Made available in DSpace on 2016-03-15T19:45:33Z (GMT). No. of bitstreams: 1 Luciana Duenha Dimitrov.pdf: 2042178 bytes, checksum: fc578e0ab9aa394548d39d8a17c560d8 (MD5) Previous issue date: 2007-01-30 / In this study, racial prejudice is the basis of Toni Morrison s The bluest eye, despite not being the only aspect evidenced in the novel. What should be spotlighted as well is how the time is deconstructed; the evident presence of several discourses that can rise racism up, or bring it down; and the strong influence of colors in the conception of scenes that, in some of the narrative moments, can be associated with pictorial images. When the facets mentioned among many others are put together, there is the achievement of a great result in the novel s aesthetics. The main goal of this study is to exploit those aspects, looking forward to establishing those inseparable relations between the novel s main theme and its form, in order to consolidate their relevance both to the romance s construction and constitution. / Neste trabalho, o preconceito racial que fundamenta The bluest eye, de Toni Morrison, não é o único aspecto em destaque no romance; merece ser ressaltada igualmente a forma como se desconstrói o tempo, a coexistência de discursos que ora enaltecem, ora abominam o racismo, a forte influência de cores na concepção de cenas que, em muitos momentos, podem ser associadas a imagens pictóricas. A confluência desses e de outros tantos aspectos sem dúvida contribui para o excelente resultado estilístico alcançado na narrativa. O objetivo, aqui, é explorar tais aspectos, buscando essas relações indissociáveis entre o tema central e a forma, no intuíto de comprovar sua relevância para construção e constituição do romance.

Made available in DSpace on 2016-03-15T19:46:40Z (GMT). No. of bitstreams: 1 Nivaldo Medeiros Diogenes.pdf: 741277 bytes, checksum: 85589cf3eb9a6e9e3242d2833bfbe957 (MD5) Previous issue date: 2008-06-19 / Secretaria da Educação do Estado de São Paulo / This dissertation presents a study concerning the use of the colors in the Literature. For so much, it is been worth of the analyses of the Portuguese writer's two romances José Saramago: Rehearsal on the Blindness and Rehearsal on the lucidity with the objective of evidencing how the senses are built starting from the new signification of the symbolism of the colors. Based in the theoretical conceptions on the color, a first proposal is had as for the invariable use of the colors in the literature. Finally, it stands out, also, the road to reach the existent speeches inside you crome them. / Esta dissertação apresenta um estudo acerca da utilização das cores na literatura. Para tanto, vale-se das análises de dois romances do escritor português José Saramago: Ensaio sobre a cegueira e Ensaio sobre a lucidez com o objetivo de evidenciar como são construídos os sentidos a partir da ressignificação dos simbolismos das cores. Fundamentada nas concepções teóricas sobre a cor, tem-se uma primeira proposta das invariantes no uso das cores na literatura. Por fim, destaca-se, também, o caminho para se atingir os discursos existentes no interior dos cromas.

Stereocomplex poly(methyl methacrylate) (PMMA) fibers for the purpose of reinforcing PMMA materials were developed. These kinds of composites are known as "self-reinforced" composites. We were successful in producing stereocomplex PMMA fibers with three different methods - wet spinning, gel spinning and electrospinning. Gel spinning and electrospinning produced the most crystalline fibers. Steroecomplex PMMA fibers were further shown to be resistant to high temperature and also to hot monomer solvent during bulk polymerization. We further describe our efforts in characterization, replication and mimicry of structural color features of butterflies and beetles. We have developed a simple method of characterizing the bidirectional reflectance distribution function of microscopic objects such as butterfly wing scales. We used this method to characterize nanometer sized structural color features resulting from the replication of butterfly Morpho rhetenor, mimickry of butterfly Papilio palinurus and also the native structural color features of iridescent beetle Chrysina gloriosa, which were shown to be cholesteric focal conic defects lined on the surface.

