Hydrogen appears to be a clean and sustainable fuel for transportation vehicles, including internal combustion engine vehicles. In this research, a 1986 GMC Sierra truck with a 350CID 5.7L V8, 4 barrel carbureted Chevrolet gasoline engine is converted to burn hydrogen as a sustainable and envirnmentally benign fuel with a shorter energetic cycle. It demonstrates that the problems of backfire can be eliminated using several less expensive methods, such as employing cold spark plugs with reduced spark gap and low temperature cooled valves along with the introduction of water vapor to the mixture. In the experiments, the internal combustion engine was tested for two fuels: (i) octane 95 gasoline, and (ii) gaseous hydrogen at 99% purity. The vehicle underwent dynamometer tests using both the gasoline and hydrogen fuels for performance comparisons. A comprehensive thermodynamic analysis, through energy and exergy, of the engine is conducted for both cases: (i) with the octane 95 gasoline fuel and (ii) with hydrogen gaseous fuel. The performance results through energy and exergy efficiencies are compared for possible improvements. The mileage and energy efficiencies calculated and tested using this engine showed that it is more efficient operating on gasoline fuel rather than hydrogen. This is explained fully in the thesis as to the properties of hydrogen and gasoline fuels that differ, and the particular vehicle technology makes this difficult to achieve a reasonable mileage and efficiency. / UOIT

Thesis (M.A.)--Ohio University, August, 2009. / Title from PDF t.p. Includes bibliographical references.

Abstract Title: Art influences in today´s advertisingimages – A qualitative study of advertisingimages and work of art Number of pages: 46 Author: Sanna Olsson Tutor: Else Nygren Course: Media and Communication Science C Period: Autumn 2009 University: Division of Media and Communication, Uppsala University Purpose: The purpose with this composition is to analyse how art has influenced todays advertising images, to see wich influences that can be descovered. Method/Material: Since this is an imageanalys the main material has been consisted of advertising images, a total of seven. In addition, art images have been used as comparative material. The advertising images have been strategically selected, however they are modern and aestetically appealing. A number of questions have been formulated wich is the basis of the analys. Main results: Primarily the study found that art has influenced today’s advertisingimages in different ways. Especially the emotionell and spiritual part has been captured in today’s adertisingimages in ways that could only come from art. The depth and spirit in the image is a way to reach out to the recipients on a much deeper level. This is exactly what art was all about. Advertising is no longer only informative and plane, it is almost in some ways similair to art. Keywords: advertising, advertisingimage, work of art, imageanalysis, art, message, marketing, perspective, messagetypes, tecniques, motifs, photograph, digital photograph, image editing, acquaintance-making, external-making, humor, irony, visual commmunication, Honda, Chevrolet, McDonalds, Ramorama, Scrabble, Björn Gustafsson, Citroën Total.

