The cannabinoid partial agonist BAY 59-3704 has been identified as an attractive target to explore structure-activity relationships at cannabinoid receptors for the development of a therapeutic agent for psychostimulant addiction. This thesis will describe the studies associated with the optimization of a palladium-catalyzed oxidative ring closure reaction for the synthesisof dibenzofuran analogues from substituted diaryl ethers. These dibenzofurans are viewed as rigid analogues of BAY 59-3704 and will provide useful information about molecular interactions at cannabinoid receptors. The scope and limitations of the palladium-catalyzed oxidative ring closure reaction as it relates to the synthesis of the target dibenzofuran analogues will be presented.

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The purpose of this paper is to determine what can be identified as the mystical element in Soren Kierkegaard’s published texts. Kierkegaard sometimes discusses mysticism on a critical tone, other times he seems to be implying that it is a necessary part of any authentically Christian life. Papers exploring this question have drawn different and conflicting conclusions. Some suggest that Kierkegaard’s spirituality focuses on asceticism and self-denial rather than mysticism, others perceive allusions to a form of a ‘mystical union’ as ever present in his texts. Some claim that in Kierkegaard’s texts there is the implication of different types of mysticism, some forms that he deems acceptable and other forms that he identifies as dangerous or even demonic. This paper proposes that the mystical element in Kierkegaard’s authorship is the presence of an itinerary that is meant to lead his readers through a process of internal transformation. This itinerary resembles those proposed by mystic authors in some ways. It includes practices that have an ascetic element and alludes to something like a resulting mystical union, for example. Kierkegaard places particular emphasis on the notion that one’s spiritual transformation must lead to action and result in the concrete world. The internal transformation has no purpose if it does not result in something like a divinely revealed task. The task is performed in the material world, but the responsibility to complete it feels absolute, as if imposed by eternity. I argue that the mystical element in Kierkegaard’s authorship is the itinerary he proposes that leads to personal transformation. I suggest that he ultimately goes further than mysticism by valuing the material world and insisting that transformed individuals must take action within it. In this sense, he remains true to his Lutheran upbringing and the idea of inner-worldly asceticism. / L’objectif de ce projet est de déterminer ce qui peut être identifié comme l’ élément mystique dans les textes publiés de Soren Kierkegaard. Dans ses œuvres, Kierkegaard traite le sujet de mysticisme parfois sur un ton critique, autre fois il suggère que c’est un élément essentiel pour une vie véritablement chrétienne. Les articles qui ont déjà exploré cette question ont tiré des conclusions différentes et contradictoires. Certains suggèrent que la spiritualité de Kierkegaard se concentre sur l'ascétisme plutôt que sur le mysticisme, d'autres perçoivent des allusions à une forme « d'union mystique » comme toujours présentes dans ses textes. Certains prétendent que dans les textes de Kierkegaard il y a l'implication de différents types de mysticisme, certaines formes qu'il juge acceptables et d'autres formes qu'il identifie implicitement comme dangereuses ou même démoniaques. Cet article propose que l'élément mystique dans les œuvres de Kierkegaard, au début de sa carrière comme à la fin, est la présence d’un itinéraire destiné à conduire ses lecteurs à travers un processus de transformation interne. Cet itinéraire ressemble à certains égards à ceux proposés par des auteurs mystiques. Il comprend des étapes qui impliquent la pratique ascétique et fait allusion à l'union mystique, par exemple. Ce qui ressort de ses textes est la notion que la transformation spirituelle d'une personne doit forcément conduire à une action dans le monde concret. En insistant sur ce point, il demeure fidèle à son éducation luthérienne. Pour Kierkegaard, la transformation intérieure n’a pas de valeur si elle n'aboutit pas à ce qui semble être une tâche divinement révélée. La tâche est accomplie dans le monde matériel, mais la responsabilité de l'accomplir est absolue, comme imposée par l'éternité.

Cross-gender brand extensions are a developing and valuable strategy that has quickly grown to become a vital component of strategic communications management. The goal of this study is to gain a greater insight on what makes for a successful cross-gender brand extension. In order to expand upon the Basic Model of Brand Extension Evaluation (Doust & Esfahlan, 2012), this study examines how marketing factors, more specifically product positioning, combined with consumer gender roles and brand concept, affect how consumers evaluate cross-gender brand extensions. In the past gender and brand concept have been studied within cross-gender brand extension research. Yet, the present study focuses on gender roles, conceptualizing gender as levels of masculinity and femininity. The products featured were positioned as having either a symbolic or functional brand concept. The results from this study not only confirm that gender and gender roles are indeed two distinct concepts, but they also indicate that gender roles and brand concept have a significant effect on brand extension evaluations, especially when level of masculinity is a factor.

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Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-12T17:45:59Z No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) / Made available in DSpace on 2016-12-12T17:46:00Z (GMT). No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) Previous issue date: 2016-03-23 / The text brings the analysis of aspects of the literary discourse as the processes of construction of the scenes and the magical universe, in which the narratives of Marina Colasanti are realized, having as it shows the tales of the works Doze reis e a moca no labirinto do vento (2006): "The woman ramada", Uma ideia toda azul (2006): "Beyond the frame", "Between the leaves of green ó" and "Yarn after yarn". The general and specific objectives are to highlight and distinguish the encompassing and generic scenes present in the narratives, to identify the nature of the verbal sign in its relation to the nonverbal sign, and to analyze intertext resources, paratext, among others, as an artistic procedure. The narrative plans are approached, in which the characters are realized mimically, starting from the initial assumption formulated by Dominique Maingueneau. Non-verbal language is an invitation to read verbal language and vice versa. Both are associated with the signs that are constructed through the textual writing: loom and fabric. They can be seen now either explicitly or implicitly, and put in the service of a power that is realized by the act of reading. Thus, in the narrative text, there are traces of a speech in which the text is staged. / O texto traz a análise de aspectos do discurso literário como os processos de construção das cenas e o universo mágico, em que se realizam as narrativas de Marina Colasanti, tendo como mostra os contos das obras Doze reis e a moca no labirinto do vento (2006): “A mulher ramada”, Uma ideia toda azul (2006): “Além do bastidor”, “Entre as folhas do verde ó” e “Fio após fio”. Os objetivos geral e específicos são destacar e distinguir as cenas englobante e genérica presentes nas narrativas, identificar a natureza do signo verbal na sua relação com o signo não verbal e analisar recursos de intertexto, paratexto, entre outros, como procedimento artístico. Abordam-se os planos narrativos, nos quais se dá a realização dos personagens mimeticamente, partindo do pressuposto inicial formulado por Dominique Maingueneau. A linguagem não verbal é um convite à leitura da linguagem verbal e vice-versa. Ambas se associam aos signos que se constroem por meio da escritura textual: tear e tecido. Elas podem ser vistas ora de modo explícito, ora implícito, e se colocam a serviço de um poder que se realiza pelo ato de leitura. Assim, no texto narrativo, há rastros de um discurso em que o texto é encenado.