Este trabalho tem como objetivo analisar o álbum Canções Praieiras (CAYMMI, 1954), a partir da descrição de cada uma de suas faixas, mas com ênfase no sentido gerado pelo álbum como um todo. Essa proposta se insere numa discussão mais abrangente sobre a discursividade dos álbuns musicais. Diferentes reflexões evidenciam a ocorrência de uma tensão enunciativa inerente ao tipo discursivo álbum: uma relação complementar entre, de um lado, a identidade do álbum (composta por uma reiteração de elementos de expressão e conteúdo que criam um senso de unidade entre as faixas) e, de outro, a autonomia discursiva das faixas (que ainda podem ser reconhecidas, cada uma, como uma peça musical ou cancional). Assim, a descrição satisfatória de um dado disco poderia se dar em dois tempos: num primeiro momento, na análise faixa a faixa (isto é, o exame de cada uma das partes), encaminhando-se, por fim, à análise do projeto enunciativo do todo (revelado nas relações entre as faixas), tanto em âmbito paradigmático quanto no sintagmático. Seguindo essas premissas, o trabalho se dirige à descrição analítica do álbum de Caymmi. As análises de cada uma das oito faixas do disco seguem o modelo descritivo da Semiótica da Canção, conforme proposto por Luiz Tatit. Tendo todas as canções devidamente examinadas, é possível descrever o universo figurativo instituído em discurso, que estabelece uma rígida hierarquia entre os atores místicos (o mar em todas as suas distintas manifestações, Deus e a Lagoa do Abaeté) e os atores terrenos (pescador e mulher praieira). Verifica-se, ainda, a importância do sequenciamento das faixas na geração de sentido em Canções Praieiras. Por fim, reflete-se sobre os possíveis desdobramentos deste trabalho, que parece apontar para a descrição dos fazeres enunciativos próprios do álbum cancional, bem como dos elementos que constituem a relação de dependência entre faixas e disco. / The aim of this work is to analyze the album Canções Praieiras (CAYMMI, 1954) from the description of each of its tracks, although emphasizing the meaning produced by the album as a whole. This proposition is placed inside larger and more comprehensive studies on discursivity in musical albums. Different considerations show the occurrence of an enunciative tension that is inherent to the discursive type \"album\": a complementary relationship between the album\'s identity (composed by the reiteration of elements of expression and content that produce a sense of unity among the tracks) and the tracks discursive autonomy (which can, each, also be recognized as a song or musical piece). Therefore, a satisfying description of an album can be given in two stages: first, analyzing each track (each as part of a whole); then, analyzing the relation established between the tracks (as they constitute a whole), both in the syntagmatic and paradigmatic extents. Following these premises, this work analytically describes Caymmi\'s album, each of its eight tracks, following the model proposed by Luiz Tatit in his Semiotics of Song. Having had all the songs properly examined, it is possible to describe the figurative universe of its discourse, which shows a strict hierarchy between mystic actors (the sea and all of its distinct manifestations, God and the Lagoa do Abaeté) and earthly actors (the fisherman and the women from the coast). It is also possible to see the importance of the sequence of the tracks in producing meaning. Lastly, one can reflect on how this work can be developed to more detailed analysis and investigation on the enunciative doings that are characteristics to the album of songs, as well as the dependence between tracks and album.

<p>The purpose of this thesis is to examine the usability of the Umeå University library catalogue Album. The aim is to evaluate the catalogue in order to establish if there are any problems that could be solved by modifying the catalogue. The following questions are answered: How should a good catalogue be designed? Which problems are common when using a library catalogue? Is Album user friendly? Are there any problems that occur when using Album and how can the catalogue be changed to avoid the problems? To answer these questions I have performed a usability test in which five persons, all students, got to carry out twenty tasks in the catalogue and talk about what they were doing and thinking while doing the test. This method is a usability method called Think Aloud. After the test the users got to answer twenty interview questions about the catalogue. The material obtained from the test was analyzed and positive factors, problems and courses of action were picked out. The results of the study show that the hardest thing for the users is to perform subject searches. It is not clear what subject and classification is and the users don’t know how to search the Index. They also think it’s hard to know in which fields to search and which words to use. In this thesis I give suggestions to things that could be changed in Album to make it more user friendly and easy to use. Although there are some problems with the catalogue, the overall impression of Album seems to be positive among the users.</p>