Grâce aux progrès récents dans le domaine des nanotechnologies il est maintenant possible de colorer des plaques de verre avec du dioxyde de titane contenant de l’argent par irradiation laser. L’une des caractéristiques de ce procédé est que le rendu couleur des échantillons produits diffère quand ceux-ci sont observés en réflexion (spéculaire ou diffuse) ou en transmission, ainsi que quand on polarise la lumière. Ce nouveau procédé d’impression laser que l’on a appelé PICSLUP (pour Photo-Induced Colored Silver LUster Printing system) permet de produire des images couleur gonio-apparentes.L’objectif de cette thèse est de caractériser l’apparence couleur (d’un point de vus colorimétrique et photométrique, et ce selon plusieurs géométries d’observation) de plaques de verre colorées par ce procédé. Ce qui pose de nombreux challenges techniques du fait que le système d’impression utilisé est encore en cours de développement et pas souvent accessible, du fait également de plusieurs spécificités photométriques (surface fortement translucide, fortement spéculaire, forte gonio-chromaticité). Afin de lever de toutes ces contraintes techniques notre première approche a été de caractériser la couleur grâce à un imageur monté sur un microscope. Nous avons pour cela généré par impression laser (avec le système PICSLUS) tout un ensemble d’échantillons couleur en faisant varier de manière exhaustive différents paramètres d’impression (temps d’exposition du faisceau laser, longueur d’onde, distance focale). Afin d’obtenir des mesures couleur précises nous avons ensuite développé une méthode de calibrage couleur spécifique dédiée à la mesure de surfaces fortement spéculaires. La précision de cette méthode de calibrage, appliquée aux échantillons créés par le système PICSLUP, est comparable à celles relevées dans l’état de l’art. À partir des couleurs obtenues on peut estimer la gamme des couleur (color gamut) qui peut être obtenue par ce système d’impression, en particulier pour la géométrie spéculaires 0º:0º, et étudier l’influence des différents paramètres d’impression ainsi que l’effet de la polarisation. Quoique les mesures réalisées sous microscope avec la géométrie spéculaire 0°:0° soient particulièrement utile pour étudier les propriétés colorimétriques et photométriques produites par le système PICSLUP, ces mesures ne sont pas suffisantes pour caractériser complètement ce système. En effet, l’apparence couleur des échantillons produits varie également en fonction de la géométrie d’éclairement et d’observation, il est donc nécessaire de caractériser le système PICSLUP selon d’autres géométries que la seule géométrie 0°:0°. Nous avons donc développé une autre méthode de caractérisation basée sur l’utilisation d’un imageur hyperspectral à géométrie ajustable, ce qui nous a permis de caractériser un ensemble donné d’échantillons couleur produits par le système PICSLUP. Ces échantillons ont été mesurés, en recto-verso, en transmission (avec la géométrie 0°:0°), en réflexion spéculaire (avec la géométrie 15°:15°), et en réflexion hors spéculaire (avec la géométrie 45°:0°). Grâce à ces mesures on a pu estimer pour différentes géométries d’observation les changements de gamme des couleurs qui peuvent être obtenus par le système PICSLUP. Le volume qui circonscrit chacune de ces gammes de couleur peut être modélisé par une forme concave qui contient beaucoup de zones éparses, ce qui revient à dire que certaines couleurs ne peuvent être directement obtenues par impression. Afin d’obtenir une forme convexe, plus dense quelque soit la zone d’étude considérée, nous avons testé avec succès une nouvelle méthode d’impression qui consiste non plus à imprimer des aplats (zones uniformément colorées par juxtaposition de lignes laser identiques) mais à imprimer des demi-tons (par juxtaposition de lignes laser de différentes couleurs). Cette méthode est basée sur le principe de l’halftoning et sur un nombre limité de primaires couleur pré-sélectionnées / Recent progresses in nanotechnologies enabled the coloration of glass plates coated with titanium dioxide containing silver by laser irradiation. The colored samples display very different colors when obtained by reflection or transmission of light; in specular or off-specular directions; and with or without polarizing filters. This new laser printing technology, that we call PICSLUP (for Photo-Induced Colored Silver LUster Printing system), enables the production of gonioapparent color images.The goal of this study is to perform a multi-geometry photometric and color characterization of this complex system. This task posed technical challenges due to the system being in a development stage, especially a low availability of the printing material; and due to the photometric properties of the prints: high translucency, high specularity and strong goniochromaticity. In order to overcome these constraints, our first approach was based on color characterization by microscope imaging. The data set used consisted in printing an exhaustive number of micrometric color patches, produced by varying the different laser printing parameters: exposure time, laser wavelength, laser power, and laser focusing distance. To achieve