It is the purpose of this paper to try to show the various methods used by Poe for securing a single unified effect in each of his stories. To facilitate the work, I shall divide his short stories into four groups: stories of effect, stories or ratiocination, stories of pseudo-science, and stories of satire and humor. It is inevitable that the chapters overlap in many instances because some methods are used in more than one type of story. Often a story may be placed in more than one group, since the divisions are so broad. Notwithstanding these difficulties, it is possible to find many methods used by Poe to develop the narrative style, so peculiarly his own, by which he seldom failed to produce a compelling story.

O objetivo desta pesquisa é apresentar um estudo, sob o ponto de vista histórico, sobre as ideias do botânico e taxonomista americano Henry Allan Gleason (1882-1975) referentes ao conceito individualístico de associação de plantas. Nas décadas iniciais do século XX, as ideias do ecólogo americano Frederic Edward Clements (1874-1945) sobre a dinâmica da vegetação e sobre sucessão ecológica eram prevalecentes. Porém, a discordância dessas ideias parece ter levado Gleason a propor inicialmente o conceito individualístico da ecologia e, posteriormente, o conceito individualístico de associação de plantas. O desenvolvimento do conceito individualístico proposto por Gleason pode ser analisado, principalmente, por meio de suas obras dos anos de 1917, 1926 e 1939. Além dessas, nas quais Gleason refere-se especificamente ao conceito individualístico, outras obras estão sendo consideradas, como seu artigo publicado no ano de 1909, no qual discutiu sobre algumas questões fitogeográficas e ecológicas que influenciariam a distribuição de pradarias e florestas; seu artigo publicado em 1910, no qual apresentou o primeiro indício da sua visão individualística, e seu artigo publicado em 1927, no qual ele discorreu sobre os processos de sucessão em diferentes locais. A partir da análise de obras originais de Gleason e Clements, bem como mediante os relatos das fontes secundárias considerando o contexto da época, procurar-se-á evidências que mostrem o entendimento de Gleason sobre os estudos ecológicos e suas contribuições ao arcabouço teórico da Ecologia. / The objective of this research was to study, from a historical perspective on the ideas of botanist and taxonomist American Henry Allan Gleason (1882-1975) for the individualistic concept of plant association. In the early decades of the twentieth century, the American ecologist ideas Frederic Clements (1874-1945) on the dynamics of vegetation and on ecological succession were prevalent. However, the disagreement of those ideas seems to have taken Gleason initially proposing the individualistic concept of ecology and subsequently the individualistic concept of plant association. The development of the individualistic concept proposed by Gleason can be analyzed primarily through his works of the years 1917, 1926 and 1939. In addition to these, in which Gleason refers specifically to the individualistic concept, other projects are being considered, as its Article published in 1909, which discussed some phytogeographic and ecological issues that influence the distribution of grasslands and forests; Article published in 1910, which presented the first evidence of its individualistic vision, and his article published in 1927 in which he talked about the succession processes in different locations. From the analysis of original works of Gleason and Clements, as well as by reports of secondary sources considering the context of the time, it will be sought evidence to show understanding of Gleason on the ecological studies and their contributions to the theoretical framework of Ecology.

Une théorie unifiée donnant à Poe une cohérence dans sa diversité est possible lorsqu’on base l’analyse de son œuvre sur sa cosmogonie, c’est-à-dire sur sa conception de l’univers. Celle-ci repose sur un dieu devenu universel en se matérialisant, puis en se divisant en la quasi-infinité de matière formant le monde que nous connaissons. La division de l’âme divine est selon lui reflétée dans la nature intrinsèquement divisée de l’âme humaine. En cela, les notions de temps, de mort et de destinée sont interconnectées : l’histoire cosmique est identique à celle de l’homme, toutes deux régies par le temps et circonscrites par la mort. Cette même histoire se répétant tout au long de son œuvre, elle constitue donc le motif archétypal qui l’unifie. / A unified theory of Poe’s works, bringing his diverse writing together into one coherent story can be found in his cosmogony, that is to say, in his understanding of universal mechanics. This latter understanding is based on the idea of a god dividing himself into the almost infinity of matter that makes up the universe, building it in his literal image. The division of the divine soul is, according to Poe, echoed by the intrinsic division of the human soul. As such, Time, Death, and Destiny are fundamentally interconnected: cosmic history and human history are one and the same, ruled by time and circumscribed by death. This story can be found all throughout Poe’s works and is thus the archetypal pattern at the core of this unified theory.