A model was created in order to assist classical musicians, especially pianists, with the process of creating their own musical niches in order to achieve public recognition, build an audience following and experience financial gain. This blueprint involved creating six arrangements for the piano four-hand medium that were then self-recorded, self-marketed and self-distributed. This essay introduces the repertoire used for this project, five Argentinean tangos by Eduardo Arolas and a habanera by Sebastian Yradier and it also examines the criteria by which they were chosen. A discussion of the arrangements follows, focusing on the compositional techniques that were used. Next, the essay presents the methods employed to self-record, self-market and self-distribute the compilation as well as additional means available to independent musicians pursuing a similar endeavor. The discussion focuses on techniques that pertain to musicians who do not have the support of a record label or a music publisher. The conclusion of this study is that there are a number of accessible methods that independent musicians can employ in order to self-record, self-market and self-distribute their music. However, the level of success of such endeavors depends on the musicians' ability to create a high quality musical product, constantly interact with new audiences and employ various promotional methods. A recommendation for further study is enclosed.

Azoxystrobin (AZY), a systemic broad-spectrum fungicide, is applied on crops to control soil-borne pathogenic fungi. This study aimed to determine the effects of AZY on non-target plant species and Glomus intraradices Schenck & Smith, an arbuscular mycorrhizal fungus (AMF) associated with plants' roots. We hypothesized that AZY negatively affects AMF viability; and that, if the plants were dependent on this symbiosis, AZY exerts an indirect detrimental effect on plant growth. To test this, three mycotrophic (Phalaris arundinacea L., Solidago canadense L., Geum canadense Jacq.) and one non-mycotrophic (Chenopodium album L.) native plant species were subjected to five AZY doses with or without AMF. Plants were grown for 60 days in a greenhouse, in individual pots, (4 plants X 2 AMF X 5 AZY X 6 replicates), and mesocosms (1 mes. X 2 AMF X 5 AZY X 6 replicates), and harvested 30 days after spraying, and dry mass was taken. Fresh root samples were used for microscopic assessment of AMF colonization. The results from the individual pot experiment show that the effects of AZY on biomass varied across plant species. AZY led to a significant increase in shoot and root mass of P. arundinacea, and a decrease in shoot mass of AMF inoculated G. canadense. The presence of AMF resulted in a significant increase in root and shoot mass of P. arundinacea, and an increase in root mass of S. canadense and shoot mass of C. album. In the mesocosm experiment AZY did not have a significant effect on the measured parameters, although the presence of AMF significantly increased root, shoot, and total dry mass of G. canadense and P. arundinacea. Conversely, AMF significantly decreased shoot and total dry mass of S. canadense. The results suggest that both direct and indirect effects should be taken into account when assessing the impact of pesticides on non-target plant species.

Aquesta Tesi Doctoral té com a objectiu principal l’estudi dels canvis sociològics i narratius dels àlbums de fotografia, partint dels anys seixanta del segle passat fins a arribar a la primera dècada del segle XXI. L’anàlisi es fa des d’una perspectiva pragmàtica, combinant la metodologia semiòticonarrativa, sociològica, compositiva, tecnològica i discursiva. De l’anàlisi multidisciplinar dels àlbums de fotografia se’n poden extreure moltes dades significatives, ja que aquests ens parlen del tipus de societat de cada moment. Veurem com els àlbums s’estructuren seguint pautes socials que les families reprodueixen i com la classificació i organització de les fotografies ens mostra la consideració que tenim de la nostra vida com un relat que pot ser explicat en imatges. A la vegada, l'evolució plasmada en els àlbums digitals respecte als analògics és un reflex de l'evolució que ha patit la societat, tant a nivell de canvis en els rols familiars com en els valors que es transmeten. La primera part de la tesi fa un repàs sociohistòric a l’ús de la fotografia (i anteriorment, la pintura) per a il·lustrar la vida quotidiana, fent especial èmfasi a les dècades estudiades, que s’engloben dins dels períodes de la Primera Modernitat, la Tardomodernitat i la Hipermodernitat. La segona part inclou l’estudi de casos, on s’extreuen les conclusions de la recollida de dades fetes segons els criteris metodològics exposa / Esta Tesis Doctoral tiene como objetivo principal el estudio de los cambios sociológicos y narrativos de los álbumes de fotografía, partiendo de los años sesenta del siglo pasado hasta llegar a la primera década del siglo XXI. El análisis se hace desde una perspectiva pragmática, combinando la metodología semiótico-narrativa, sociológica, compositiva, tecnológica y discursiva. Del análisis multidisciplinar de los álbumes de fotografía se pueden extraer muchos datos significativos, ya que estos nos hablan del tipo de sociedad de cada momento. Veremos como los álbumes se estructuran siguiendo pautas sociales que las familias reproducen y como la clasificación y organización de las fotografías nos muestra la consideración que tenemos de nuestra vida como un relato que puede ser explicado en imágenes. A su vez, la evolución plasmada en los álbumes digitales con respecto a los analógicos es un reflejo de la evolución que ha sufrido la sociedad, tanto a nivel de cambios en los roles familiares como en los valores que se transmiten. La primera parte de la tesis hace un repaso sociohistórico al uso de la fotografía (y anteriormente, la pintura) para ilustrar la vida cotidiana, haciendo especial énfasis en las décadas estudiadas, que se engloban dentro de los períodos de la primera modernidad, la tardomodernitat y la hipermodernidad. La segunda parte incluye el estudio de casos, donde se extraen las conclusiones de la recogida de datos hechas según los criterios metodológicos expuestos. / This Doctoral Thesis has a main aim the study of the narrative and sociological changes in photographic family albums, starting from the sixties of the last century until the first decade of the XXI century. The analysis is done from a pragmatic perspective, combining the semiotic-narrative, sociological, compositive, technological and discursive methodology. From this multidisciplinar analysis of photographic family albums, a lot of meaningful data can be drawn, because they tell us about the type of society we are living in. We will see how the albums are structured according to social patterns that every family reproduces and how the classification and organization of the snapshots shows the way in we consider our life as a story that can be told in pictures. At the same time, the tecnichal evolution from analogic to digital albums reflects the evolution of society, both in terms of changes in family roles and in the values that are transmitted. The first part of the thesis presents an overview of socio-historical use of photography (and previously, painting) to illustrate everyday life, emphasizing the decades studied, which embrace the period of the First Modernity, Postmodernity and Hipermodernity. The second part includes the study of albums, where the collection of data conclusions made by the methodological criteria are presented.

