La bonne connaissance des données nucléaires de base, grandeurs d’entrée pour les codes de calcul neutronique, constitue l’un des piliers fondamentaux de la réussite des grands programmes de l’industrie nucléaire. Ce travail a pour vocation d’apporter des informations nécessaires à la démarche de validation intégrale des données nucléaires. Des expériences de perturbations ont été effectuées auprès du réacteur Caliban, elles concernent quatre matériaux d’intérêt pour l’industrie nucléaire : or, lutécium, plutonium et uranium 238. D’autres expériences visant à caractériser le réacteur Caliban sont également présentées et discutées, ces dernières sont essentielles à la bonne interprétation des expériences de perturbations. Après définition des protocoles expérimentaux et des incertitudes associées, les résultats de mesures sont présentés et confrontés avec des résultats de calculs. La méthodologie utilisée dans les calculs numériques est décrite précisément, notamment la génération de données multigroupes pour les codes déterministes. La manière dont les expériences ont été modélisées est également présentée avec les incertitudes associées. Cette comparaison a permis d’aboutir à une interprétation en terme de qualification des bibliothèques de données nucléaires. Les écarts observés sont discutés et justifient la poursuite de telles expériences. / The good knowledge of nuclear data, input parameters for the neutron transport calculation codes, is necessary to support the advances of the nuclear industry. The purpose of this work is to bring pertinent information regarding the nuclear data integral validation process. Reactivity worth measurements have been performed on the Caliban reactor, they concern four materials of interest for the nuclear industry : gold, lutetium, plutonium and uranium 238. Experiments which have been conducted in order to improve the characterization of the core are also described and discussed, the latter are necessary to the good interpretation of reactivity worth measurements. The experimental procedures are described with their associated uncertainties, measurements are then compared to numerical results. The methods used in numerical calculations are reported, especially the multigroup cross sections generation for deterministic codes. The modeling of the experiments is presented along with the associated uncertainties. This comparison led to an interpretation concerning the qualification of nuclear data libraries. Discrepancies are reported, discussed and justify the need of such experiments.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2016-08-04T18:39:27Z No. of bitstreams: 1 daianapereiraneto.pdf: 1071648 bytes, checksum: 152571cc6485ecff067705b4a15e758c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-08-05T11:49:43Z (GMT) No. of bitstreams: 1 daianapereiraneto.pdf: 1071648 bytes, checksum: 152571cc6485ecff067705b4a15e758c (MD5) / Made available in DSpace on 2016-08-05T11:49:43Z (GMT). No. of bitstreams: 1 daianapereiraneto.pdf: 1071648 bytes, checksum: 152571cc6485ecff067705b4a15e758c (MD5) Previous issue date: 2013-08-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo dessa dissertação é historiar o uso das personagens Próspero, Ariel e Caliban, provenientes da penúltima peça de Shakespeare, A Tempestade, na América Latina, desde o final do século XIX até fins do século XX. Para alcançar tal objetivo o trabalho foi dividido em quatro capítulos. O primeiro busca analisar as características mais marcantes da peça A Tempestade, bem como seu autor, Willian Shakespeare. O segundo capítulo analisa a interpretação de três autores: Paul Groussac, Rubén Darío e José Enrique Rodó. Esses autores foram os primeiros a utilizar as personagens em solo americano a partir da Guerra Hispano-Americana de 1898. O terceiro capítulo tem como objetivo compreender a diferença no uso das metáforas shakespearianas nas décadas de 1960 e 1970. Elencamos novamente três autores para historiar essa nova percepção: George Lamming, Aimé Césaire e Roberto Fernández Retamar. O quarto e último capítulo analisa a obra O Espelho de Próspero, do historiador norte-americano Richard Morse / This essay aims to record the use of the characters Próspero, Ariel and Caliban, from the penultimate Shakespeare’s play, The Tempest, in Latin America, during the century XIX and XX century. In order to achieve this aim, it was divided in four chapters. The first one intends to approach the main characteristics of The Tempest, and of its author, Willian Shakespeare. The second one analyses three authors’ interpretations: Paul Groussac, Rubén Darío and José Enrique Rodó. These thinkers are chronolycaly the first to use the characters on American land, which is marked by the Hispano-American War of 1898. The third chapter aims to understand the differences in the use of the Shakespearians metaphors in the 1960’s and 1970’s. Again, it selects three authors to record this new perception: George Lamming, Aimé Césaire and Roberto Fernández Retamar. The fourth and last chapter analyses the essay O Espelho de Próspero, by the North American historian Richard Morse.

