A computer program, WINPOST-MULT, is developed for the dynamic analysis of a multiple-body floating system coupled with mooring lines and risers in the presence of waves, winds and currents. The coupled dynamics program for a single platform is extended for analyzing multiple-body systems by including all the platforms, mooring lines and risers in a combined matrix equation in the time domain. Compared to the iteration method between multiple bodies, the combined matrix method can include the full hydrodynamic interactions among bodies. The floating platform is modeled as a rigid body with six degrees of freedom. The first- and second-order wave forces, added mass coefficients, and radiation damping coefficients are calculated from the hydrodynamics program WAMIT for multiple bodies. Then, the time series of wave forces are generated in the time domain based on the two-term Volterra model. The wind forces are separately generated from the input wind spectrum and wind force formula. The current is included in Morison's drag force formula. In case of FPSO, the wind and current forces are generated using the respective coefficients given in the OCIMF data sheet. A finite element method is derived for the long elastic element of an arbitrary shape and material. This newly developed computer program is first applied to the system of a turret-moored FPSO and a shuttle tanker in tandem mooring. The dynamics of the turret-moored FPSO in waves, winds and currents are verified against independent computation and OTRC experiment. Then, the simulations for the FPSO-shuttle system with a hawser connection are carried out and the results are compared with the simplified methods without considering or partially including hydrodynamic interactions.

When the Old French narrative lays were composed in the second half of the twelfth and during the thirteenth century, the authors had access to the theory of classical rhetoric and medieval poetics. This thesis investigates the correspondences between the relevant theoretical concepts and the arrangement of the lays, and reveals in what manner the authors of the lays employed certain techniques and figures in order to achieve the unity of their works. The research is centred on Geoffrey of Vinsauf's Poetria nova and the Documentum de modo et arte dictandi et versificandi, Matthew of Vendôme's Ars versificatoria, and takes into consideration works of the classical origin, namely the Rhetorica ad Herennium and the Ars poetica of Horace. The analysis comprises the lays Aristote, Conseil, Cor, Desiré, Doon, Espervier, Espine, Graelent, Guingamor, Haveloc, Ignaure, Lecheor, Mantel, Melion, Nabaret, Oiselet, Ombre, Trot, Tydorel and Tyolet. The first four chapters discuss the theory on arrangement, assess the unity of the beginning and end with the body of the texts, and examine to what extent the techniques of abbreviation and amplification emphasize or amplify the overall idea. The remaining three chapters demonstrate important structural features typical of the lay narratives which use various rhetorical and poetic methods. Chapter Five analyzes the lay narratives from the perspective of the figures of wordplay, as well as small and large-scale repetition and parallels. Chapter Six examines the recounting of episodes, which coincides with the amplification technique Refining. Chapter Seven exposes the persuasion and reasoning techniques that the characters employ in order to prove or decide something.

In the scholarly literature on smart city, normative and prescriptive approaches dominate. Most publications with analytic goals focus on transnational corporations, the related global imaginary of a smart city, and on associated new technologies. In comparison, actually existing smart cities have seldom been investigated. This is even more the case for public governance arrangements of smart city policies. Our study compares three EU cities in this regard, which are attempting to take a lead in smart city development. In addition, urban agriculture and citizens' participation are specifically investigated in their relation to smart city policy-making. Based on policy document and media discourse analysis, interviews, and participant observation, three governance arrangements of smart city policies are identified: hierarchical governance by the government in Barcelona between 2011 and 2015, closed co-governance by the city executive and non-governmental actors in Vienna and since 2015 in Barcelona, and open co-governance in Berlin. Citizens' participation is in the center in Barcelona since 2015, and is potentially important in Berlin. The Viennese smart city governance arrangement is characterized by non-hierarchical bargaining within the administration and signals innovative meta-governance, without citizens' participation. In all three cities, international dynamics play a crucial role for engaging with smart city, but it is enacted in particular ways according to place-specific history, social forces, and economic and political conditions. The meaning of smart city varies thus considerably: a comprehensive urban sustainability strategy focused upon climate policy goals in Vienna; a comprehensive internationalization strategy in Barcelona between 2011 and 2015; a limited technology- and business-oriented approach in Berlin; and a limited digital city frame geared to participatory democracy and technological sovereignty in Barcelona since 2015. Contrary to the literature, we highlight the agency of city executives, and the place-specific enactments that global smart city imaginaries undergo. Current smart city policies express more continuity than rupture with regard to urban development policies in our case study cities. / Series: SRE - Discussion Papers

Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et lettre, idiomatisme et fidélité. Elle confronte l’interprète à ses propres limites ainsi qu’à celles de son instrument, et favorise la rencontre avec l’altérité d’une écriture dépourvue de gestes familiers. La transcription constitue l’un des moyens privilégiés de compréhension du répertoire transcrit, de l’instrument de destination, et du rapport de l’interprète à son instrument. La transcription du répertoire de clavecin français pour harpe sera envisagée tout d’abord sous un angle historique, puis à travers les interrogations de nature esthétique que suscite l’antagonisme entre idiomatisme et fidélité, enfin la question des limites et impossibilités sera interrogée selon une approche technique et pratique. / The original harp repertoire is rather limited. It seems there are two efficient ways to help its increase : contemporary creation on the one hand, and transcription on the other. This study questions the relation between early music and a current way of transcribing for harp the eighteenth century french harpischord repertoire. Transcription is here considered as an unwritten practice that comes close to interpretation, and like interpretation and translation, it faces fundamental issues which seem paradoxical : spirit and letter, idiomatism and fidelity. Transcription forces the performer to face his own limits as well as his intrument’s, and it favours the encounter with the otherness of a writing that is free of any familiar gesture. Transcription is one of the best ways to comprehend the transcribed repertoire, the instrument the piece is being transcribed for, and the relationship the performer has with his instrument. The transcription for harp of the eighteenth century french harpischord repertoire will be examined first under a historic angle, then, with esthetic concerns raised by the paradox between idiomatism and fidelity, and finally, the issue of the limits and impossibilities will be studied from a technical and practical approach.

Cette thèse étudie la fibre de Milnor d'un arrangement d'hyperplans complexe central, et l'opérateur de monodromie sur ses groupes de cohomologie. On s'intéresse à la problématique suivante : peut-on déterminer l'opérateur de monodromie, ou au moins les nombres de Betti de la fibre de Milnor, à partir de l'information contenue dans le treillis d'intersection de l'arrangement? On donne deux théorèmes d'annulation des sous-espaces propres non triviaux de l'opérateur de monodromie. Le premier résultat s'applique à une large classe d'arrangements, le deuxième à des arrangements de droites projectives tels qu'il existe une droite contenant exactement un point de multiplicité supérieure ou égale à trois. Dans le dernier chapitre, on considère la structure de Hodge mixte des groupes de cohomologie de la fibre de Milnor d'un arrangement central et essentiel dans l'espace complexe de dimension quatre. On donne ensuite l'équivalence entre la trivialité de la monodromie, la nullité des coefficients non entiers du spectre de l'arrangement, et la nullité des nombres de Hodge mixtes des groupes de cohomologie de la fibre de Milnor. / This Ph.D.thesis studies the Milnor fiber of a central complex hyperplane arrangement, and the monodromy operator on its cohomology groups. Our aim is to study the following open question: is it possible to determinate the monodromy operator, or at least the Betti numbers of the Milnor fiber, just using the information contained in the intersection lattice of the arrangement? We give two vanishing results on the non trivial eigenspaces of the monodromy. The first one applies to a large class of arrangements, and the second one to projective line arrangements with a line containing exactly one point of multiplicity greater or equal to three.Then we consider the mixed Hodge structure of the cohomology groups of the Milnor fiber, for a central and essential hyperplane arrangement in the complex space of dimension four. In this case, we give the equivalence between triviality of the monodromy, Tate properties, and nullity of the non integer spectrum's coefficients.Keywords: hyperplane arrangement, intersection lattice, Milnor fiber, monodromy.

The art of transcribing orchestral accompaniments for organ is one of the most difficult problems which organists must face. Although a few will become professional recitalists, most organists will at one time or other have a church position and be required to play oratorios and other large choral compositions which were originally scored for orchestra. Several of the most popular of these works (Handel's Messiah, Saint-Saëns's Christmas Oratorio, Fauŕe's Requiem) have already been arranged for organ, but the majority are available only in piano reductions. The main body of the paper deals with this latter group of works, for it is here that the most urgent problems exist. However, some of the organ arrangements now available need considerable revision because they try to imitate the whole orchestra and are virtually impossible to play. Therefore, some preliminary comments on already existing transcriptions seem necessary.