Made available in DSpace on 2016-03-15T19:45:21Z (GMT). No. of bitstreams: 1 Paula Silveira de Aquino.pdf: 649184 bytes, checksum: ea91ece85f2f7b8435a364d34eb034f5 (MD5) Previous issue date: 2011-02-09 / This Mastership Dissertation presents analysis of the narrative point of view in the short-stories "The fall of the House of Usher", "The Tell-Tale Heart", and "Berenice", by Edgar Allan Poe, with basis on theories by Norman Friedman, which is approached by Ligia Chiappini Moraes Leite (2002), and Wayne C. Booth, about the unreliable narrator Some theoretical considerations approached by Poe, in the "Philosophy of the composition" (1846) and in other essays translated by Baudelaire (2003), are also utilized. Considerations by Todorov (2004), Freud (1919), Jung (1961) apud Philippov (1999), and Castex (1951) apud Philippov (1999), about fantastic theories are also approached. It is verified that all the analyzed works are narrated in first person. It means that the narrator is always a participating character of the story. It was possible to evidence that there is, in all of them, a contradiction between what the narrator proposes himself to do and that which is permitted by the situation he is inserted in. The trials in helping a friend, who lives in a full of melancholy house, to alleviate a nervous agitation are all vain, since it is the mansion‟s owner who ushers the narrator to execute his habitual activities. In the second short-story, the character who does not accept to be called mad and wants to show all the calm, precaution and perfection he had when he killed the old man he used to look after, suffers from an acuteness of the sense of hearing, which makes him hear the beats of the murdered man‟s heart. This sound shows the limits between the narrator's calm and fury, until the moment in which he, believing that the policemen could hear the same thing he could, and would be making a mockery of him, confesses the crime. Finally, the narrator Egaeus is conscious that he always had a bad health and recognizes that his reality of life is different from the one of other characters around him. In spite of saying that he does not seek to convince, Egaeus makes long explanations about the features of his illness and tries to avoid technical language, so that the common reader is able to comprehend him. He hopes that the revelation of his consciousness of the crime, and of the consequent family dishonor could assuage his guilt. / Esta Dissertação de Mestrado apresenta análises do ponto de vista narrativo nos contos "A queda da Casa de Usher", "O coração denunciador" e "Berenice", de Edgar Allan Poe, com base nas teorias de Norman Friedman, abordada por Ligia Chiappini Moraes Leite (2002), e de Wayne C. Booth (1980), a respeito do narrador pouco digno de confiança. Também são utilizadas algumas considerações teóricas abordadas por Poe na "Filosofia da composição" (1846) e em outros ensaios traduzidos por Baudelaire (2003). Em se tratando de teoria fantástica, abordam-se considerações de Todorov (2004), Freud (1919), Jung, (1951) apud Philippov (1999) e Castex (1961) apud Philippov (1999). Verifica-se que todas as obras analisadas são narradas em primeira pessoa. Isso significa que o narrador é sempre uma personagem participante da história. Foi possível constatar que há, em todas elas, uma contradição entre o que o narrador se propõe a fazer e aquilo lhe é permitido pela situação em que ele se insere. As tentativas de ajudar um amigo, que vive em uma mansão cheia de melancolia, a aliviar sua agitação nervosa, são todas vãs, já que é o dono da mansão conduz o narrador a realizar suas atividades habituais. No segundo conto, a personagem que não aceita ser chamada de louca e quer demonstrar toda a calma, precaução e perfeição que teve ao matar o velho de quem cuidava, sofre de uma acuidade do sentido da audição, que faz com que ela ouça o bater do coração do homem assassinado. Este som mostra os limites entre a calma e a fúria do narrador, até o momento em que ele, acreditando que os policiais podiam ouvir o mesmo e estavam zombando dele, confessa o crime. Por fim, o narrador Egaeus é consciente de sempre teve uma má saúde e reconhece que a sua realidade de vida é diferente da de outras personagens ao seu redor. Apesar de dizer que não pretende convencer, Egaeus faz longas explicações sobre as características de sua doença e tenta evitar linguagem técnica para que o leitor comum possa compreendê-lo. Ele espera que a revelação de sua consciência do crime, e da consequente desonra familiar, possa amenizar sua culpa.