Made available in DSpace on 2014-06-11T19:23:40Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-12-12Bitstream added on 2014-06-13T19:48:07Z : No. of bitstreams: 1 rodrigues_ts_me_araca.pdf: 608722 bytes, checksum: 53529bcd005f13ff18d531318ee730ec (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Diversas metodologias têm sido empregadas no estudo do processo de reparo alveolar. Em razão disso, o propósito deste trabalho é apresentar uma metodologia que possibilite a utilização dos fluorocromos como forma de análise do processo de reparo alveolar. Para tanto, 5 ratos tiveram o incisivo central superior direito extraído. Aos 6 dias foi injetada a calceína, aos 15 dias a alizarina e aos 21 dias a oxitetraciclina. Após 35 dias esses animais foram sacrificados. Obtidas as peças, foi analisado o terço médio do alvéolo. Observou-se predominância de calceína junto à parede lingual, grande quantidade de marcação com alizarina e a marcação da oxitetraciclina em menor quantidade, mostrando que houve menor taxa de mineralização óssea. Este trabalho foi capaz de mostrar a dinâmica do processo de reparo alveolar de forma clara e bastante ilustrativa, além de ser de fácil reprodução e apresentar um custo relativamente baixo. / Several methods have been employed in the study of the alveolar repair process. For this reason, the aim of this study is to present a methodology that allows the use of fluorochromes in the analysis of this process. Thus, 5 rats had their upper right central incisors extracted. At day 6 calcein was injected, at day 15 alizarin was injected, and at day 21, oxytetracycline was injected. After 35 days the animals were euthanized. After the samples were obtained, the middle third of the socket was analyzed. Predominance of calcein was observed next to the lingual wall. A great amount of alizarin staining and a smaller amount of oxytetracycline staining were also observed, showing that there was a smaller rate of bone mineralization. This study was able to show the dynamics of the socket repair process in a clear and illustrative manner, besides being easy to reproduce and relatively inexpensive.

It is argued that there is a need to extend our understanding and knowledge of the magnitude to which the elements of corporate visual identity (CVI) are perceived as the communicators of brand personality and hence corporate image, by the consumers. This thesis extends the knowledge about corporate visual identity (CVI) factors, particularly, name, logo, and colours, by developing a comprehensive model which incorporates corporate visual identity (CVI) elements and brand personality (BP) traits (sophistication, sincerity, ruggedness, excitement, competence). The thesis focuses on the association of types of brand names with brand personality traits. This study also focuses on the different types of logos and their associations with different personality traits and on associations of different brand colours with different brand personality traits. A quantitative approach was adopted. A conceptual model was developed. This model looked at brand name, logo and colour and their collective association with, as well as their influence in, developing a brand‘s personality. A questionnaire was prepared and pretesting was carried out to test whether the constructs of the model were valid and reliable and that the instrument used was fit for purpose. Pakistan was the context for this research, and the brands chosen represented the cellular telecom industry of Pakistan. A sampling frame of Pakistani youth was chosen, with an age bracket of 18-26, as this age group which constitutes the highest usage of cellular services in Pakistan. The sample size was 1400, and the sampling method was stratified random sampling. Cross-tabulation analysis was conducted to test the hypotheses. The results from this study suggest that CVI has a significant positive impact on brand personality development. One of the strongest messages to emerge from this study is that CVI elements (namely, brand name, logo, and brand colours) are found to be essential for the creation of brand personality. This study provides a model that managers can use to influence consumers‘ perceptions and buying behaviour and also helps in the positioning of a brand in differentiating it from the competition. This study makes its contribution in that it is the first to empirically test the associations of CVI elements with BP traits and to present a conceptual model which examines the influence of CVI elements in shaping a brand‘s personality and establishing an integrative view of CVI elements and brand personality traits, and, to do so from South Asian perspective. This study is the first to clearly define the role of brand names in creating brand personalities, associating brand name types with brand personality traits and to establish an empirical relationship between types of brand names and various personality traits. This is the first study to provide empirical evidence to support the claim that brand logo types are associated with specific brand personality traits and to clearly associate brand colours with specific brand personality traits. Findings from this study allow companies in other business sectors as well as in other countries to develop their CVI strategy and to modify their CVI strategies to influence the brand personalities.