Desde a segunda metade da década de 1990 profundas mudanças vêm ocorrendo no segmento supermercadista brasileiro. Dessas destacam-se a crescente internacionalização, desnacionalização e concentração econômica dessa modalidade de comércio nas mãos de grandes empresas: Pão de Açúcar, Carrefour e Wal-Mart. Com a finalidade de atingir uma maior competição, profundas mudanças têm ocorrido na forma de gestão do trabalho e no uso de tecnologias, levando a um novo arranjo dos trabalhadores pelos supermercados. Esse arranjo passa a ser marcado por uma maior flexibilidade funcional e pela intensificação do trabalho, que ocorre em consonância com a utilização de novas tecnologias, a exemplo do código de barras que impulsionou o processo de automação comercial. Neste contexto esta pesquisa procura estudar de maneira conjunta as transformações na organização do trabalho e na automação comercial no segmento supermercadista. A análise tem como foco a situação dos trabalhadores que residem no Grajaú, Zona Sul da cidade de São Paulo e atuam ou atuaram como operador de supermercado e operador parttime nas lojas CompreBem e Pão de Açúcar pertencentes ao Grupo Pão de Açúcar. A escolha dos cargos de operador de supermercado e operador part-time deve-se ao seu caráter operacional e flexível. Esses cargos autorizam os trabalhadores a exercerem um maior número de tarefas, desde a frente de caixa ao depósito de um supermercado. Tal fato permite a utilização mais intensa da força de trabalho sem significativa contrapartida salarial. / Since second half of the 1990 profound changes have been occurring in the Brazilian supermarket segment. Growing internationalization, denationalization and economic concentration of this type of trade in charge of big companies: Pão de Açúcar, Carrefour and Wal-Mart. In order to achieve more competition, profound changes have occurred in management of labor and the use of technology, leading at a new arrangement the workers by the supermarkets. This is now marked by greater functional flexibility and the intensification of labor, which is consistent with the use of new technologies, such as the bar code that drove the process of commercial automation. In this context this research studies the changes at work organization and automation commercial in the supermarket segment. The analysis focuses at the situation of workers who lives in Grajaú, South Zone of São Paulo and act or acted as an operator of supermarket and part-time operator in shops CompreBem and Pão de Açúcar, belonging to Grupo Pão de Açúcar. The choice of positions of operator of supermarket and part-time operator depends on the characteristic of the operational nature and flexibility. These positions allow workers to do a greater number of tasks, from the front to the deposit box at a supermarket. This fact allows more intensive use of the labor without significant salary counterpart.

A presente dissertação expõe uma investigação histórica, conceitual e filosófica a respeito da prática de reelaboração musical. O objetivo desse estudo é revelar diferentes perspectivas através das quais podemos tratar a obra musical nessa atividade. Procuramos discutir o equilíbrio entre a criatividade e a relação de fidelidade/autenticidade estabelecida com o original, considerando a personalidade do intérprete/reelaborador. Para tal, construímos um panorama histórico das práticas de reelaboração: transcrição, orquestração, redução, arranjo, adaptação e paráfrase, e as definimos segundo seus propósitos e o grau de transformação de seus materiais musicais. Por fim, analisamos os conceitos de score compliance, werktreue, obra musical e interpretação, além de estabelecermos um paralelo com a tradução literária, a fim de estimular a crítica e compreender melhor a forma como essa atividade foi exercida ao longo da história e como podemos compreendê-la na atualidade. / This thesis presents a historical, conceptual and philosophical research about the practice of musical reworking. The aim of this study is to reveal different perspectives through which we can treat the musical work in this activity. We seek a balance between creativity and the relationship of fidelity/authenticity established with the original, considering the performer\'s personality. To this purpose, we will build a historical overview of reworking practices: transcription, orchestration, reduction, arrangement, adaptation and paraphrase, and we will define them according to their purpose and the degree of transformation of its musical material. Finally, we will analyze the concepts of score compliance, werktreue, musical work and interpretation. In addition, we will offer a parallel to the literary translation in order to stimulate a critical understand of how this activity was exercised throughout history and how we can understand it today.