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-05-14T18:36:03Z No. of bitstreams: 1 PAULO VICTOR FERREIRA RODRIGUES.pdf: 1611762 bytes, checksum: 391bcbc4bb24a98092a5b89ccef9d8ec (MD5) / Made available in DSpace on 2018-05-14T18:36:03Z (GMT). No. of bitstreams: 1 PAULO VICTOR FERREIRA RODRIGUES.pdf: 1611762 bytes, checksum: 391bcbc4bb24a98092a5b89ccef9d8ec (MD5) Previous issue date: 2018-02-23 / This research points to the multiple character of Baudelaire's eyes, multiple because he did not consolidate himself only in the lyrical genre, he focused on the tale, the novel, the music, the Plastic Arts, in short, on everything that is touching on art, regardless of the genus. Baudelaire perceived the condition sign wich walks in the interior of the artistic work and began, in the middle of the nineteenth century, an intense critical work. From this critical work translations of the work of Edgar Allan Poe came out and special attention was given to the tale The Man of the Crowd in the Essay The Painter of modern Life. In this essay Baudelaire traces the work of a painter, Monsieur G. (Mr.G), now known by critics, Constantin Guys. In addition to Constantin Guys, two other painters are placed on a par with Constantin Guys and are part of the second chapter because of the transgressive character of their works, transgressor in the sense of not following models so that the production of a work without a soul takes place. The works of art will be approached with the concept of artistic text wich Iuri Lotman (1978) conceptualizes in the book The structure of the artistic text and from the perspective of Julia Kristeva (2012) in the book Introdução à semanálise. Starting from this concept of text as a sign structure, semiotics will be used as a way of reading the object. One of the conclusions of the research was the multiplicity of paths left by these writers and painters, free ways for art to free itself from the bonds of a fixed way of composing. Art began to act on its own, to weave itself into the accompanying theory, and artists began to produce critical works by internalizing the need to be aware of their creative process. / Esta pesquisa aponta para o caráter múltiplo do olhar de Baudelaire, múltiplo pois não se consolidou apenas no gênero lírico, ele se debruçou sobre o conto, o romance, a música, as Artes Plásticas, enfim, sobre tudo o que é tocante à arte, independente do gênero. Baudelaire percebeu a condição de signo que caminha no interior do trabalho artístico e iniciou, em meados do século XIX, um intenso trabalho crítico. Deste trabalho crítico surgiram traduções da obra de Edgar Allan Poe e uma atenção especial foi dada ao conto O homem da multidão no ensaio O Pintor da Vida moderna. Neste ensaio Baudelaire percorre a obra de um pintor, o Monsieur G. (Sr.G), hoje conhecido pela crítica, Constantin Guys. Além de Constantin Guys, outros dois pintores são colocados à altura de Constantin Guys e fazem parte do segundo capítulo pelo caráter transgressor de suas obras, transgressor no sentido de não seguir modelos de modo que ocorra a produção de uma obra sem alma. As obras serão abordadas com o conceito de texto artístico que Iuri Lotman (1978) conceitua no livro A estrutura do texto artístico e sob a perspectiva de Julia Kristeva (2012) no livro Introdução à semanálise. Partindo deste conceito de texto como uma estrutura de signos, a semiótica será utilizada como um modo de leitura do objeto. Uma das conclusões da pesquisa foi a multiplicidade de caminhos deixados por estes escritores e pintores, caminhos livres para que a arte se libertasse das amarras de um modo fixo de compor. A arte passou a agir por si própria, tecer em si mesma a teoria que a acompanha, e os artistas começaram a produzir trabalhos críticos por internalizarem a necessidade de serem conscientes de seu processo criativo.

