L’objectif principal de la thèse a été de fournir une révision de l'édition critique, avec une traduction et un commentaire des scholia du ps.Acron au quatrième livre des Carmina. Considérer le quatrième livre a répondu à l'exigence de déterminer une section 'indépendante' dans la production lyrique d'Horace.Le corpus pseudacronian se présente comme un ensemble de scholies à l'œuvre d'Horace pas reconductible à une individualité ou à un moment historique bien précis mais qui résulte comme la conséquence d'une stratification commencée au V siècle et qui a duré jusqu'au Moyen Age attribué de manière erronée à Elenius Acron, auteur du IIè siècle d.C.J'ai proposé des interventions critiques à l'édition de O. Keller publié pour la Teubneriana (Leipzig 1902).Dans la rédaction du commentaire, une grande importance a été conférée à l'évaluation des enquêtes littéraires dans le texte pseudacronian. L’étude comporte également une focalisation attentive sur les typologies de caractéristiques, très diffuses dans les commentaires anciens, grâce auxquels on peut déduire les compétences linguistiques, rhétoriques, littéraires, mythiques, historiennes.Le travail a été complété par un essai initial organisé en sections: la première partie concerne la réception du texte des auctores, et en particulier d'Horace, dans le contexte de l'école. Une seconde section concerne les caractéristiques du commentaire au quatrième livre des Carmina, illustratifs pour l'évaluation de la technique exégétique du ps.Acron. / The main objective of the thesis was that to provide a review of the critical edition, with a translation and a commentary of the scholia pseudacroniana on The Fourth Book of the Odes of Horace. In the vast field of the Horatian lyric, it's been considered un 'independent' section. The pseudacronian corpus looks like a jumble of Horace's scholia not due to an individuality or to a precise historic moment: they are the result of a stratification began in the fifth century and lasted until the Middle Ages, mistakenly attributed to Elenius Acron, author of the second century AD. Some critical interventions have been proposed to the edition of reference, that of O. Keller, published for the series Teubneriana (Pseudacronis Scholia in Horatium vetustiora, Leipzig 1902).During the draft of the commentary I've given great importance to the evaluation of the literary investigations proposed in the pseudacronian text. It's not even a careful focus on the types of notes, too, from which we deduce the linguistic, rhetorical, literary, mythical, historical competences. The work has been completed by an essay divided by sections: the first part concerning the receipt of the text of auctores, and in particular Horace, in the context of the school. The second section concerns the characteristics of the commentary on the fourth book of Odes, taken as an example for the evaluation of ps.Acron's exegetical technique.

This dissertation examines the relationship between phonetic sound and content in Latin poetry, with a focus on Books 1-3 of Horace's Odes. The central argument is that a relationship exists between sound and content in poetry, that this can be analysed and described more thoroughly and systematically than is usually the case, and that the appreciation of poetry can be enhanced by doing so. Part 1 presents a scheme for describing the sound-content relationship, and argues that this accurately reflects the perceptions of poetic audiences and is psychologically valid. The scheme begins with the concept of the 'sonance', defined as any set of sounds that renders a passage sonically noteworthy. Sonances that relate to content are classified either as 'harmonic sonances', which relate to content due to the properties of the relevant sounds, or 'repetitive sonances', which relate to content purely due to the repetition (including patterning or contrasting) of sounds, regardless of their properties. Harmonic sonances, it is argued, may relate to content through four 'harmonies', depending on whether acoustic or articulatory properties are involved and whether the relationship is one of similarity between property and content or a more distant 'metaphor'. Repetitive sonances may relate to content by several different means, or 'modes of repetition'. Part 2 presents a simple method of numerical analysis which may be applied to the text by computer to extract passages that are relatively likely to contain a sonance, and briefly discusses the process of assessing these results, identifying further sonances by more natural means, and relating each sonance to the relevant content. As an essential preliminary to such matters, Latin phonetics and phonology are also discussed in detail. Parts 3 and 4 present the results of applying these resources of assessment and description to the text, to demonstrate the type of poetic appreciation which may thus be gained. Part 3 consists of two catalogues of harmonic and repetitive sonances taken from the whole of Odes 1-3. Part 4 is a specific examination of two entire odes in much greater detail. / Thesis (Ph.D.)--Humanities, 2004.