Este trabalho versa sobre as personagens de tipo marginal através da análise do texto de duas peças teatrais contemporâneas. A primeira obra é Dois perdidos numa noite suja (1966), de Plínio Marcos, e a segunda Nossa vida não vale um Chevrolet (1990), de Mário Bortolotto, dois importantes dramaturgos brasileiros que apresentam alguns interessantes pontos de encontro e também de distanciamento passíveis de análise. Para examinar as diferenças na construção de personagens marginais feita por cada um dos dramaturgos, foram selecionadas duas peças de temática semelhante: ambas são protagonizadas por personagens que atuam como ladrões. No entanto, em Plínio Marcos as personagens são conduzidas à marginalidade como meros fantoches do destino, enquanto em Mário Bortolotto o ato de ser marginal integra, desde o início da peça, a identidade dos protagonistas. A análise irá contar, principalmente, com as teorias sobre a personagem do teatro, de Décio de Almeida Prado, com as análises da figura do malandro, feitas por Antonio Candido e por Roberto DaMatta, e sobretudo com a ideia de substituição do malandro pelo marginal, desenvolvida por João César Rocha. Em virtude de ambas as peças terem sido adaptadas para o cinema, isso também será contemplado nesta dissertação. A peça de Plínio Marcos teve duas adaptações, as quais foram intituladas Dois perdidos numa noite suja (1970) e 2 perdidos numa noite suja (2002), e a versão da peça de Bortolotto teve o título alterado para Nossa vida não cabe num Opala (2008). Essas adaptações serão aqui abordadas a fim de verificar se as características desses marginais se mantêm nessa outra linguagem que confere à personagem maior autonomia em relação aos seus criadores originais. Ao final de todas essas etapas, esta pesquisa pretende examinar a possibilidade de ver no malandro a origem do marginal e como, em virtude do diferente contexto histórico de ambos os dramaturgos, essa condição é responsável por distanciar dois autores sempre tão comparados. / This dissertation is about the marginal character type by analyzing the texts of two contemporary dramas. The first one is Dois perdidos numa noite suja (1966) by Plínio Marcos, and the second one is Nossa vida não vale um Chevrolet (1990) by Mário Bertolotto, two important Brazilian playwrights that present some interesting common elements as well as differences that can be examined. In order to investigate the different constructions of marginal characters created by the playwrights, two plays were selected according to a similar theme: both plays present thieves as main characters. However, in Plínio Marcos’s play the characters are conducted to a marginal life in the condition of fortune’s puppets, while in Mário Bortolotto’s, the act of being a marginal, since the beginning of the play, is a part of the character’s identity. The analysis will be based upon the theories regarding drama characters by Décio de Almeida Prado, the analysis of the Brazilian malandro character by Antonio Candido and by Roberto DaMatta, and, above all, the idea of the replacement of malandro by marginal, developed by João César Rocha. Considering both plays have movie adaptations, it will be a topic studied in this dissertation as well. Plínio Marcos’s play had two movie adaptations Dois perdidos numa noite suja (1970) and 2 perdidos numa noite suja (2002), and the movie version of Bortolotto’s play had a different title as Nossa vida não cabe num Opala (2008). The adaptations will be analyzed in order to verify if the traces of these marginal characters are maintained in the cinema language, since it grants more autonomy to the characters, compared to its original creation. In the end, this research intends to investigate the possibilities of seeing the origin of the marginal in the figure of the malandro and to examine how this view, originated from the historical differences in the context of these two playwrights, is responsible for the distance between these two authors often compared.

Este trabalho versa sobre as personagens de tipo marginal através da análise do texto de duas peças teatrais contemporâneas. A primeira obra é Dois perdidos numa noite suja (1966), de Plínio Marcos, e a segunda Nossa vida não vale um Chevrolet (1990), de Mário Bortolotto, dois importantes dramaturgos brasileiros que apresentam alguns interessantes pontos de encontro e também de distanciamento passíveis de análise. Para examinar as diferenças na construção de personagens marginais feita por cada um dos dramaturgos, foram selecionadas duas peças de temática semelhante: ambas são protagonizadas por personagens que atuam como ladrões. No entanto, em Plínio Marcos as personagens são conduzidas à marginalidade como meros fantoches do destino, enquanto em Mário Bortolotto o ato de ser marginal integra, desde o início da peça, a identidade dos protagonistas. A análise irá contar, principalmente, com as teorias sobre a personagem do teatro, de Décio de Almeida Prado, com as análises da figura do malandro, feitas por Antonio Candido e por Roberto DaMatta, e sobretudo com a ideia de substituição do malandro pelo marginal, desenvolvida por João César Rocha. Em virtude de ambas as peças terem sido adaptadas para o cinema, isso também será contemplado nesta dissertação. A peça de Plínio Marcos teve duas adaptações, as quais foram intituladas Dois perdidos numa noite suja (1970) e 2 perdidos numa noite suja (2002), e a versão da peça de Bortolotto teve o título alterado para Nossa vida não cabe num Opala (2008). Essas adaptações serão aqui abordadas a fim de verificar se as características desses marginais se mantêm nessa outra linguagem que confere à personagem maior autonomia em relação aos seus criadores originais. Ao final de todas essas etapas, esta pesquisa pretende examinar a possibilidade de ver no malandro a origem do marginal e como, em virtude do diferente contexto histórico de ambos os dramaturgos, essa condição é responsável por distanciar dois autores sempre tão comparados. / This dissertation is about the marginal character type by analyzing the texts of two contemporary dramas. The first one is Dois perdidos numa noite suja (1966) by Plínio Marcos, and the second one is Nossa vida não vale um Chevrolet (1990) by Mário Bertolotto, two important Brazilian playwrights that present some interesting common elements as well as differences that can be examined. In order to investigate the different constructions of marginal characters created by the playwrights, two plays were selected according to a similar theme: both plays present thieves as main characters. However, in Plínio Marcos’s play the characters are conducted to a marginal life in the condition of fortune’s puppets, while in Mário Bortolotto’s, the act of being a marginal, since the beginning of the play, is a part of the character’s identity. The analysis will be based upon the theories regarding drama characters by Décio de Almeida Prado, the analysis of the Brazilian malandro character by Antonio Candido and by Roberto DaMatta, and, above all, the idea of the replacement of malandro by marginal, developed by João César Rocha. Considering both plays have movie adaptations, it will be a topic studied in this dissertation as well. Plínio Marcos’s play had two movie adaptations Dois perdidos numa noite suja (1970) and 2 perdidos numa noite suja (2002), and the movie version of Bortolotto’s play had a different title as Nossa vida não cabe num Opala (2008). The adaptations will be analyzed in order to verify if the traces of these marginal characters are maintained in the cinema language, since it grants more autonomy to the characters, compared to its original creation. In the end, this research intends to investigate the possibilities of seeing the origin of the marginal in the figure of the malandro and to examine how this view, originated from the historical differences in the context of these two playwrights, is responsible for the distance between these two authors often compared.