Os Sei solo â Violino senza Baßo accompagnato de Johann Sebastian Bach (BWV 1001-1006) têm sido transcritos para violão em movimentos isolados desde o final do século XIX e a transcrição (1934) da grandiosa Ciaccona pelo espanhol Andrés Segovia (1893-1987) tornou-se uma peça central no repertório para violão, sobretudo porque que a escrita para violino sofreu um redimensionamento na adaptação do violonista. Por outro lado, as abordagens do ciclo completo no violão têm se aproximado cada vez mais da escrita original para violino. Kazuhito Yamashita (1989), autor da primeira gravação do ciclo completo no violão, se mostra ainda influenciado pela prática segoviana de transcrição, mas Frank Bungarten (1988 - Sonatas/2000 - Partitas) chega a rechaçar a transcrição BWV 1006a, em que o próprio compositor adiciona baixos e preenchimentos harmônicos; Elliot Fisk (2001) segue o exemplo de Bungarten, realizando linhas de baixo apenas ocasionalmente e Timo Korhonen (2009- 2010) leva esse tipo de abordagem ao ápice, não fazendo adição alguma. Contrariando a tendência atual, a única referência coeva que temos de J. S. Bach tocando seus solos de violino é ao clavicórdio, adicionando quanta harmonia ele julgasse necessário, segundo seu aluno Johann Friedrich Agricola. Transcrições dele e de seus contemporâneos nos mostram que a prática de transcrição sempre envolvia a modificação da escrita original para violino tendendo uma maior elaboração polifônica da obra segundo os recursos da nova instrumentação (normalmente teclado ou alaúde). Ao se transcrever os Sei solo para o violão, a prática da época revela que uma pretensa fidelidade ao texto original é tão equivocada do ponto de vista estilístico quanto seria a versão de Segovia se essa fosse julgada fora dos padrões de sua época. Por outro lado, há gravações parciais dos Sei solo ao violão que seguem em maior ou menor grau as práticas de transcrição e de execução barrocas, além de várias gravações do ciclo completo por alaudistas e cravistas que não hesitam em transfigurar a textura original da escrita para violino, para a adequação da escrita aos seus instrumentos. O presente estudo visa estabelecer os fundamentos de uma prática de transcrição para violão dos Sei solo com base nas técnicas de transcrição e de execução do período da composição sem a pretensão de autenticidade ou fidelidade, mas como fonte de recursos de instrumentação (pela reelaboração da textura polifônica com adições de linhas de baixo e preenchimentos harmônicos) e de expressão (pela adaptação de recursos estilísticos essenciais como as articulações e os ornamentos). Em segunda instância, o estudo apresenta uma nova transcrição para violão dos Sei solo como exemplo de aplicação dos fundamentos de adaptação dessas obras. / The Sei solo â Violino senza Baßo accompagnato by Johann Sebastian Bach (BWV 1001-1006) have been arranged for guitar as isolated movements since the end of the 19th century and the transcription (1934) of the great Ciaccona made by the Spaniard Andrés Segovia (1893-1987) became a central work on the repertory, mainly for he remodeled the violin writing when adapting it for guitar. In the other hand, more recent approaches of the cycle have been became progressively simpler and closer to the original writing for violin. The first recording of the cycle on guitar, made by Kazuhito Yamashita (1989), still shows influences of Segovia, but Frank Bungarten (1988 - Sonatas/2000 - Partitas) rejects even Bach\'s own transcription of the 3rd Partia, BWV 1006a, where the composer adds bass lines and harmonies; Elliot Fisk (2001) follows Bungarten\'s example, with few bass additions; Timo Korhonen (2009-2010) goes further and does not add any notes, relying just on the violin score. In opposition to today\'s tendency on guitar, the only reference we to Bach himself playing the violin Solos is on the clavichord, adding as much harmony as he considered necessary, as reports his student Johann Friedrich Agricola. Bach\'s and his contemporaries\' arrangements clearly show us that the change of the medium in a composition (usually violin or cello) always involved the modification of the original writing, generally having more polyphonic elaboration after the resources of the new instrument (normally keyboard or lute). The period\'s practice reveals that an intentioned fidelity to the original musical text in a guitar arrangement is as misplaced as it would be the Segovia\'s version when judged by today\'s standards. In the other hand, there are partial recordings of the Sei solo on the guitar that seek to follow the baroque\'s arrangement and performance practices. There are also several recordings of the whole cycle made by lute and harpsichord players that do not hesitated about changing the original writing for violin in order to adequate the works for their instruments. The present study aims to establish the adaptation principles of the Sei solo for guitar based on period\'s arrangement and performance practices with no pretention of reaching neither authenticity nor fidelity, but simply as instrumentation resources (when rewriting of polyphonic texture with additions of bass lines and harmonies) and expression resources (when adapting stylistic essentials like articulations and ornaments). The secondary purpose of this research is to exemplify an application of the adaptation principles by presenting a new arrangement of the Sei solo for guitar.