This thesis investigates the distinction, or distinctions, between response-dependent and response-independent concepts or subject matters. I present and discuss the three most influential versions of the distinction: Crispin Wright’s, Mark Johnston’s, and Philip Pettit’s. I argue that the versions do not compete for a single job, but that they can supplement each other, and that a system of different distinctions is more useful than a single distinction. I distinguish two main paradigms of response-dependence: response-dependence of subject matter (Johnston and Wright), and response-dependence of concepts only (Pettit). I develop Pettit’s ‘ethocentric’ story of concept acquisition into an account of concept evolution that suggests answers to a range of hard questions about language, reality, and the relation between them. I argue that while response-dependence theses of subject matter can be motivated in very different ways, the resulting theses are less different than they might seem. I suggest that the traditional ways of distinguishing response-dependent subject matters from response-independent ones – in terms of a priori biconditionals connecting facts of the disputed class with responses in subjects in favourable conditions, and fulfilling some further conditions such as non-triviality and sometimes necessity – may not be the best approach. I also discuss two general problems for response-dependence theses: the problem of ‘finkish’ counterexamples, and the problem of specifying the ‘favourable conditions’ a priori, yet in a non-trivial way. The discussion of response-dependence is informed by a framework based on the idea that some realism disputes can be viewed as location disputes: disputes over the correct location of the disputed properties among several levels of candidate properties. The approach taken in this work is a charitable one: I try to make sense of response-dependence. The conclusion is the correspondingly optimistic one that the idea(s) of response-dependence makes sense.

TITLE: The etymological analysis of colour names and related idioms AUTHOR: Anna Hořejší DEPARTMENT: Department of the French language and literature SUPERVISOR: Mgr. Jiří Jančík ABSTRACT: This diploma thesis concerns the etymological analyses of colour names in the French language and related idioms. In the theoretical part we present the basic linguistic terminology necessary for the accomplishment of the etymological analyses; the practical part concerns the analyses itself. The objective of the thesis is to deeply analyze the six basic colours both from the etymological and symbolic point of view. Furthermore, the thesis concerns the etymological analyses of colours the names of which are to some extend specific and remarkable. We talk about colours like: fox tail, bonbon, the Berlin blue, tea, khaki, pearl or snow, divided into groups according to the word they contain (colours containing a name of an animal, food, liquid, material, the place of origin, etc.). These colours are examined not only etymologically; we are also interested in the reason for which they are called so. In the last part of the thesis we scrutinize also idioms containing a name of a colour; we talk about idioms like white night, yellow danger, to be bad like a red donkey, cordon bleu or green tongue. In this case, our goal is to...