The purpose of this thesis is to examine the usability of the Umeå University library catalogue Album. The aim is to evaluate the catalogue in order to establish if there are any problems that could be solved by modifying the catalogue. The following questions are answered: How should a good catalogue be designed? Which problems are common when using a library catalogue? Is Album user friendly? Are there any problems that occur when using Album and how can the catalogue be changed to avoid the problems? To answer these questions I have performed a usability test in which five persons, all students, got to carry out twenty tasks in the catalogue and talk about what they were doing and thinking while doing the test. This method is a usability method called Think Aloud. After the test the users got to answer twenty interview questions about the catalogue. The material obtained from the test was analyzed and positive factors, problems and courses of action were picked out. The results of the study show that the hardest thing for the users is to perform subject searches. It is not clear what subject and classification is and the users don’t know how to search the Index. They also think it’s hard to know in which fields to search and which words to use. In this thesis I give suggestions to things that could be changed in Album to make it more user friendly and easy to use. Although there are some problems with the catalogue, the overall impression of Album seems to be positive among the users.

Für diese Arbeit wurden in-vitro-Studien an kaninen Mammatumorzellen und humanen follikulären B-NHL-Zellen durchgeführt. Es wurden erstmals die migratorischen Eigenschaften einer kaninen Mammatumorzelllinie (CMT-U-27, infiltrierendes duktuläres Karzinom mit Metastasen) und deren Beeinflussbarkeit untersucht. Die Experimente zeigten einen leichten promigratorischen Einfluss von Noradrenalin und EGF; mit dem Tumorpromotor PMA wurde eine sehr deutliche Stimulation der Migration erreicht. Es konnte gezeigt werden, dass Iscador® M in der Lage ist, die PMA-stimulierte Migration der CMT-U-27-Zellen zu hemmen, wobei die spontane, Matrix-induzierte Zellmigration unbeeinflusst blieb. Zwischen der migratorischen Aktivität von Tumorzellen und ihrer Fähigkeit Metastasen zu bilden, besteht ein Zusammenhang. Durch einen inhibierenden Effekt auf die Migration von Tumorzellen könnte eine Progression der Erkrankung durch Metastasenbildung verhindert oder zumindest verzögert werden. IL-6 dient als prognostischer Faktor bei lymphoproliferativen Erkrankungen der B-Zellen und kann sich negativ auf den Krankheitsverlauf bei B-Lymphompatienten auswirken. Unterstützend zu den guten in-vivo Erfahrungen in der Lukasklinik in Arlesheim, Schweiz, sollte in dieser Arbeit untersucht werden, ob Iscador® P bei follikulären B-NHL-Zelllinien (DoHH2, WSU-NHL, Sc-1) einen autokrinen IL-6-Loop auslösen kann. Dafür wurden die Zellen über definierte Zeiträume mit verschiedenen Iscador® P-Konzentrationen inkubiert. Es wurden Proben entnommen und durchflusszytometrische Messungen auf membrangebundenen IL-6R und gp130, Messungen der mRNA-Expression von IL-6, IL-6R und gp130 mittels Real-Time-RT-PCR und ELISA-Messungen zur Bestimmung von IL-6, löslichem IL-6R (sIL-6R) und löslichem gp130 (sgp130) durchgeführt. Es konnte kein Einfluss von Iscador® P auf die Oberflächen- oder Genexpression von IL-6 und den dazugehörigen Rezeptorkomponenten gp130 und IL-6R nachgewiesen werden. Zudem wird kein IL-6, sgp130 oder sIL-6R von den Zellen freigesetzt. Damit kann ein autokriner IL-6-Loop und ein durch Freisetzen von sIL-6R ermöglichtes Transsignalling bei den in dieser Arbeit untersuchten follikulären B-NHL-Zelllinien ausgeschlossen werden. In