Este trabalho versa sobre as personagens de tipo marginal através da análise do texto de duas peças teatrais contemporâneas. A primeira obra é Dois perdidos numa noite suja (1966), de Plínio Marcos, e a segunda Nossa vida não vale um Chevrolet (1990), de Mário Bortolotto, dois importantes dramaturgos brasileiros que apresentam alguns interessantes pontos de encontro e também de distanciamento passíveis de análise. Para examinar as diferenças na construção de personagens marginais feita por cada um dos dramaturgos, foram selecionadas duas peças de temática semelhante: ambas são protagonizadas por personagens que atuam como ladrões. No entanto, em Plínio Marcos as personagens são conduzidas à marginalidade como meros fantoches do destino, enquanto em Mário Bortolotto o ato de ser marginal integra, desde o início da peça, a identidade dos protagonistas. A análise irá contar, principalmente, com as teorias sobre a personagem do teatro, de Décio de Almeida Prado, com as análises da figura do malandro, feitas por Antonio Candido e por Roberto DaMatta, e sobretudo com a ideia de substituição do malandro pelo marginal, desenvolvida por João César Rocha. Em virtude de ambas as peças terem sido adaptadas para o cinema, isso também será contemplado nesta dissertação. A peça de Plínio Marcos teve duas adaptações, as quais foram intituladas Dois perdidos numa noite suja (1970) e 2 perdidos numa noite suja (2002), e a versão da peça de Bortolotto teve o título alterado para Nossa vida não cabe num Opala (2008). Essas adaptações serão aqui abordadas a fim de verificar se as características desses marginais se mantêm nessa outra linguagem que confere à personagem maior autonomia em relação aos seus criadores originais. Ao final de todas essas etapas, esta pesquisa pretende examinar a possibilidade de ver no malandro a origem do marginal e como, em virtude do diferente contexto histórico de ambos os dramaturgos, essa condição é responsável por distanciar dois autores sempre tão comparados. / This dissertation is about the marginal character type by analyzing the texts of two contemporary dramas. The first one is Dois perdidos numa noite suja (1966) by Plínio Marcos, and the second one is Nossa vida não vale um Chevrolet (1990) by Mário Bertolotto, two important Brazilian playwrights that present some interesting common elements as well as differences that can be examined. In order to investigate the different constructions of marginal characters created by the playwrights, two plays were selected according to a similar theme: both plays present thieves as main characters. However, in Plínio Marcos’s play the characters are conducted to a marginal life in the condition of fortune’s puppets, while in Mário Bortolotto’s, the act of being a marginal, since the beginning of the play, is a part of the character’s identity. The analysis will be based upon the theories regarding drama characters by Décio de Almeida Prado, the analysis of the Brazilian malandro character by Antonio Candido and by Roberto DaMatta, and, above all, the idea of the replacement of malandro by marginal, developed by João César Rocha. Considering both plays have movie adaptations, it will be a topic studied in this dissertation as well. Plínio Marcos’s play had two movie adaptations Dois perdidos numa noite suja (1970) and 2 perdidos numa noite suja (2002), and the movie version of Bortolotto’s play had a different title as Nossa vida não cabe num Opala (2008). The adaptations will be analyzed in order to verify if the traces of these marginal characters are maintained in the cinema language, since it grants more autonomy to the characters, compared to its original creation. In the end, this research intends to investigate the possibilities of seeing the origin of the marginal in the figure of the malandro and to examine how this view, originated from the historical differences in the context of these two playwrights, is responsible for the distance between these two authors often compared.

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