Made available in DSpace on 2017-07-10T18:55:58Z (GMT). No. of bitstreams: 1 -CLAUDI_ANE-CD.pdf: 2264532 bytes, checksum: 7b442e71f7593309b3c16656769e8a07 (MD5) Previous issue date: 2016-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study presented here focus in reflections and analyses involving the tragedies Electra, by Sophocles; The Libation Bearers, by Aeschylus and Electra, by Euripides, and, based on intertextuality studies this study sought to identify how is Electra s myth is present in the narrative Seahorses, written by the English author of Indian ancestry Bidisha Bandyopadhyayl, published in 1997 in London and translated in Brazil in 1998. The novel Seahorses, still unstudied in Brazil, had a huge impact in the literary milieu, been particularly well received with European press, the author by that time being very young, 17 years old, considered as a prodigy. The myth of Electra contributes on this study due to its importance in recent times, being a study reference for Humanities, besides Literature. This study comprehends a bibliographical research pertaining to the Comparative Literature field, based on the reading of many scholars from diverse areas: literature, anthropology, and even psychiatry. In the perspective of obtaining the aim of the study, we sustained the research in the theoretical assumption recurrent in the study of mythology, studies on the imaginary and intertextuality and for that purposed we relayed on some authors, such as Gilbert Durand, Gaston Bachelard e Jean-Jacques Wunenburger, who shall provide support to the issue of the imaginary. The intertextual discussion among the texts shall be orientated by the study Tiphaine Samoyault and Laurent Jenny. Among other scholars, from mythology studies, literary criticism and even from anthropology and psychiatry, yet it is possible to highlight the scholar Linda Hutcheon in order to contextualize the post-modern novel, Carlinda Pate Nuñez who thoroughly analyzed the three Greek tragedies, as well as Mircea Eliade and E. M. Milietinski. As a result of this investigation process, we understand that the textual upturns, recurring to the literary memory, the text circulates in movements, between what is already given and the new, to the renewed interlacing of the words with other senses and meanings where literature constitutes itself. Henceforth, the myth of Electra is reconsidered, questioned, reviewed, and bringing in itself several other subtleties, issues directly or indirectly related to the myth, in as much the discussion on womanhood and incest. / A pesquisa aqui delineada focalizou-se em reflexões e em análise envolvendo as obras Electra, de Sófocles; Coéforas, de Ésquilo; e Electra, de Eurípedes. Com base em estudos sobre intertextualidade, objetivou-se identificar como o mito de Electra encontra-se presente na narrativa O Sonho de Electra escrito pela autora inglesa, filha de indianos Bidisha Bandyopadhyay, publicada em 1997 em Londres e traduzida no Brasil em 1998. Na perspectiva de alcançar o objetivo proposto, sustentamos a pesquisa nos pressupostos teóricos recorrentes ao estudo da mitologia, do imaginário e da intertextualidade. E, para isso, buscamos alguns autores como Gilbert Durand (1983; 1993;1996; 2002), Gaston Bachelard (1993; 2001) e Jean-Jacques Wunenburger (2007) que darão suporte à questão do imaginário. A discussão intertextual entre os textos será norteada pelos estudos realizados por Tiphaine Samoyault (2008) e Laurent Jenny (1979). Entre vários outros estudiosos, seja da mitologia ou crítica literária e até mesmo da antropologia e da psiquiatria, ainda é possível destacar Linda Hutcheon (1991) para contextualizar o romance pós-moderno, Carlinda Pate Nuñez (2000) que analisara minuciosamente as três obras da tragédia grega, além de Mircea Eliade (1984; 1993; 2002) e E. M. Milietinski (1987). Como resultado desse processo de investigação entendemos que entre as retomadas intertextuais, ao recorrer-se a memória literária, o texto circula em movimento, entre o que está dado ao novo, ao novo entrelaçamento das palavras, com outros sentidos e significados, a literatura vai constituindo-se. E, assim, o mito de Electra vai sendo repensado, revisto, questionado, trazendo consigo várias outras nuances, questões diretamente ou indiretamente relacionadas ao mito, como a discussão da condição feminina e do incesto. Sobretudo, no romance existe algo que vai além da intertextualidade, algo mais complexo, pois, ocorre uma subversão da dinâmica clássica do mito, uma contestação deste, assim, como há também críticas às produções artísticas atuais, tanto no cinema, quanto na música, além da própria literatura.