Wachstumskurven konnte gezeigt werden, dass Iscador® P den proliferativen Einfluss von IL-6, bei gleichzeitiger Inkubation, aufhebt. Genexpressionsmessungen der apoptoserelevanten Gene bcl-2, bax, bcl-xl und bad mittels Real-Time-RT-PCR zeigten bei den WSU-NHL-Zellen, dass die Apoptose über ein Verschieben des bcl-2/bax-Quotienten ausgelöst wird, welches mittels durchflusszytometrischer Analyse bestätigt werden konnte. Im Gegensatz dazu konnte bei Sc-1 Zellen keine Verschiebung des bcl﷓2/bax-Quotienten in Richtung Induktion der Apoptose beobachtet werden, sodass die bei dieser Zelllinie beobachtete Hemmung der IL-6 mediierten Proliferation durch Iscador® P, durch einen anderen, bislang noch nicht geklärten, Mechanismus ablaufen muss.

Könsstereotyper är något som finns i alla kulturer och påverkar både män ochkvinnor redan från barnsben. Inte minst musikindustrin kantas avkönsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Menmycket lite tycks vara skrivet om hur artister framställs på sina skivomslag medkönsstereotyper som utgångspunkt.Syftet med föreliggande studie var därför att analysera och jämföra skivomslagför kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, medvikt på vilka könsstereotyper som förekommer. Syftet var även att se om någonförändring har skett med tiden vad gäller utformningen av skivomslag samtundersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer ochgenrer.En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varjeår var för kvinnliga respektive manliga artister.Resultatet visade att en del av de könsstereotyper som är vanliga vidfotograferandet av män och kvinnor även förekom på skivomslag. Men på endel punkter frångick omslagen traditionella könsstereotyper. Resultatet visadeäven att förekomsten av stereotyper har förändrats en del under tioårsperioden.En del skillnader kunde också identifieras vid en jämförelse av amerikanska ochsvenska artister, samt vid en jämförelse av olika genrer.Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnaderi hur manliga och kvinnliga artister porträtteras på sina skivomslag. Menskivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andrasammanhang när män och kvinnor fotograferas. / Gender stereotypes exists in all cultures and affects both men and women froman early age. The music industry is not an exception and stereotypes can be seenand heard in everything from lyrics to music videos. However, very little seemsto be written about gender stereotypes on album covers.Therefore, the purpose of this study was to analyze and compare how albumcovers for female and male artists differ, with focus on gender stereotypes. Thepurpose was also to examine whether a change over time have occurred when itcomes to gender stereotypes present on album covers. Additionally, this studyexamined how gender stereotypes takes form in different cultures and genres.A visual analyze were made on 100 album covers. Half of them were releasedin 2006/2007 and the other half was released in 2016/2017. The number of maleand female artist were equally divided across the different years.The result showed that some of the gender stereotypes that normally occurwhen males and females are photographed, also occurred on album covers.Other gender stereotypes were uncommon on album covers. Some changescould be seen over the ten-year period. Moreover, the result showed somedifferences when comparing Swedish and American artists’ album covers, andwhen comparing different genres.The conclusions that could be drawn from the result was that there aredifferences in how male and female artists are portrayed on their album covers.However, album cover pictures differ to a certain extent from how males andfemales are photographed in other situations.