Esse trabalho tem o objetivo de compreender aspectos simbólicos envolvidos no universo das artes marciais mistas. A partir de uma vivência no mundo das lutas, identifiquei alguns discursos sobre violência que permeavam os conceitos sobre o esporte. Em vista disso, construí um histórico sobre as artes marciais mistas e as suas relações com a sociedade em que se constituiu. Elenquei, assim, três elementos basilares dentro desse contexto, quais sejam: as academias, os eventos e a mídia. Para inserir um olhar teórico para esse fenômeno, me utilizei da teoria do processo civilizador, de Norbert Elias. Dessa base teórica e da identificação dos discursos sobre as artes marciais mistas, surgiu o problema de pesquisa, que tem objetivo de compreender como um esporte que tem um discurso de violência tão forte consegue se estabelecer socialmente. Para respondê-lo, os pressupostos teórico-metodológicos se basearam no olhar configuracional elisiano. A partir desse conceito, foi realizada uma etnografia em uma academia de MMA e a observação de eventos em Porto Alegre, no interior do Rio Grande do Sul e em outros estados do Brasil. Além disso, foram feitas observações do programa TUF Brasil para a análise de mídia. Os dados produzidos culminaram com a feitura de três capítulos de resultados. O primeiro deles mostra a rotina de treinamento de lutadores de MMA, as técnicas utilizadas, os tipos de modalidades treinadas e alguns elementos simbólicos como o “irmão de treino” a “família”. Nesse tópico, também são mostrados os sentidos da violência naquele contexto e quais os mecanismos de controle são utilizados para a construção do lutador. No segundo capítulo, é abordado o processo de espetacularização do MMA Iniciando pela perda de peso na academia, passando pelo dia da pesagem, a relação com os patrocinadores, com os promotores de evento e com os adversários. Ainda nesse capítulo são apresentadas as estruturas que compõe um evento de artes marciais mistas: o anouncer, o card preliminar, o card principal e a reação do público durante as lutas. Mais uma vez a violência é discutida como um dado de campo. Os mecanismos de controle como a diminuição do sangramento do atleta e a proibição das cotoveladas em alguns eventos são estratégias dos promotores de afastamento da ideia de violência e aproximação do conceito de esporte. Estratégias muito semelhantes são discutidas no último capítulo dos resultados. O programa escolhido foi o The Ultimate Fighter. A primeira parte do tópico se pauta em apresentar as rotinas de treinos, as equipes, a relação com as modalidades de luta e com os treinadores. A partir disso, apresento os ‘dramas’ transmitidos pelo programa em um processo que denominei de ‘humanização do lutador’. Aqui são apresentadas a sua relação com a família, os dramas das lesões, e sua relação com o meio profissional do MMA. Concluo, então, que o MMA é permeado por mecanismos de controle que se materializam nas academias, nos eventos e na mídia. Sendo assim, o esporte se mantém a partir de tensões e redirecionamentos no sentido de causar uma tensão/excitação agradável nos indivíduos. / This work aims to understand symbolic aspects involved in the mixed martial arts fields. Out of a personal experience in the world of fighting, I have identify discourses about violence that pervade the concepts about the sport. Hence, I have constructed a log about the mixed martial arts and its relations within the society. Thereupon, I have chosen three basic elements from the context, for instance the gyms, the events and the media. In order to add a theoretical view to this phenomenon, I have used the Civilizing Process Theory from Norbert Elias. From this rationale, and the identification of the mixed martial arts discourses, has come up the research question which has the intention to better understand how a sport’s category, with such a strong discourse of violence, can established itself socially. To answer the question, the theoretical and methodological presuppositions were based on an Elisian configurational view. An ethnographic observation has been conducted in MMA practice studios in Porto Alegre, in the country side of Rio Grande do Sul and in other parts of Brazil. On top of that, observation was carried out based on the TUF Brasil programme in order to analyse the media. The data collected has resulted in three chapters of findings. The first chapter shows the training routine of the MMA fighters, the technics used, the different kinds of training modality and the symbolic elements such as “training brother” and “family”. In this topic, is also shown the meaning of violence in that context and which control mechanisms are in place to build up a fighter The second chapter discuss the process of big performances and shows related to MMA. Beginning with the process of losing weight in the gym, going forward on the day of stepping up on the scale, the relation with the sponsors, with the promoters of those big events and the relation with the opponent. In this chapter are presented the structures that form a mixed martial art’s event such as the announcer, the preliminary card, the main card and the reaction of the audience during the fights. Again, the violence is argue as an observational data. The control mechanisms such as the bleeding control of the athlete and the ban of elbow nudges in some events are examples of promoters’ strategies to refrain from the idea of pure violence but to enforce the concept of sport. In the last chapter, similar strategies are discuss when showing the results of the data. The chosen programme was ‘The Ultimate Fighter’. The first part of the topic attempt to present the training routine of each team, the relation of each fight modality and the relation with the coaches. Following the rationale, I then present all the ‘drama’ broadcasted by the TV programme in a process named by me as ‘humanise the fighter’. I then present the family relationship, the drama of the injuries and the relation with the professional environment of the MMA. Thus, to conclude, MMA is pervaded by control mechanisms that are materialised on the gyms, during the events and by the media. Hence, the sport maintain itself from the tensions and redirections in the sense of generating a pleasant tension and excitement in all individuals.