En adaptant la philosophie de Spinoza aux analyses de Marx, Frédéric Lordon a montré comment le capitalisme s'est développé en modelant les désirs, les affects et les imaginaires des travailleurs, afin d'en capter efficacement la force de travail. Partant de ces postulats, on se propose d'analyser trois stratégies affectives, mobilisant des images et des mises en scène du travail, à trois phases historiques distinctes du capitalisme. La première partie sera consacrée à l'Encyclopédie des Lumières et à ses planches des "Arts mécaniques". Nous évoquerons les premiers pas d'un capitalisme utopique découvrant les bienfaits de la division du travail, dont les gravures donnent un aperçu idéalisé. Nous aborderons ensuite l'Exposition Universelle parisienne de 1867, qui présente l'intérêt de multiplier les mises en scène spectaculaires des marchandises, des machines et des "petits métiers", autant que les perspectives théoriques de domination, allant du fétichisme des biens matériels à l'apologie du paternalisme. Enfin, la collection La France travaille, enquête ethnographique agrémentée de photographiques de François Kollar, offre un panorama nationaliste et conservateur des classes laborieuses à l'orée des années 1930, s'efforçant de rassurer devant les incertitudes de la mécanisation et de la crise économique. Nous montrerons que chacun de ces objets, vision du travail sous l'oeil du capital, entend recouvrir de son voile la réalité de l'ouvrier. Nous réfléchirons aux formes politiques susceptibles de lever ce voile et de représenter le vécu du travail et à leur efficacité. / French economist and philosopher Frédéric Lordon renews our comprehension of marxist structures by his interpretation of Spinoza's philosophy. He showed that capitalism had to shape desires, affects and imaginary of working class to expand its own influence and catch the labour power. We will analyze three "affective strategies", using pictures and stagings of work, at three historical periods of capitalism development. The first chapter will be devoted to the Encyclopédie and its plates of "Mechanical Crafts". Based on this exemplary work of the Enlightenment, this chapter will evoke the beginnings of utopian capitalism and its faith in division of labour, illustrated by the plates which give some ideal vision. Then, we will address the Second Paris International Exposition of 1867 : it displays merchandises, industrial devicesand workshops. It rewards too different contemporary experience of paternalism. Finally, the collection La France travaille, ethnographical survey illustrated by François Kollar's photographs, shows a nationalist and conservative panoramic view of French working class in 1930's. These books try to reassure readers faced with the financial crisis and fear of mechanization. Each studied object shines a light on labor under the eye of capital and covers the experience of worker. We will remind the experience through accounts and writings of working people.

Denna uppsats tar sin början i ett intresse av att studera ungdomars konstituerande av identitet. Vi valde att utföra vår studie i Rädda Barnens projekt Ellen & allan som arrangerar samtalsgrupper med en normkritisk agenda för ungdomar i 14-års ålder. Syftet är att genom en kvalitativ studie skapa förståelse för hur ungdomarna som deltar i Ellen & allan konstituerar en maskulin respektive feminin identitet, samt betydelsen av ungdomarnas sociala relationer för detta konstituerande.  Studiens omfattning utgörs av tre intervjuer med projektledare och samtalsledare för projektet och av sex timmars observation vid fyra separata tillfällen i en Ellengrupp och i en allangrupp. Intervjuerna bidrog till kunskap om projektet som förberedde oss och skapade ett tydligt fokus inför vårt möte med fältet. Intervjuerna var utformade på ett sådant sätt att de kom att generera material som korrelerade med våra observationsdata.  Från vår analys av intervjuer och observationer drar vi slutsatsen att ungdomarnas behov av att skapa och upprätthålla sociala relationer leder till en konformitet inom samtalsgrupperna som bidrar till att ungdomarnas konstituerande av maskulin respektive feminin identitet görs med ursprung i en maskulin heterosexuell hegemoni. I denna hegemoni förknippas den maskulina identiteten med överordning och makt medan den feminina identiteten är passiv och underordnad och anses vara den maskulina identitetens motsats. / The notion of this study initially started taking shape through our interest in studying the constitution of identity in young adolescent people. The study was carried out in the Save the Children project Ellen & allan which organizes discussion groups with a norm-critical agenda for young people in the age of 14. The purpose of this study was to analyze how young people participating in Ellen & allan constitutes a masculine and feminine identity, and the importance of young people's social relationships for this constituent.  The study consists of three interviews with project managers and discussion leaders of the project, and of six hours of observation on four separate occasions in an Ellen-group and in an allan-group. The interviews contributed to an understanding of the project which prepared us and created a clear focus for our meeting with the field. The interviews were also designed in such a way that they came to produce data that could be correlated with our observation data.  From our analysis of the interviews and observations, we conclude that young people’s need to create and maintain social relationships lead to conformity within the discussion groups, contributing to adolescents constituting a masculine and feminine identity that originates from a masculine heterosexual hegemony. In such hegemony the masculine identity consists of attributes of agency and power, whereas the feminine identity is passive and subordinate and is considered being the opposite of a masculine identity.

