes comments about the human beings. In order to analyze such narrator, the dissertation relies on studies by Carl Gustav Jung and Gilbert Durand and, to some extent, to Sigmund Freud. The dissertation also borrows theoretical assumptions from the narratological field, having Gérard Genette and Mieke Bal as its main representatives. The dissertation is divided in three chapters. Chapter 1 offers an overview about the construction of death as an archetypal image, as a personification and as a narrator. In this chapter, the theoretical perspectives of Jung, Durand, Genette and Bal are prevalent. The objective here is to try to understand how death is represented as an idea and as an image. Chapter 2 focuses on the implications of death through the book. Hence, I analyze the death of individuals, the death drive (which assaults many of the characters), mass death and social death as a direct consequence of war. The objective of this chapter is to view death as a theme. In order to do that, some concepts from Freud, such as death drive and melancholia, are applied. Chapter 3 offers a narratological reading of the novel through the link of death to focalization, time and space. The objective in this last chapter is to analyze how death positions himself as an observer of the facts narrated. In the conclusion, I present my final considerations about the use of such peculiar narrator in The Book Thief and its role for the construction of the novel and the setting of the tone for the narrative.

O objetivo da tese é estudar o narrador do romance A Menina que Roubava Livros, publicado em 2005 pelo autor australiano Markus Zusak. A história enfoca Liesel Meminger, uma menina de nove anos adotada por um casal alemão que, não sendo entusiasta do regime Nazista, esconde um Judeu em seu porão durante a Segunda Guerra Mundial. A imagem da morte como narrador é a principal característica da obra de Zusak, que apresenta uma entidade coletora de almas que observa as experiências de Liesel e tece comentáros sobre os seres humanos. A fim de analisar tal narrador, esta dissertação se apóia em estudos de Carl Gustav Jung, Gilbert Durand e, em certa medida, em Sigmund Freud. Também utiliza premissas teóricas do campo da narratologia, tendo Gérard Genette e Mieke Bal como principais vozes representativas. A dissertação está dividida em três capítulos. O capítulo 1 oferece um panorama acerca da construção da morte enquanto imagem arquetípica, enquanto personificação e enquanto narrador. Nesse capítulo, as perspectivas teóricas de Jung, Durand, Genette e Bal são prevalentes. O objetivo é entender como a morte é representada como ideia e como imagem. O capítulo 2 foca nas implicações da morte. Assim, analiso a morte de indivíduos, a pulsão de morte (que toma de assalto muitas das personagens), a morte em massa e a morte social como uma consequência direta da guerra. O objetivo desse capítulo é visualizar a morte como um tema. Para tanto, são aplicados alguns conceitos freudianos, como pulsão de morte e melancolia. O capítulo 3 oferece uma leitura narratológica do romance, ao relacionar a morte aos aspectos de focalização, tempo e espaço. O obejtivo do último capítulo é analisar como a morte se posiciona enquanto observador dos fatos narrados. Na conclusão, apresento minhas considerações finais acerca da utilização desse peculiar narrador em A Menina que Roubava Livros e seu papel na construção do romance e na formulação do tom da narrativa. / The aim of this dissertation is to study the narrator of the novel The Book Thief, published in 2005 by the Australian author Markus Zusak. The story centers upon Liesel Meminger, a nine-year old girl fostered by a German couple who are not enthusiasts of the Nazi regime and hide a Jewish man in their basement during World War II. The image of death as the narrator is the main feature in Zusak’s novel, which presents a soul collecting entity who observes Liesel’s experiences and makes comments about the human beings. In order to analyze such narrator, the dissertation relies on studies by Carl Gustav Jung and Gilbert Durand and, to some extent, to Sigmund Freud. The dissertation also borrows theoretical assumptions from the narratological field, having Gérard Genette and Mieke Bal as its main representatives. The dissertation is divided in three chapters. Chapter 1 offers an overview about the construction of death as an archetypal image, as a personification and as a narrator. In this chapter, the theoretical perspectives of Jung, Durand, Genette and Bal are prevalent. The objective here is to try to understand how death is represented as an idea and as an image. Chapter 2 focuses on the implications of death through the book. Hence, I analyze the death of individuals, the death drive (which assaults many of the characters), mass death and social death as a direct consequence of war. The objective of this chapter is to view death as a theme. In order to do that, some concepts from Freud, such as death drive and melancholia, are applied. Chapter 3 offers a narratological reading of the novel through the link of death to focalization, time and space. The objective in this last chapter is to analyze how death positions himself as an observer of the facts narrated. In the conclusion, I present my final considerations about the use of such peculiar narrator in The Book Thief and its role for the construction of the novel and the setting of the tone for the narrative.

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In the theoretical part, this diploma thesis deals with a literary analysis and comparison of books Momo, Timm Thaler, or the Traded Laughter and The Thief Lord. The pieces of work are analysed on the basis of their common features. Such features include the main characters, and the magical motifs which affect real life situations. The partial subjects of observation are film versions of the works. The thesis is concluded by the practical part addressing a didactic adaptation of the novel Momo; including worksheets and other teaching aids designed for pupils of elementary schools and grammar schools. The teaching aids are based on the theory and involve a didactic analysis, methodical analysis and time plans for their utilization in German language classes. KEYWORDS Children's literature, Momo, Michael Ende, Timm Thaler, James Krüss, The Thief Lord, Cornelia Funke, magic elements in literature, The didactics of children's literature.

This essay is more or less a very boring analog game in paper, which is trying to find the similitude between ART and CONSCIOUSNESS, as well as the boundaries of legality of taking over or stealing someone else's work. The dynamic of this game of mine starts by choosing a lecture of any research and change some keywords to create a new research. The format of this essay suggests an interaction and will need an interaction of the reader with the essay itself in order to add more concepts and could make it more personal and transform the main subject of this essay. It does not necessarily have to be an art topic, so it is very open to any personal interest. There are no rules of this game, you can change the subject, the actors, the author or try to change it back to the original lecture. Everything is possible; at the end the reader could acquire by signing this essay or theory. / [I examensarbetet ingår utställningen "YSO":] YSO explore metaphysical information in order to expand the idea of Art and consciousness, which experience and perception are both essential as a part of the information processing. Condensing this information to be able to exchange it on different states the Meta, Virtual and physical state. The formal aesthetic display of YSO is an interpretation of the different inputs objects or data that will or could construct an assumption with deliberate inputs through the senses to be able to interpret the correlation between Art and Consciousness. Material: Freezer, pick-up car, silicon form, water, wood, plastic sheet, tv, ice machine, media player and paint. Teknik: Installation/video/variable. Längd på video: 01:54:00. / <p>The video, essay and installation is a unit and represent different states of consciousness and non-physical matter's reality (nonphysical-matter Reality) and all of these contribute to the information.</p><p>Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. </p><p>The master work includes a written essay and a forming part. The alternative title is the name of the forming part.</p>