[pt] O legado de Próspero: uma investigação do projeto narrativo de Ruy Duarte de Carvalho parte do estudo da peça de William Shakespeare intitulada A tempestade para verificar, segundo uma perspectiva pós-colonial, a abordagem da colonização nas narrativas do escritor angolano Ruy Duarte de Carvalho. Publicadas após a independência de Angola, nelas a experiência da colonização não se mostra como um processo plenamente findado, visto que suas marcas ecoam no presente. Assim, Próspero e Caliban (personagens da peça shakespeariana considerados, a partir da década de 1950, como respectivos símbolos do colonizador e do colonizado) e a simbologia da tempestade são aqui teoricamente retomados na tentativa de elucidar os novos impasses vivenciados após a descolonização angolana. Para se estabelecer a aproximação entre a peça de William Shakespeare e as narrativas de Ruy Duarte de Carvalho, levou-se em conta o diálogo teórico proposto pelo autor angolano ao nomear sua trilogia como Os Filhos de Próspero (aludindo ao processo de mestiçagem física e cultural advindo da colonização), bem como a recorrência temática da tempestade em sua criação artística. Nesta Tese, além das narrativas que compõem a trilogia Os filhos de Próspero – Os papeis do inglês (2000), As paisagens propícias (2005) e A terceira metade (2009) –, são também analisadas as obras Como se o mundo não tivesse leste (1977), Vou lá visitar pastores (1999) e Desmedida (2006). / [en] Prospers legacy: an investigation Ruy Duarte de Carvalhoss narrative Project analyses, upon a post colonial point of view, William Shakespeares play entitled The Tempest, to verify the colonization approach in the narratives of the Angolan writer Ruy Duarte de Carvalho. Published after the independence of Angola, these works dont show the colonization experience as a fully complete process since its traces reverberate in the present time. Thus, Prospero and Caliban (Shakespearean characters considered after the 1950s as respective symbols of the colonizer and the colonized) and the tempest symbology are theoretically discussed, in this research, to elucidate the new obstacles experienced after the Angolan decolonization. To establish the approach between Shakespeares play and Ruy Duarte de Carvalhoss narratives, the theoretical dialog proposed by the Angolan author naming his trilogy as Os filhos de Próspero (referring to the physical and cultural miscegenation process as a result of the colonization) was considered as well as the tempest thematic recurrence in his artistic creation. In this thesis, besides the narrations that set Os filhos de Próspero – Os papeis do inglês (2000), As paisagens propícias (2005) e A terceira metade (2009) –, Como se o mundo não tivesse leste (1977), Vou lá visitar pastores (1999) e Desmedida (2006) are also analyzed.

Shakespeare criticism has been a rapidly evolving field of literary studies. Scholars such as Francis Barker and Peter Hulme, Meredith Anne Skura, Stanley Wells, Harold Bloom and Sidney Shanker have continuously developed new theories and dismissed previous theories. In this essay, I discuss the negative results of such attitudes and the problems of “over-reading”, in the critiques which are based on the following theories: the post-colonial, psychoanalytical, biographical and ideological. I elaborate on the relevant arguments and issues within literary critique mentioned by Michael Taylor in his book Shakespeare Criticism in the Twentieth Century. To create a common ground for the theories, I have used critical texts concerning William Shakespeare’s The Tempest. I find that while all forms of literary critique have flaws, the theories also contribute valuable insights for further readings. I maintain that combining several forms of literary critique when analysing a text will create a more complex and in-depth reading, impossible to achieve through a singular critical theory.

La bonne connaissance des données nucléaires de base, grandeurs d'entrée pour les codes de calcul neutronique, constitue l'un des piliers fondamentaux de la réussite des grands programmes de l'industrie nucléaire. Ce travail a pour vocation d'apporter des informations nécessaires à la démarche de validation intégrale des données nucléaires. Des expériences de perturbations ont été effectuées auprès du réacteur Caliban, elles concernent quatre matériaux d'intérêt pour l'industrie nucléaire : or, lutécium, plutonium et uranium 238. D'autres expériences visant à caractériser le réacteur Caliban sont également présentées et discutées, ces dernières sont essentielles à la bonne interprétation des expériences de perturbations. Après définition des protocoles expérimentaux et des incertitudes associées, les résultats de mesures sont présentés et confrontés avec des résultats de calculs. La méthodologie utilisée dans les calculs numériques est décrite précisément, notamment la génération de données multigroupes pour les codes déterministes. La manière dont les expériences ont été modélisées est également présentée avec les incertitudes associées. Cette comparaison a permis d'aboutir à une interprétation en terme de qualification des bibliothèques de données nucléaires. Les écarts observés sont discutés et justifient la poursuite de telles expériences.