Áreas cultivadas com cana-de-açúcar podem sofrer o ataque do fungo Puccinia melanocephala e variedades suscetíveis desenvolvem uma doença conhecida por ferrugem da cana-de-açúcar. Por afetar, geralmente, áreas imensas, os prejuízos são grandes. Atualmente, a avaliação da doença é feita por especialistas que percorrem as áreas plantadas analisando visualmente as folhas e atribuindo à região um determinado grau de infecção. Esse modelo pode ser considerado subjetivo pois, dependendo da experiência e acuidade visual do especialista, a avaliação de uma mesma área pode apresentar resultados divergentes. Diante desta situação, este trabalho apresenta uma abordagem para automatizar o processo de identificação e avaliação, criando alternativas para minimizar os prejuízos. Este trabalho apresenta um método para classificação dos níveis de infecção da ferrugem por meio da análise de imagens aéreas de canaviais, adquiridas por um aeromodelo. Dessas fotos são extraídas características baseadas nas cores, as quais são classificadas por meio de uma rede neural backpropagation. Além disso, foi implementado um método para segmentação de imagens digitais de folhas de cana-de-açúcar infectadas com o intuito de corroborar a avaliação manual feita por especialistas. Os resultados mostram que o método é eficaz na discriminação dos três níveis de infecção disponíveis, além disso, indicam que este pode ser igualmente eficiente na discriminação dos nove níveis de infecção da escala adotada. / Cultivated areas of sugar cane may be targeted by the fungus Puccinia melanocephala and susceptible varieties may develop a disease known as sugar cane rust. Because the disease affects, in general, very large areas, the losses are very considerable. Currently, the evaluation of the disease is carried out by experts who must walk through the plantations analysing the leaves visually and assigning a certain degree of infection to the area. This model is somehow subjective because, due to experts’ experience and visual acuity, the evaluation for a specific area may present divergent results. In face of this problem, this work presents an approach to automate the process of identification and evaluation of the disease, as a new means to minimise the losses. This work shows a method to classify the infection levels of sugar cane rust through the analysis of aerial images of sugar cane plantations, acquired by an aeromodel. From these pictures, some characteristics are based on colours are extracted and further classified by a Backpropagation Neural Network. Furthermore, it has been implemented a method for the segmentation of digital images of sugar cane leaves infected by rust. This is done to corroborate the manual evaluation done by experts. The results have shown that the method is capable of discriminating the three levels of infection available and they also indicate that it can also be equally efficient in the discrimination of the nine distinct infection levels of the adopted scale.

Jag har i mitt examensarbete gjort en kollektion kläder till den fiktiva Madame Brilliant, baserad på färgstarka personligheter som bl. a Anna Piaggi och Elsa Schiaparelli. Slår man upp ”glamourös” i en svensk-fransk ordbok finner man glamourös heta brilliant och det är just glamour mitt examensarbete handlar om, vardagsglamour.Jag har till Madame Brilliant skapat drömgarderoben. De plagg den excentriska kvinnan alltid drömmer om men aldrig hittar ute i butikerna; Färgstarka feminina kappor, klänningar och hattar att bära till vardags.Jag har i mitt arbete lagt stor vikt på färgkombinationerna, därför är stylingen och de små detaljerna mycket viktiga. Liksom färgerna i en tavla förhöjer varandra, förhöjer kläderna i min kollektion varandra och ger varandra karaktär.Färgsprakande kläder upplevs ofta som billiga, ofta för att de är gjorda i dåliga kvalitéer till tonåringar eller så är de tantiga och gjorda i linne för kulturtanten. Jag har därför gjort en kollektion till kvinnan som varken vill vara tonåring eller tant, kvinnan utan ålder, mina plagg har ingen ålder, bara personlighet. Jag har valt att använda mig av lyxiga material som man oftast inte använder till färgstarka kläder; siden, ull, sammet, viscosecrepe, fjädrar och hårfilt. Jag har även använt mig utav enklare material som bomull och syntetmaterial, men då just för att det ska ge en viss känsla åt plagget. Tygerna har jag gjort mer personliga genom applikationer och att blanda olika mönster och färger i plaggen.För att ge kollektionen en tidlös känsla har jag använt mig av klassiska feminina siluetter, timglasformen, prinsess-skärningen, fodralklänningen. Kläderna i min kollektion ska hålla i flera säsonger och vara bärarinnans favoritplagg. De plagg man aldrig slänger för att de är unika, tidlösa och gjorda i material av bra kvalité.Kollektionen är inspirerad av den kvinnliga kurviga kroppen, d v s kvinnor med midja , byst och rumpa. Mycket av modet ute i butikerna är gjorda till pojkflickan. Mitt mål är att framhäva kurviga kvinnors skönhet, men även personlighet hos var och en, att det inte handlar så mycket om kropp och ett vackert ansikte, med mina kläder spelar det ingen roll hur man ser ut, allt handlar om personlighet. Jag vill med min kollektion sprida färg, glamour, energi, humor och glädje. Säga nej till vardagstristessen och ja till vardagsglamouren!I have in my degree collection made a wardrobe for the fictive lady Madame Brilliant based on colourful women like Anna Piaggi and Elsa Schiaparelli. I have been working with everyday glamour and bright colours. I have created for Madame Brilliant the dream wardrobe. I have made the clothes the colourful women dream of, but never find in stores, feminine coats, dresses and hats, glamorous clothes for everyday life in exclusive fabrics.In my design process I’ve been working with the combination of colours, that’s why the styling and the small details are very important. Just like the colours in a painting give each other life, the clothes in my collection give each other life with the colours and pattern in the fabric.Many people experience brave colour as cheap, often because they’re made in cheap fabrics and are made for teenagers or old ladies without any sense of style and fashion. I have made my collection for the woman/girl without any age who likes clothes with a lot of personality and in exclusive fabrics. I have made my clothes in materials such as wool, silk, velvet, viscosecrepe, feathers to give them a more exclusive look that colourful clothes mostly don’t have.With my collection I want to spread colour, glamour, energy, humour and happiness. / Program: Modedesignutbildningen

