Como se ha adelantado en la introducción, el objeto a estudiar será la novela “Al morir Don Quijote” del español Andrés Trapiello. Esta obra se publicó el año 2004 y atrajo el interés de gran parte de la crítica especializada. Si bien su difusión no ha sido tan alta, remeció de cierta manera el piso del lector culto, generando un amplio horizonte de expectativas dado su título, el cual nos adelanta que de una u otra forma el hidalgo de lanza en ristre que tanto ha entregado a la humanidad volvería, paradójicamente, a la vida en palabras de otro autor. Sin embargo, este mismo lector preparado, debía estar en conocimiento que no era el primer intento por hacer renacer los ideales entregados por Cervantes, antes ya muchos habían intentado (cada cual con menos fortuna que el anterior) continuar tan magna obra.

Zugl.: Berlin, Freie Univ., Diss., 2003

No description available.

The San Andres Formation (Permian, Guadalupian) is the most prolific oil reservoir in the Permian basin. However, despite more than 60 years of production, an estimated 70% of the original oil in place remains. Recovery of this huge resource requires a better understanding of facies and reservoir framework, which, in turn, must be accomplished using a rock-based reservoir characterization process. This high resolution correlation method is essential for understanding the complex heterogeneities found in shallow water platform carbonates. Steps in the construction of a rock-based reservoir model in the Fullerton San Andres Unit (FSAU) included (1) defining depositional facies and primary facies groups; (2) creating an outcrop depositional model; (3) integrating facies descriptions with gamma-ray and porosity log data; (3) defining field-wide high frequency sequences based on wireline logs and cycle stacking patterns; (4) developing a sequence-based reservoir framework and 3-dimensional reservoir architecture; (5) defining porosity and permeability relationships for facies groups based on rock fabric characteristics. In Fullerton Field, the San Andres Formation comprises high frequency cycles of upward shoaling shallow-marine carbonates. Studies of nine cores (1730 ft) in FSAU reveal four peritidal and five shallow subtidal depositional facies based on texture, fossil assemblages, and sedimentary structures. Peritidal facies are dominantly laminated carbonate mudstones, interpreted as deposited on an intermittently exposed tidal flat. Shallow subtidal facies are peloid and mollusk dominated wackestones and packstones, interpreted as deposited in a shallow protected lagoon. Cycle stacking patterns indicate four complete upward shallowing high frequency sequences. Comparison of high frequency sequences between cored wells shows a high degree of similarity in the overall generalized vertical sequence, especially in the proportions of peritidal and subtidal components within each sequence. Three-dimensional reservoir characterization, using 132 gamma ray and porosity logs, reveals that depositional sequences are largely flat-lying with local topographic variation identified as the fundamental influence on lateral facies distribution within the reservoir section. Integration of core and petrophysical data from surrounding fields places FSAU in the larger sequence stratigraphic framework of the Central Basin Platform. The regional depositional sequence formed a series of depositional environments ranging from intermittently exposed to open marine. San Andres facies developed during south-easterly progradation of shallow water tidal flat and sabkha sediments over a deeper open marine shelf. / text

This thesis illustrates how native populations exert a crucial ecological role through deliberate strategies in order to conserve and preserve marine and coastal ecosystems. The investigation identifies political and judicial practices of the Creole people that have contributed to care of ecosystems placed in the Caribbean Archipelago of San Andrés. To this regard, this study considers how the agency of Creole people has influenced the environmental structuring of islands and seas during 20th and 21st centuries. The result is an improved comprehension, through critical analysis of cultural and judicial discourses, of the current ecological state of the Archipelago.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Made available in DSpace on 2016-04-26T18:15:19Z (GMT). No. of bitstreams: 1 O Violao na Era do Disco.pdf: 1552859 bytes, checksum: 0a6e9bc8f1e3dda79176cc3c97f8225c (MD5) Previous issue date: 2006-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis shows how the classical guitar canon is a phenomenon of the twentieth century in contrast, for example, with the piano, violin and orchestral repertoires, whose canons had been formed step by step since the end of the eighteenth century and dependent as such on the criteria fixed by its interpreters through the medium of sound recording. The project highlights especially, the Age of LPs (1950-90) as the central part of a process where the act of listening to recordings seems to be as important as the edition of music scores. So, for the guitar, the writing is also a sound, and the music is primarily the musicians. Therefore, there are important analogies between the ascension and stabilization of the instrument in the international concert scene and the conceptual development of the recordings, which moves from the Recital LP , simulacrum of live performance, to the Art Work LP , influenced by the historically informed performance and constituting a kind of sound simulacrum of the edited music score. Two important artists who contributed to this process are studied here: Andrés Segovia (1893-1987) and mainly Julian Bream (1933), whose wide phonographic work, released during the second half of the twentieth century, has been analyzed in contrast with the recordings made by Segovia in the first half of the century. Taking that into consideration, authors such as Dahlhaus, Adorno, Lotman, Said and especially Bloom provide decisive conceptual tools for the thesis. Based on this theoretical approach, our study of Juliam Bream s discography has been divided into three moments: the poetical origins (the swerving from Segovia); the middle period (constitution of an independent voice); and the late phase ( misreading of the precursor). The thesis also includes a detailed research of the recordings made by both interpreters and it restores the original context of their albums / Esta tese procura mostrar como ao contrário, por exemplo, dos repertórios pianístico, violinístico e orquestral, cujos cânones formaram-se pouco a pouco desde finais do século XVIII o cânone do violão clássico é um fenômeno do século XX e, como tal, bastante dependente de critérios sonoros fixados por seus intérpretes através de gravações. Em especial, o trabalho destaca a Era dos LPs (aproximadamente 1950-90) como centro de um processo no qual a escuta de discos parece ser ao menos tão importante quanto a edição de partituras. Assim, para o violão, a escrita é também som, e as músicas são antes de tudo os músicos. Há, portanto, fortes analogias entre o processo de ascensão e estabilização do instrumento no cenário internacional de concertos e o desenvolvimento conceitual do disco, que caminha do LP Recital , simulacro da performance ao vivo, para o LP Obra , influenciado pela performance historicamente informada e espécie de simulacro sonoro da partitura editada. Dois artistas centrais para esse processo são estudados no trabalho: o espanhol Andrés Segovia (1893-1987) e sobretudo o inglês Julian Bream (1933), cuja larga obra fonográfica lançada durante a segunda metade do século XX analisamos contra o pano de fundo das gravações realizadas por Segovia na primeira metade do século. Para tanto, autores como Dahlhaus, Adorno, Lotman, Said e especialmente Bloom fornecem ferramentas conceituais decisivas para a fundamentação teórica da pesquisa. A partir desses pressupostos, dividimos nosso estudo crítico da discografia de Julian Bream em três momentos: as origens poéticas, onde predomina o desvio em relação a Segovia; o período médio, caracterizado pela constituição de uma voz própria independente; e a fase de maturidade, onde ocorre a desleitura do precursor. Nesse percurso, o trabalho realiza também um minucioso levantamento das gravações dos dois intérpretes e recupera o contexto original de seus discos