accurate color measurements with samples produced with the PICSLUS system, we successfully developed a color calibration method especially tailored for highly specular materials, whose accuracy is good in comparison to previous studies in the literature on camera color calibration. From the colors obtained, we could estimate the color gamut in the 0º:0º specular reflection geometry and study the influence of the different printing parameters as well as polarization. Although the measurements with microscope imaging in the 0°:0° specular geometry were very useful to study the properties of the colors produced by the PICSLUP technology, they were not sufficient to fully characterize the system, since the samples exhibit very different colors according to the respective positions of the viewer and the light source. With this in mind, we assembled a geometry-adjustable hyperspectral imaging system, which allowed us to characterize a representative subset of the colors that can be produced with the system. The samples were measured from both recto and verso faces, in the 0°:0° transmission, 15°:15° specular reflection, and 45°:0° off-specular reflection illumination/observation geometries. From these measurements, the color gamuts of the system were estimated in the different geometries. The volumes delimited by the colors obtained were concave and contained many sparse regions with very few samples. In order to obtain more continuous, dense and convex color gamut volumes, we successfully tested the generation of new colors by juxtaposing printed lines of different primaries with halftoning techniques. In order to circumvent the need to physically characterize all the different color that can be produced with halftoning using the numerous primaries available, we also tested and fitted existing halftoning prediction models, and obtained a satisfactory accuracy. The use of halftoning not only increased the number colors that can be produced by the system in the different geometries, but also increased the number of different primaries that can be produced when we consider as a whole the set of colors produced by the same printed patch in multiple geometries. Finally, based on the different properties demonstrated by the samples produced by the PISCLUP system, we explored some imaging and security features with colors obtained from our characterization, and propose further potential applications for this new goniochromatic laser printing technology

Submitted by RAFAELLY CALSAVARA MARTINS (rcalsavara@yahoo.com.br) on 2018-04-18T14:26:34Z No. of bitstreams: 1 Dissertação - Rafaelly.pdf: 1006900 bytes, checksum: 5de75f90d394fb494260f60a66a10061 (MD5) / Approved for entry into archive by Maria Lucia Martins Frederico null (mlucia@fca.unesp.br) on 2018-04-18T16:29:28Z (GMT) No. of bitstreams: 1 martins_rc_me_botfca.pdf: 944570 bytes, checksum: 61c4c333ef49f44b64f726f81acdfe56 (MD5) / Made available in DSpace on 2018-04-18T16:29:28Z (GMT). No. of bitstreams: 1 martins_rc_me_botfca.pdf: 944570 bytes, checksum: 61c4c333ef49f44b64f726f81acdfe56 (MD5) Previous issue date: 2018-02-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A bananeira é a segunda fruta com maior volume comercializado no mundo. Pelo fato de ser uma fruta muito apreciada pelo consumidor brasileiro, nos últimos anos surgiram diversas tecnologias que auxiliam no cultivo da bananeira, principalmente relacionadas à qualidade dos frutos. Nesse contexto, o trabalho teve como objetivo avaliar a influência da coloração dos sacos plásticos empregados no ensacamento de cachos de bananeira ‘BRS Conquista’. Os tratamentos consistiram no uso de sacos de polietileno comerciais, nas cores branco, preto, vermelho e azul, além da testemunha (sem ensacamento). O delineamento experimental foi em blocos casualizados, com cinco tratamentos, quatro repetições e quatro plantas por parcela, totalizando 80 plantas. Avaliou-se a qualidade fitossanitária dos frutos, sendo o número de pontuações de danos causados por tripes da erupção e a porcentagem de área lesionada causada por antracnose, além das características físicas dos frutos, como massa do cacho, massa da ráquis, massa dos frutos, número de frutos por cacho, número de pencas por cacho, massa das pencas, número, comprimento e diâmetro de frutos da segunda penca, e as características físico-químicas dos frutos, como sólidos solúveis, acidez titulável, relação polpa/casca, índice de maturação e período de maturação. Verificou-se que os cachos que foram ensacados com sacos de coloração branca e preto apresentaram menor número de pontuações provocadas por tripes. Enquanto que para antracnose, os cachos que receberam sacos de coloração branca, vermelha e azul, apresentaram as menores porcentagens de área lesionada. O ensacamento dos cachos com sacos plásticos de diferentes colorações não interferiu nas variáveis produtivas. Contudo, nos cachos que não receberam ensacamento observaram-se maiores teores de sólidos solúveis que naquelas ensacadas. / Banana is the second most commercialized fruit crop in the world. Since it is very appreciated by the Brazilian consumer, in the last years, several technologies have come out to help in the development