O objetivo desta pesquisa é apresentar um estudo, sob o ponto de vista histórico, sobre as ideias do botânico e taxonomista americano Henry Allan Gleason (1882-1975) referentes ao conceito individualístico de associação de plantas. Nas décadas iniciais do século XX, as ideias do ecólogo americano Frederic Edward Clements (1874-1945) sobre a dinâmica da vegetação e sobre sucessão ecológica eram prevalecentes. Porém, a discordância dessas ideias parece ter levado Gleason a propor inicialmente o conceito individualístico da ecologia e, posteriormente, o conceito individualístico de associação de plantas. O desenvolvimento do conceito individualístico proposto por Gleason pode ser analisado, principalmente, por meio de suas obras dos anos de 1917, 1926 e 1939. Além dessas, nas quais Gleason refere-se especificamente ao conceito individualístico, outras obras estão sendo consideradas, como seu artigo publicado no ano de 1909, no qual discutiu sobre algumas questões fitogeográficas e ecológicas que influenciariam a distribuição de pradarias e florestas; seu artigo publicado em 1910, no qual apresentou o primeiro indício da sua visão individualística, e seu artigo publicado em 1927, no qual ele discorreu sobre os processos de sucessão em diferentes locais. A partir da análise de obras originais de Gleason e Clements, bem como mediante os relatos das fontes secundárias considerando o contexto da época, procurar-se-á evidências que mostrem o entendimento de Gleason sobre os estudos ecológicos e suas contribuições ao arcabouço teórico da Ecologia. / The objective of this research was to study, from a historical perspective on the ideas of botanist and taxonomist American Henry Allan Gleason (1882-1975) for the individualistic concept of plant association. In the early decades of the twentieth century, the American ecologist ideas Frederic Clements (1874-1945) on the dynamics of vegetation and on ecological succession were prevalent. However, the disagreement of those ideas seems to have taken Gleason initially proposing the individualistic concept of ecology and subsequently the individualistic concept of plant association. The development of the individualistic concept proposed by Gleason can be analyzed primarily through his works of the years 1917, 1926 and 1939. In addition to these, in which Gleason refers specifically to the individualistic concept, other projects are being considered, as its Article published in 1909, which discussed some phytogeographic and ecological issues that influence the distribution of grasslands and forests; Article published in 1910, which presented the first evidence of its individualistic vision, and his article published in 1927 in which he talked about the succession processes in different locations. From the analysis of original works of Gleason and Clements, as well as by reports of secondary sources considering the context of the time, it will be sought evidence to show understanding of Gleason on the ecological studies and their contributions to the theoretical framework of Ecology.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-01-04T16:22:45Z No. of bitstreams: 1 deniseadeliavieiraprata.pdf: 3407351 bytes, checksum: 51f8ebc36557d550af4bfce67b53e40b (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2017-01-31T10:33:29Z (GMT) No. of bitstreams: 1 deniseadeliavieiraprata.pdf: 3407351 bytes, checksum: 51f8ebc36557d550af4bfce67b53e40b (MD5) / Made available in DSpace on 2017-01-31T10:33:29Z (GMT). No. of bitstreams: 1 deniseadeliavieiraprata.pdf: 3407351 bytes, checksum: 51f8ebc36557d550af4bfce67b53e40b (MD5) Previous issue date: 2016-09-28 / O presente trabalho imprime um olhar histórico sobre as produções literárias mediúnicas representadas pelas poesias e romances. Pretende recuperar as discussões, debates e polêmicas que se materializaram em torno dessas modalidades, desde a Codificação da