Este trabalho teve início a partir da leitura de um artigo publicado em revista científica que questionava o letramento científico dos alunos brasileiros, de acordo com a avaliação feita em países pertencentes à OCDE e convidados, onde o Brasil ficou numa das últimas colocações. O objetivo deste trabalho foi elaborar a partir de teorias de pesquisadores da área, um questionário para medir e classificar o nível de letramento científico dos alunos de Ensino Médio, utilizando conceitos básicos de teoria das cores, absorção, reflexão e transmissão da luz e visão para a realização das medidas. De acordo com as respostas dos alunos neste questionário pudemos definir em qual nível de letramento científico os alunos estavam, tendo assim uma visão mais completa dos conhecimentos básicos de Óptica dos alunos, podendo sugerir metodologias de trabalho para que futuramente os professores de Física possam melhorar os níveis de letramento científico dos alunos do Ensino Médio. Mostramos em nossos resultados que o nível de letramento científico dos alunos é muito baixo. São apontadas prováveis causas desse resultado negativo e sugeridas metodologias para o aumento do nível do letramento científico desses alunos. / This work had beginning from the reading of an article published in scientific magazine that questioned the scientific literacy of the Brazilian pupils, in accordance with assessment made in countries pertaining the OCDE and guests, where Brazil was in one of them finishes places. The objective of this work was to elaborate from theories of researchers of the area, a test to measure and to classify level of scientific literacy of High School students, being used basic concepts of theory of the colors, absorption, reflection and transmission light and vision for realization of the measures. According with the answers of the students in this test, we could define in which level of scientific literacy the students were, thus having one more complete vision of the basics knowledge of optics of the students being able to suggest work methodologies so that future the professors of Physics can improve the levels of scientific literacy of High School students. We show in our results that the level of scientific literacy is very low. Are appointed probable causes of this negative results and suggested methodologies with respect to the increase the scientific literacy level of the students.