of the crop, mainly related to the quality of fruits. In this context, the objective of this work was to use banana bagging techniques for improvements in the banana cultivation process. Polyethylene bags of white, black, red, blue colors and the control (no bagging) were used in this technique. A randomized complete block design with five treatments, four replications, two plants per plot, totaling 80 plants was used. The evaluated characteristics in the post-harvest were the bunch mass, fruit mass, number of fruits per bunch, bunch number, second bunch mass, number of fruits of second batch, length, diameter, pH, soluble solids, titratable acidity, pulp/peel ratio, maturation index and maturation days. The phytosanitary quality of the fruits was evaluated, and the symptoms of thrips and anthracnose were assessed. In addition, the physical characteristics of the fruit, which is represented by the mass of the bunch, mass of the rachis, mass of the fruit, number of fruit per bunch, number of penca by bunch, productivity, mass of the second bunch, number of fruit in the second bunch, length and diameter of the fruit in the second bunch and physical chemical characteristics of the fruit, soluble solids, acidity, relation pulp/peel, index of maturation and period of maturation were evaluated. It was verified that for the variable mass of the second bunch, the white and black bags presented better results, whereas for pH variable the blue staining was the one which showed better results, and for the soluble solids it was the control group. This work showed that the efficiency of bagging is associated with the type and color of the bag which is used, since the coverings assign a thermal role inside the bunches / 130371/2016-5

The practical part of diploma work consist of five figurative paintings, medium and bigger sized, made with acrylic colors on the canvas. The whole painting set is called `` Touches{\crqq}. The reflection principle goes trough the entire work and is also the name of subtitle. The reflection is important in a symbolic sense while choosing particular motives and colorful paintings. The work is inspired by the book Golden age written by Czech contemporaneous author Michal Ajvaz. In written section of diploma work the reader gets better idea about the work and each motif as well. There is a description of artistic aims, symbolic, colorness, painting techniques and used material.

Fundação de Apoio a Pesquisa e à Inovação Tecnológica do Estado de Sergipe - FAPITEC/SE / People visiting a place with rock art invariably experience, at some point, different relationships and feelings between body-painting-stone. Materialized rock art invades us, our body is crossed by the visibility of the invisible, by what it is not said. The objectives of this study follow this line. I immersed myself in the colors of the rock paintings of the Archaeological Complex of Lagoa da Velha, located in Morro do Chapéu, Bahia. I wanted to perceive the existence of criteria of intentionality in the use of colors in the rock painting, as well as possible interrelations between these colors, the landscape and the body, considering the painting as a result / product of the interaction between the artists and the landscape. In this study, I sought to understand the different relationships between color and body during the aesthetic experience, both in production and perception of rock paintings, in a phenomenological perspective, showing its sensory dimension. Through a committed approach and a first-person narrative, I tried to study the paintings and their insertion in the landscape, from the relationships and connections between motives, panels and scenes. It was also under investigation, to observe how these elements can show the intention and preferences of the people who produced them, and impact on the people who see them. / As pessoas que vivenciaram um lugar com arte rupestre, em algum momento, experimentaram diferentes relações e sensações entre corpo-pintura-pedra. A arte rupestre materializada nos invade, nosso corpo é atravessado pela visibilidade do invisível, do não dito. O objeto deste estudo segue este caminho. Nele, mergulho nas cores das pinturas rupestres do Complexo Arqueológico Lagoa da Velha, localizado no município de Morro do Chapéu, estado da Bahia. Busquei perceber a existência de critérios de intencionalidade no uso das cores na arte rupestre e as possíveis inter-relações entre essas cores, a paisagem e o corpo, considerando a pintura como resultado/produto da interação entre artistas e paisagem. Neste volume busquei perceber as diferentes relações entre cores e corpo na experiência estética, tanto na produção quanto na recepção das pinturas rupestres, em uma perspectiva fenomenológica, evidenciando sua dimensão sensorial. A partir de uma abordagem engajada e através de uma narrativa em primeira pessoa, procurei perceber as pinturas e sua inserção na paisagem a partir das relações e conexões entre motivos, conjuntos e cenas. Também foi objeto desta pesquisa, observar o modo como esses elementos podem revelar intencionalidades e preferências das pessoas que os produziram, bem como agir sobre as pessoas que os percebem.