Könsstereotyper är något som finns i alla kulturer och påverkar både män och kvinnor redan från barnsben. Inte minst musikindustrin kantas av könsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Men mycket lite tycks vara skrivet om hur artister framställs på sina skivomslag med könsstereotyper som utgångspunkt. Syftet med föreliggande studie var därför att analysera och jämföra skivomslag för kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, med vikt på vilka könsstereotyper som förekommer. Syftet var även att se om någon förändring har skett med tiden vad gäller utformningen av skivomslag samt undersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer och genrer. En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna 2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varje år var för kvinnliga respektive manliga artister. Resultatet visade att en del av de könsstereotyper som är vanliga vid fotograferandet av män och kvinnor även förekom på skivomslag. Men på en del punkter frångick omslagen traditionella könsstereotyper. Resultatet visade även att förekomsten av stereotyper har förändrats en del under tioårsperioden. En del skillnader kunde också identifieras vid en jämförelse av amerikanska och svenska artister, samt vid en jämförelse av olika genrer. Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnader i hur manliga och kvinnliga artister porträtteras på sina skivomslag. Men skivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andra sammanhang när män och kvinnor fotograferas. / Gender stereotypes exists in all cultures and affects both men and women from an early age. The music industry is not an exception and stereotypes can be seen and heard in everything from lyrics to music videos. However, very little seems to be written about gender stereotypes on album covers. Therefore, the purpose of this study was to analyze and compare how album covers for female and male artists differ, with focus on gender stereotypes. The purpose was also to examine whether a change over time have occurred when it comes to gender stereotypes present on album covers. Additionally, this study examined how gender stereotypes takes form in different cultures and genres. A visual analyze were made on 100 album covers. Half of them were released in 2006/2007 and the other half was released in 2016/2017. The number of male and female artist were equally divided across the different years. The result showed that some of the gender stereotypes that normally occur when males and females are photographed, also occurred on album covers. Other gender stereotypes were uncommon on album covers. Some changes could be seen over the ten-year period. Moreover, the result showed some differences when comparing Swedish and American artists’ album covers, and when comparing different genres. The conclusions that could be drawn from the result was that there are differences in how male and female artists are portrayed on their album covers. However, album cover pictures differ to a certain extent from how males and females are photographed in other situations.

SALES, Bruno Sampaio. Gritos silenciosos: trajetória e significados do álbum de família em um conjunto habitacional. 2012. 127f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-29T11:13:15Z No. of bitstreams: 1 2012-DIS-BSSALES.pdf: 6726945 bytes, checksum: 74a71d2c0b3625d616b4f2c5b3355134 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-29T12:50:28Z (GMT) No. of bitstreams: 1 2012-DIS-BSSALES.pdf: 6726945 bytes, checksum: 74a71d2c0b3625d616b4f2c5b3355134 (MD5) / Made available in DSpace on 2013-10-29T12:50:28Z (GMT). No. of bitstreams: 1 2012-DIS-BSSALES.pdf: 6726945 bytes, checksum: 74a71d2c0b3625d616b4f2c5b3355134 (MD5) Previous issue date: 2012 / Fotografias carregam consigo e em torno de si, pessoas, lugares onde estiveram, momentos que as atravessaram. A imagem excede álbuns e ganha vida na memória e imaginação dos observadores e todos que fizeram parte do contexto em que ela foi produzida. Faz-se então necessário que a utilização dessas imagens em pesquisas sociais opere num circuito mais amplo formado por esses indivíduos, seu ambiente e sua rede de relações. Partindo desse pressuposto, o presente trabalho tem por objetivo construir um compêndio de palavras e imagens que busca mapear e analisar a gama das dimensões, significados e papéis sociais da fotografia em uma família de classe popular, a partir de estudo de caso no Conjunto Habitacional São Vicente de Paulo, localizada na cidade de Fortaleza. É perceptível uma multiplicidade de papéis e afetos que essas imagens mobilizam dentro de tais grupos. Quais então seriam esses sentidos do arquivamento de imagens para uma família? Na intenção de conhecer o outro, observando e tentando compreender seus registros visuais de ritos, cotidiano e diferenças - aprofundando-se em vidas - é necessário também olhar em volta. Sentir e perceber instantes que não se revelam nem se escrevem em papéis, pois transbordam deles e alcançam um campo mais complexo. É importante então perceber que buscando compreender fotografias, podemos alcançar também visões de mundo e imagens da alma. São essas as mais fortes e potentes que encontrei junto de algumas pessoas e que pretendo aqui analisar e compartilhar.