Denna uppsats diskuterar den komplexa och undermedvetna process som ger upphov till spontana musikaliska idéer. Förhoppningen med detta arbete är att fungera som underlag för vidare och mer utarbetade teorier kring uppkomsten av spontana musikaliska idéer och hur vi kan kombinera vår intuitiva och diskursiva kunskap i syfte att få mer originella idéer. För att uppnå syfte har fyra musikaliska verk inspirerade av färger skrivits med fokus på det melodiska innehållet. De fyra verken är komponerade utan instrument (Idémedium) och har sedan på gehör programmerats och arrangerats (digitalt) med utgångspunkt i de respektive färgunderlagen. Övningen har sedan utvärderats och diskuterats med utgångspunkt i de idéer om den intuitiva härledningsprocessen som formulerats i samband med arbetet. Produkterna av de fyra musikaliska verken för detta arbete uppvisar tydliga olikheter sinsemellan. Vissa tydligt medvetna associationer går direkt att härleda ur respektive färgunderlag samtidigt som vissa mer svårmotiverade val har gjorts under komponerings- och arrangeringsprocessen. / This study has been formed through a series of thoughts regarding the complex and subconscious process that form spontaneous musical ideas - the process of intuition. The expectations with this essay is to underlay future, and more thorough, theories about the origin of spontaneous ideas and how we can combine our intuitive knowledge and our discursive knowledge in order to get more original ideas. In an attempt to test how spontaneous musical ideas might get affected by the use of a medium for translating ideas (in this case a musical instrument) four songs have been composed without the use of musical instruments. In the process of composing the songs, colours have figured as a source of inspiration in an attempt to “force” the intuitive process to take less direct ways to a source of information based on past experience of music. The argument for this is that a colour is a non-musical stimulus which in contrast to a musical stimulus (something with musical qualities to it) makes it harder for our intuition to take shortcuts to relevant data based on our past experiences of music. The four songs later got lightly arranged with an intuitive approach, which in this case means to ”as little as possible” reflect (discursively) over the choices of instruments and other aspects of the arrangement. This exercise has then been discussed and evaluated with reference to my assumptions about the intuitive process. The result of i this exercise shows four songs that are remarkably different from one another and also some potentially ”unwanted” side effects of the chosen method for testing these ideas.

Swahili has a larger inventory of (more or less \"basic\") colour terms than most Bantu languages. The aim of this article is to present this colour terminology and to point out semantic, syntactic and morphological divergences. We also look at the etymology of the various colour terms and try to establish a chronology of the growth (and decline?) of Swahili colour terminology.

This thesis aims to interpret the construction of cultural identity of the Caribbean islands in Derek Walcott¡¦s The Haitian Trilogy: Henri Christophe, Drums and Colours, and The Haitian Earth. To rely on the postcolonial and cultural critics¡¦ study on mimicry, multiple voices and identity construction, I take the construction of cultural identity as a transitional process to fabricate a way to identify with the land that people live on. The colonial background and the postcolonial exploration in the Caribbean islands combined with its diverse racial components, the Caribbeans always experience the predicament in identity construction. Derek Walcott composes his writings from this complex environment and represents the identity formation through continuing observation and exploration. In Introduction, the historical context and the literary development in the Caribbean islands introduce the theme of history and cultural as the common consideration of Caribbean writers; therefore, among their writings, the construction of cultural identity situates a significant position in their writings. The Haitian Revolution plays a significant role in the cultural identity formation in the Caribbean literary writings, since it is the turning point to lead this area from colonization to postcolonial situation, and it inspires writers to review the historical incident and to rewrite the history that they, at this time, write by themselves. Derek Walcott¡¦s The Haitian Trilogy comes not from a planned writing sequel, but from spontaneously reiterative consideration of the Haitian Revolution as a means to write the history of one¡¦s own land and to construct the cultural identity from the self-articulation. Chapter Two¡XHenri Christophe examines the means of mimicry to loosen the colonial control over the colonized and furthermore subvert the colonial power. Chapter Three¡XDrums and Colours portrays the colonial and postcolonial subject relation by way of writing the colonial history and juxtaposing multiple voices of the different classes of characters. Chapter Four¡XThe Haitian Earth aims to demonstrate the struggle to free from the colonization in order to construct the cultural identity from the identification with the land rather than with the remorse of the suffering past. The conclusion collocates the above discussion about the trilogy for the transitional process of the cultural identity formation and illuminates Walcott¡¦s position on the construction of the cultural identity in the Caribbean islands and other similar areas.