Doutrina Espírita por Allan Kardec, na França, até e após o surgimento do médium Chico Xavier, no cenário espírita brasileiro. Para tanto, foram utilizadas fontes bibliográficas, tais como a Revista Espírita, fundada por Kardec e as edições da revista Reformador, órgão de comunicação oficial da Federação Espírita Brasileira, dentre outras. O trabalho, ao destacar Allan Kardec e Chico Xavier como os pilares para uma reconstituição histórica a que nos propusemos, oferece uma releitura singular da trajetória da literatura mediúnica, desde a França até o Brasil. As discussões levantadas na tese, em virtude da eclosão da literatura mediúnica, pretendem contribuir para a disseminação do tema, uma vez que são poucos os estudos existentes a respeito deste tipo de literatura. Procuramos destacar as discussões, controvérsias e polêmicas em torno da literatura dita de além-túmulo, a fim de referendar essa literatura como um objeto passível de estudo pela academia. / This paper prints a historical look on mediumship literary productions represented by poems and novels. It wants to retrieve the discussions, debates and controversies that materialized around these forms from the Codification of Spiritism by Allan Kardec, in France, until the emergence of medium Chico Xavier in the Brazilian spiritualist scenario. Therefore, bibliographic sources have been used such as the Spiritist Magazine, founded by Kardec and the issues of the Reformador magazine, the official communication organ of the Brazilian Spiritist Federation, among others. The work, by highlighting Allan Kardec and Chico Xavier as the pillars for a historical reconstruction we set, offers a unique reinterpretation of the history of mediumship literature, from France to Brazil. The discussions raised in the thesis, because of the outbreak of mediumship literature, intend to contribute to the spread of the theme, since there are few existing studies about this type of literature. We seek out the discussions, disputes and controversies around the literature from beyond the grave in order to ratify this literature as a subject of study by the academy.

Orientadores: Flavio Caldas Da Cruz, Luiz Eduardo Evangelista de Araujo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Física Gleb Wataghin / Made available in DSpace on 2018-08-28T03:18:42Z (GMT). No. of bitstreams: 1 LamillaRubio_ErickAbraham_M.pdf: 5773132 bytes, checksum: 33effe596fdd1deb74be96f588fc6150 (MD5) Previous issue date: 2015 / Resumo: Neste trabalho foi feito um estudo experimental da transmissão de padrões de frequência atómicos através de uma rede de fibra optica. Até onde sabemos este tipo de transmissão foi realizada pela primeira vez no Brasil. Utilizamos uma conexão de fibra óptica entre o Instituto de Física Gleb Wataghin (IFGW) e a Faculdade de Engenharia Elétrica e Computação (FEEC) da UNICAMP, correspondendo a uma distância de aproximadamente 2 km, e um comprimento total de fibra de 18 km. Frequências de RF derivadas de padrões de frequência de Rubídio e de um receptor GPS foram transmitidas e caracterizadas através de medidas de frequência, particularmente por gráficos de variância de Allan, e medidas da fase / Abstract: In this experimental work, transmission of an atomic frequency standard through an optical fiber network has been implemented for first time in Brazil, to the best of our knowledge. We have used a fiber link between the Institute of Physics (IFGW) and the Department of Electrical Engineering inside the campus of the University of Campinas (UNICAMP) corresponding to 18 km fiber link (2km between buildings). Radio frequencies derived from a Rubidium standard and a GPS (Global Position system) receiver has been transmitted and characterized via phase and frequency measurements, particularly trough Allan deviation plots and phase measurements / Mestrado / Física / Mestre em Física / 2013/15492-2 / FAPESP