abstract: Anchored to the Mexican-American and U.S. Latino historical experience, this dissertation examines how a Latino and Chicano Canibalia manifests itself in literary and cultural production across the different literary periods of the Southwest and the United States as formulated by Luis Leal and Ilan Stavans: Colonization: 1537-1810, Annexations: 1811-1898, Acculturation: 1898-1945, Upheaval: 1946-1979, and the fifth period, Into the Mainstream: 1980-Present. Theoretically, the study is primarily based on the work Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) by Carlos Jauregui. This Canibalia claims that the symbol Caliban, a character taken from the drama The Tempest (1611) by William Shakespeare and interpreted in Calibán (1971) by Roberto Fernández Retamar, is an indispensable reference that, today, links the discourse on Colonial Studies in Latin America and, for us, also in the Mexican-American Southwest. To particularize Jáuregui’s critical perspective, we draw from the work The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) by José David Saldívar, whose call for a School of Caliban not only brings together all subaltern subject positions but marks the value of the “schooling” such an institution will provide. For Saldívar, Chicano and U.S. Latino scholarship needs to be incorporated into Caliban Studies due to a shared anti-imperial resistance. We also rely on the theoretical work Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) by Walter Mignolo, which links colonial difference to border thinking and examines contemporary dialogues on Orientalism, Occidentalism, and post-Occidentalism with regards to Latin American, Chicano, and U.S. Latino cultures. Our study interprets such works as I Am Joaquín (1967) by Rodolfo “Corky” Gonzales, the performances of Guillermo Gómez-Peña, the novels Peregrinos de Aztlán (1974) by Miguel Méndez and Entre la sed y el desierto (2004) by Óscar L. Cordero, US Latino films like Balseros (2002) and Which Way Home (2009), the Mexican film Acorazado (2010), and Chicano and US Latino poetry that features the literary symbol examined under our critical approach; in turn, we have learned that the Chicano and Latino Canibalia is a collection of cannibal discourses which have as an objective stereotyping civilians of Mexican and Latin American descent in the United States. Our critical discourse provides an understanding of today’s complex cultural ties between all countries. A Chicano and Latino Canibalia serves as a bridge of understanding regarding the discursive silences in the history of the United States and Latin America as well as the world. [TEXT IN SPANISH.] ABSTRACTO Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo. / Dissertation/Thesis / Doctoral Dissertation Spanish 2015

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This dissertation examines the various discursive expressions of black agency that formed the stereotypical representations of African descendants found in Victorian racial discourse. It is, therefore, an analysis of the discursive practices of peoples of African descent and not of the actual stereotypes frequently associated with Victorian racial discourse. I believe that a close reading and analysis of the discursive practices of peoples of African descent subject to British rule will generate more focused critical narratives about the fantasies that plagued the British imagination well into the twentieth century. This study also suggest that contemporary scholars should start looking at Victorian racial discourse as an active dialogue and conversation with the Other, rather than a description of the psychology of power. / English

This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. Because my argument rests on the contention that The Tempest was created in a world where colonialism was coming into being, I explore the historical context surrounding the moment of the play’s creation and determine, in spite of the contention of many historians and some literary critics to the contrary, the forces bringing colonialism into being were already at play and were having a profound effect. After briefly illustrating the historical roots of several popular themes in The Tempest that postcolonial writers have embraced, I turn to the work of writers and critics from the Third World and the First to show how The Tempest plays a significant role in postcolonial studies.

This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. Because my argument rests on the contention that The Tempest was created in a world where colonialism was coming into being, I explore the historical context surrounding the moment of the play’s creation and determine, in spite of the contention of many historians and some literary critics to the contrary, the forces bringing colonialism into being were already at play and were having a profound effect. After briefly illustrating the historical roots of several popular themes in The Tempest that postcolonial writers have embraced, I turn to the work of writers and critics from the Third World and the First to show how The Tempest plays a significant role in postcolonial studies.