Dans le domaine de l’optique, les savants ont réfléchi, depuis l’Antiquité, aux couleurs. Dans les beaux-arts, par sa nature accidentelle, la couleur a été traitée comme un élément inférieur au dessin. L’enseignement scolaire a suivi cette tendance. Cependant, au milieu du XIXe siècle, apparaissent divers ouvrages de vulgarisation traitant des couleurs. Leur point de vue est alors le savoir-vivre, l’éducation, l’ésotérisme, l’optique, l’art ou la technologie. Notre thèse a pour objectif de comprendre en quoi le traitement des couleurs est original dans les poèmes en vers de Rimbaud, en relation avec l’épistémè du XIXe siècle. Dans les poèmes de Rimbaud, les couleurs parlent du poète ; de son éducation, ses préoccupations, sa pensée politique ou religieuse et même l’enjeu poétique de son œuvre. Nous nous sommes concentré sur le symbole des couleurs, négligé jusqu’à présent, et sur les effets physiologiques et les impressions visuelles dont Goethe ou Chevreul ont traité. Rimbaud n’invente ni les couleurs spectrales, ni les correspondances entre sons et couleurs, ni le symbolisme des couleurs. Il s’inspire d’idées existantes, et les combine pour inventer une nouvelle langue poétique. Il superpose les couleurs symboliques provoquant des associations d’idées, aux couleurs spectrales. Dans « Voyelles », le poète implique sa méthode dans la description de l’arc-en-ciel, dans l’évocation sonore des lettres de l’alphabet grec et dans le symbolisme de cinq couleurs. L’originalité de sa démarche tient à la convergence de ses différents moyens d’expression. C’est cet emploi des couleurs qui contribue à la création d’une nouvelle langue poétique. / In the field of optics, scientists have studied colors since ancient times. In Arts, because of its accidental nature, color is treated as a element lower than drawing. School education has followed this tendency to neglect the color. However, during the mid-nineteenth century appeared various books about colors, in the fields of etiquette, education, esotericism, optics, art and technology. Our objective is to find what makes the use of colors unique in the verse poems of Rimbaud, in consideration of the nineteenth century episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goethe and Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poetic language. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language.episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goetheand Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poeticlanguage. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language.

本文以「蒙古國的五色料理」為題，主要以蒙古國當地的料理為論述對象。五色分別為《白食》（Цагаан идээ），奶製品；《紅食》（Улаан идээ），五畜的肉；《綠食》（Ногоон идээ），各種植物及水果；《黃食》（Шар идээ），各種農作物及雜糧之油炸食物；《黑食》（Хар идээ），各種飲料及酒類、礦泉水等五種稱為五色料理，就是蒙古料理。 本文分五章，以五章來展開論述。第二到五章談五色料理，而第一章則是論述做為其基礎的灶。 第一章介紹蒙古的灶與五色料理，介紹蒙古的「灶文化」傳統習俗與五色料理處理過程的工具。 第二章 紅食：游牧民族料理的意象。分別從游牧民族的生活與牲畜、肉類保存的加工製作、肉類的料理、內臟及零碎肉的處理介紹蒙古牧民仰賴的五畜（綿羊、牛、山羊、馬、駱駝）；以及各種肉類加工方式、肉類料理與新式料理手法如綜合熱炒、肉絲炒麵。此外，受到南方中國的影響，出現「精細料理」的包子、扁食、餡餅，比較獨特的是碗裝火腿。蒙古民族愛吃也擅長處理動物內臟，有熱炒肝臟、用心、腎、肝、肺、瘤胃（肚）等內臟組成的五臟湯最有名；還有愛啃骨肉，有水煮羊頭、舌頭肉、肉凍。 第三章 白食：日常生活的主食。以草原生活環繞白食、白食食品特性、奶品的來源、日常生活裡的奶製品等分述奶品的製程、製作時節與生乳相關的民俗。 第四章 黃食與青食：生活中不可或缺的配角。有「隨手可吃的黃食」，包括油品與點心（Боов）。黃食就是油品。油品分為兩種，分別是動物油和植物油。蒙古族傳統上都吃動物油，近代則吃植物油的比例逐漸提高。 麵粉蒙古人以小麥、大麥磨製的麵粉，將這些麵粉加工再製的食品稱即為糕點，稱為點心（Боов）。接著論述「游牧生活對青食的需求」。有固有發展出來的的青食（水果、野果、蘑菇、松子、大麥、小麥），有古代傳入的青食（大蒜，洋蔥，白菜），有近代傳入的青食（馬鈴薯、青菜、番茄、黃瓜、辣椒），然後解釋上述各種青食。之後論述「奶茶」，特色為炒茶與熬茶，其次是「蒙古族喝茶文化」，有待客斟茶與回贈《茶的祝詞》，有重飲茶輕吃飯，往往是「一日三次茶」，卻「一日一頓飯」，有磚茶。再者「蒙古族喝茶習俗」，有敬茶，包括「德吉」與「咪拉勒格」，有禮品，曾是貴重品物，甚至當貨幣使用，有「禁忌」。 