Two hydrogeologic models explore reflux dolomitization using two outcrop datasets at different scales to constrain transient boundary conditions and heterogeneous petrophysical properties. A platform-scale petrophysical model of the Permian San Andres Formation was built from outcrop and subsurface data following a reservoir modeling approach that preserves outcrop heterogeneity and incorporates a sequence stratigraphic framework. This model was used as input for hydrogeological simulations of hypersaline fluid flow and solute transport during the accumulation and compaction of the platform. Boundary conditions change over time, as relative sealevel fluctuations drive sedimentation, depositional environment migration, topographic gradients, and location, size and salinity of the brine source. The potential volume and distribution of dolomite formed is inferred by a magnesium mass-balance. The composite result of reflux events at various orders of stratigraphic hierarchy is a complex dolomite pattern that resembles that observed on San Andres outcrops. Dolostone bodies across the platform may be generated by different combinations of favorable conditions, including proximity to the brine source, zones of higher permeability, permeability contrasts, and latent reflux. A meter-scale reactive transport model of the Albian Upper Glen Rose Formation simulates deposition of three high-frequency cycles punctuated by three brine reflux events. The simulator determines flow, solute and reactive transport along the flow paths, revealing the spatial and temporal distribution of calcite dissolution, and precipitation of dolomite and sulfate. The model recreates fully and partially dolomitized cycles within the time and lithological constrains on Glen Rose outcrops. Our results show that the distribution of dolomite within a high-frequency cycle may be the net result of intercycle processes, whereby dolomitizing fluids sourced from younger cycles flow across stratigraphically significant boundaries. We also show that variations in dolomite abundance and the unfulfilled dolomitization potential control the contemporaneous propagation of multiple dolomite fronts and the coalescence of discrete dolomite bodies. Results show that reflux is an effective and efficient mechanism to dolomitize carbonate formations that progresses simultaneously with sediment accumulation. Dolomitization is the cumulative result of many short-lived reflux events, sourced in different locations and times, and amalgamation of successive dolostone bodies. This model contrasts with previous studies that approached dolomitization of a carbonate platform as a discrete reflux event and current interpretations that relate dolomite bodies to their most immediate stratigraphic surfaces. / text

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

A large portion of the standard repertoire for saxophone and piano has already been recorded and performed many times and has received significant scholarly study. For a performer, remaining relevant requires learning and performing new compositions. Jorge Sosa and Andrés Alén are both accomplished composers, yet outside of the Latin-American community they remain virtually unknown to most saxophonists. This project serves as an introduction to both composers. Combined, Sosa and Alén have nine compositions for saxophone. Their works include saxophone quartets, saxophone and piano, and saxophone quartet with choir. This study focuses on three compositions: La Zacapaneca by Sosa, Tema con Variaciones and Sonata para Clarinete ó Saxofón Soprano y Piano, both by Alén. Compositional background information is given about each composition to include date of composition, premiers, important recordings, length of performance and Cuban ethnic and traditional elements used as the basis for rhythmic and thematic ideas. The Cuban and Afro-Cuban influences are explained in further detail pertaining to how they were used in the construction of the works and in their being performed stylistically correctly. Dynamics, articulations, and performance considerations are studied at length.