Cinza leve de carvão, resíduo gerado em usina termelétrica, foi usada para sintetizar zeólita por meio de tratamento hidrotérmico com solução de NaOH. A cinza leve (CL-2) e a zeólita sintética (ZM-2) que foi predominantemente identificada como hidroxi-sodalita foram utilizadas como adsorventes dos corantes aniônicos índigo carmina (IC) e reativo laranja 16 (RL16) de soluções aquosas. Nos processos de adsorção, os efeitos de tempo de contato, concentração inicial de corantes, pH, massa de adsorventes e temperatura foram avaliados. O estudo cinético de adsorção demonstrou que os resultados apresentaram melhor ajuste ao modelo de pseudo-segunda ordem e que adsorção de superfície e difusão intrapartícula participaram no mecanismo de adsorção. Os parâmetros termodinâmicos demonstraram que a adsorção foi espontânea em todos os processos de adsorção. Os processos de adsorção foram de natureza endotérmica para todos os sistemas, com exceção do sistema IC/ZM-2, em que foi exotérmico. Os dados de entropia mostraram a ocorrência do aumento da desordem na interface sólido/solução durante a adsorção em todos os sistemas, exceto novamente no IC/ZM-2, no qual se verificou a diminuição da desordem na interface. As isotermas de adsorção ajustaram-se à equação linear de Langmuir. As capacidades máximas de adsorção foram 1,48 mg/g para o sistema IC/CL-2; 1,13 mg/g para IC/ZM-2; 0,96 mg/g para RL16/CL-2 e 1,14 mg/g para RL16/ZM-2 à temperatura ambiente. O estudo de dessorção realizado com água, com soluções aquosas ácidas e com solução aquosa básica demonstrou ser ineficiente tanto para a recuperação dos corantes quanto para a regeneração dos adsorventes. / Coal fly ash, a waste generated in coal-fired electric power plant, was used to synthesize zeolite by hydrothermal treatment with NaOH solution. The fly ash (CL-2) and this synthesized zeolite (ZM-2) that was characterized as hydroxy-sodalite were used as adsorbents for anionic dyes indigo carmine (IC), and reactive orange 16 (RO16) from aqueous solutions. Effects of contact time, initial dye concentration, pH, adsorbent mass, and temperature were evaluated in the adsorption processes. The kinetics studies indicated that the adsorption followed the pseudo-second order kinetics and that surface adsorption and intraparticle diffusion were involved in the adsorption mechanism. The thermodynamics parameters demonstrated that the adsorption was spontaneous for all adsorption processes. The enthalpy data confirmed the endothermic nature for all adsorption processes except for IC/ZM-2 system which was exothermic. The entropy data showed an increased disorder at the solid/solution interface during the adsorption for all systems except for IC/ZM-2 whose negative entropy value indicated a decreased disorder at the interface. The adsorption isotherms were closely fitted to the Langmuir linear equation. The maximum adsorption capacities were 1.48 mg/g for the IC/CL-2 system; 1.13 mg/g for IC/ZM-2; 0.96 mg/g for RO16/CL-2, and 1.14 mg/g for RO16/ZM-2 at room temperature. The desorption study carried out with water, with acid aqueous solutions, and with an alkali aqueous solution showed to be inefficient both for recovering the dyes and regenerating the adsorbents.

Cinza leve de carvão, resíduo gerado em usina termelétrica, foi usada para sintetizar zeólita por meio de tratamento hidrotérmico com solução de NaOH. A cinza leve (CL-2) e a zeólita sintética (ZM-2) que foi predominantemente identificada como hidroxi-sodalita foram utilizadas como adsorventes dos corantes aniônicos índigo carmina (IC) e reativo laranja 16 (RL16) de soluções aquosas. Nos processos de adsorção, os efeitos de tempo de contato, concentração inicial de corantes, pH, massa de adsorventes e temperatura foram avaliados. O estudo cinético de adsorção demonstrou que os resultados apresentaram melhor ajuste ao modelo de pseudo-segunda ordem e que adsorção de superfície e difusão intrapartícula participaram no mecanismo de adsorção. Os parâmetros termodinâmicos demonstraram que a adsorção foi espontânea em todos os processos de adsorção. Os processos de adsorção foram de natureza endotérmica para todos os sistemas, com exceção do sistema IC/ZM-2, em que foi exotérmico. Os dados de entropia mostraram a ocorrência do aumento da desordem na interface sólido/solução durante a adsorção em todos os sistemas, exceto novamente no IC/ZM-2, no qual se verificou a diminuição da desordem na interface. As isotermas de adsorção ajustaram-se à equação linear de Langmuir. As capacidades máximas de adsorção foram 1,48 mg/g para o sistema IC/CL-2; 1,13 mg/g para IC/ZM-2; 0,96 mg/g para RL16/CL-2 e 1,14 mg/g para RL16/ZM-2 à temperatura ambiente. O estudo de dessorção realizado com água, com soluções aquosas ácidas e com solução aquosa básica demonstrou ser ineficiente tanto para a recuperação dos corantes quanto para a regeneração dos adsorventes. / Coal fly ash, a waste generated in coal-fired electric power plant, was used to synthesize zeolite by hydrothermal treatment with NaOH solution. The fly ash (CL-2) and this synthesized zeolite (ZM-2) that was characterized as hydroxy-sodalite were used as adsorbents for anionic dyes indigo carmine (IC), and reactive orange 16 (RO16) from aqueous solutions. Effects of contact time, initial dye concentration, pH, adsorbent mass, and temperature were evaluated in the adsorption processes. The kinetics studies indicated that the adsorption followed the pseudo-second order kinetics and that surface adsorption and intraparticle diffusion were involved in the adsorption mechanism. The thermodynamics parameters demonstrated that the adsorption was spontaneous for all adsorption processes. The enthalpy data confirmed the endothermic nature for all adsorption processes except for IC/ZM-2 system which was exothermic. The entropy data showed an increased disorder at the solid/solution interface during the adsorption for all systems except for IC/ZM-2 whose negative entropy value indicated a decreased disorder at the interface. The adsorption isotherms were closely fitted to the Langmuir linear equation. The maximum adsorption capacities were 1.48 mg/g for the IC/CL-2 system; 1.13 mg/g for IC/ZM-2; 0.96 mg/g for RO16/CL-2, and 1.14 mg/g for RO16/ZM-2 at room temperature. The desorption study carried out with water, with acid aqueous solutions, and with an alkali aqueous solution showed to be inefficient both for recovering the dyes and regenerating the adsorbents.

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).