第五章 黑食：待客之道。分三節：第一節 奶酒（忽迷思Kumis，Гүүний сүү），第二節 白酒（Цагаан архи），兼提「日本提煉的可爾必思」與「蒙古國發展製酒業」，第三節 有色酒（答剌速Дарс，沙棘果Чацаргана）。 / This article is based on the theme of "Mongolian Cuisine", which is mainly based on the local cuisine of Mongolia. (Цагаан идээ), various plants and fruits; "yellow food" (Шар идээ), "red food" (Улаан идээ), five kinds of meat; Various kinds of crops and grains of fried food（Ногоон идээ）; "black food" (Хар идээ), a variety of drinks and alcohol, mineral water and other five kinds of five-color dishes, that is, Mongolian cuisine. This article is divided into five chapters to discuss. The second to the fifth chapter is about the five-color dishes, and the first chapter is discussed as the stove, which is the base of cuisine. The first chapter introduces the Mongolian stove and five-colors cuisine, introducing the Mongolian traditional "stove culture" and the tools used in the process of cuisine. Chapter II Red Food: The Image of Nomadic Cuisine. (Sheep, cattle, goats, horses, camels) from the nomadic life and the processing of livestock, meat, meat processing, viscera and petrique treatment, and the various meat processing methods, Meat dishes and new cooking techniques such as integrated stir-fried, pork fried noodles. In addition, by the impact of the South China, the emergence of "fine food" buns, flat food, pies, more unique is the bowl of ham. Mongolians love and is also good at dealing with animal offal, hot liver, heart, kidney, liver, lung, rumen (belly) and other internal organs composed of the most famous “dirty soup”; also love to bite flesh and blood, boiled sheep, sheep tongue, aspic. Chapter III White Food: Daily staple food. To the grassland life around the white food, and its characteristics, the source of milk, daily life in the dairy products such as the preparation of the milk process, the production season and milk-related folk. Chapter IV Yellow Food and Green Food: an indispensable supporting role in life. There are "ready to eat yellow food", including oil and snacks (Боов). Yellow food refers to oil. Oil is divided into two kinds, namely, animal oil and vegetable oil. Mongolian traditions eat animal oil, modern times the proportion of vegetable oil is gradually increased. Flour Mongolian wheat, barley grilled flour, these flour processing and reproduction of the food that is the pastry, known as the bakery (Боов). Then we talked about "the demand for green food in nomadic life". There are inherently developed green food (fruit, wild fruit, mushrooms, pine nuts, barley, wheat), there are ancient incoming green food (garlic, onions, cabbage), there are modern incoming green food (potatoes, vegetables, tomato, cucumber, pepper), and then explain the various kinds of green food. After the discussion of "milk tea", characterized by fried tea and boiled tea, followed by "Mongolian tea culture", there are guests pour tea and rebate "blessing words" after drinking, they concern more of tea than food, often "drink tea three times a day" but "one day a meal", there are brick tea. In addition, "Mongolian tea custom", there are tea-toss, including "Deji" and "Miraz", a gift, for tea was expensive goods, even was currency. Chapter V Black Food: Hospitality. There are three sections: the first section of horse milk wine (Kumis, Гүүний сүү), the second section of white wine (Цагаан архи), and "Japan refined Calpico" and "Mongolian wind industry", the third section of Colored wine (Дарс, Чацаргана).

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