Made available in DSpace on 2015-05-14T12:39:55Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 863005 bytes, checksum: 42a8a1db5cfda470b4b759259c7d0c82 (MD5) Previous issue date: 2014-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims at analyzing the dramatic action and the characters tragic ethos in the trilogy Mourning Becomes Electra, focusing on the protagonist Lavinia Mannon. Our research corpus, which was written by Eugene O Neill and first performed in 1931, is a recreation of Aeschylus trilogy, the Oresteia, which presents a reading of the myth of the House of Atreus, whose line is cursed by acts of hate and vengeance. This study starts by taking into account the myth concept and its relations to Greek tragedy, as long as Freudian psychoanalysis, in the Modern times. The investigation about the concepts of action and ethos is based on Aristotle s Poetics (2005), Hegel s Aesthetics (2004), along with the studies of Raymond Williams (2002) and Sandra Luna (2005, 2008, 2012), as theoretical support. By creating a psychological drama, O Neill goes deeply into the character s psyche, presenting themselves struggling with impulses and passions repressed by their Puritan morality. Lavinia, the modern Electra, faces a personal drama, since she has a sickly love desire for her father, Ezra, is jealous of her mother, Christine, and represses her desire for Adam Brant, Christine s lover. Lavinia accuses her adulteress mother of having murdered Ezra, and seeks vengeance with the help of her brother, Orin, culminating with Christine s suicide. Orin, taken by guilt and remorse for having contributed to his mother s death, also succumbs to suicide. In order to maintain the Mannons secrets, Lavinia, as the last member of the family, seeks punishment for herself, condemned to endure a tormented existence, haunted by her antecessor s ghosts and recluse at her own house. / Esta pesquisa tem por objetivo analisar a ação dramática e o ethos trágico dos personagens na trilogia Mourning Becomes Electra, tendo como foco a protagonista Lavínia Mannon. Escrita pelo dramaturgo norte-americano Eugene O Neill e encenada, pela primeira vez, em 1931, a trilogia escolhida como corpus desta pesquisa constitui-se uma releitura da Oréstia, de Ésquilo, cujo enredo apresenta uma apropriação do mito dos Atridas, família cuja história é marcada por crimes de ódio e vingança. O estudo parte das considerações sobre o conceito de mito e sua relação com a tragédia grega e com a teoria psicanalítica de Freud, na modernidade. A investigação sobre os conceitos de ação e ethos dos personagens tem como suporte teórico a Poética de Aristóteles (2005), a Estética de Hegel (2004), as contribuições de Raymond Williams (2002) e de Sandra Luna (2005, 2008, 2012). Ao elaborar um drama psicológico moderno, O Neill investe na psiqué dos personagens, que se apresentam em luta contra pulsões e desejos, reprimidos em nome da moral puritana. Lavínia, a Electra moderna, enfrenta um drama pessoal, pois nutre um amor doentio pelo pai, Ezra, tem ciúmes da mãe, Christine, e reprime seu desejo pelo amante desta, Adam Brant. Ao saber da morte de Ezra, Lavínia acusa a mãe adúltera de ser a autora do crime e promete vingança com a ajuda de seu irmão Orin, resultando no suicídio de Christine. Orin, tomado pela culpa e remorso por ter contribuído com a morte da mãe, também sucumbe ao suicídio. A fim de resguardar os segredos de sua família, Lavínia, como a última Mannon, busca sua autopunição, condenada a uma existência atormentada, assombrada pelos fantasmas de seus antepassados e enclausurada em sua própria casa.

Euripides’ Electra has long been one of the playwright’s most controversial works. This book offers a reading of the play concentrating on its language, which is analysed by applying a variety of modern linguistic approaches: conversation analysis, pragmatic theories of speech acts and inference, politeness theory, the study of the interplay of gender and language, paroemiology, and the study of discourse cohesion. The first three chapters argue for the Peasant, Electra and Orestes, respectively, that their linguistic behaviour constitutes a vital part of their characterisation. The Peasant’s (ch. 1) sturdy morality is established by the way his language becomes more forceful when he touches on ethical questions; it is then tested in his conversations with Electra, where his language is suggestive of a conflict between his morals and his desire to please his royal wife. Electra herself (ch. 2) is characterised initially by the inability to communicate successfully with those around her — a disconnect which is suggestive of the fundamental incongruity of her circumstances. This adds a dimension to her motivations, which, as a force driving Electra’s linguistic behaviour, remain highly stable throughout the play up until the matricide. Another consistent feature of Electra’s language is the way it is patterned by her gender. Orestes’ characterisation in the early part of the play is ingeniously kept to a minimum through his sustained disguise. Various aspects of his language, but particularly his use of gnomai, contribute to that disguise, which involves a suppression of emotion, an avoidance of self-reference, and the exertion of control over the flow and topic of his conversation with Electra. We can only interpret a dramatic text if we know what it says, and if we know who says what. In chapter 4, I argue that the linguistic approaches I adopt can also help us in making a determination about textual-critical problems, particularly concerning the issue of speaker-line attribution (two notorious cases are discussed: 671-84 and 959-87). The final two chapters deal with longer speeches. In the messenger scene (ch. 5), Euripides uses linguistic devices to create an ebb and flow of suspense, and to manipulate audience expectation. In the agon (ch. 6), differences in the way Clytemnestra and Electra structure their speeches, particularly their narrationes, reveal much about their different (and fundamentally irreconcilable) viewpoints and approaches.

The Monte Carlo code Serpent has been used to model the material flows andisotope compositions for a lead cooled fast reactor. The demonstration sized trainingreactor ELECTRA was chosen for the investigation, and different fuel cycle scenarioswere studied. The scenarios differed in operation length (3 months, 1 year or 5years) and recycling technique (single and double PUREX or GANEX). The simulations gave detailed information on the changes of the isotope composition,activity and decay heat. The analysis of the generated waste also showed that thechoice of recycling method had great impact on the final storage time of the wastefrom the reprocessing. Performing double GANEX recycling, as compared to singlePUREX, reduced the storage time by a factor of about 3500. The results can be used for future work related to even more detailed studies ofmaterial flows and for designing an appropriate safeguards system.

For the successful deployment of advanced nuclear systems and optimization of current reactor designs, high quality nuclear data are required. Before nuclear data can be used in applications they must first be evaluated, tested and validated against a set of integral experiments, and then converted into formats usable for applications. The evaluation process in the past was usually done by using differential experimental data which was then complemented with nuclear model calculations. This trend is fast changing due to the increase in computational power and tremendous improvements in nuclear reaction models over the last decade. Since these models have uncertain inputs, they are normally calibrated using experimental data. However, these experiments are themselves not exact. Therefore, the calculated quantities of model codes such as cross sections and angular distributions contain uncertainties. Since nuclear data are used in reactor transport codes as input for simulations, the output of transport codes contain uncertainties due to these data as well. Quantifying these uncertainties is important for setting safety margins; for providing confidence in the interpretation of results; and for deciding where additional efforts are needed to reduce these uncertainties. Also, regulatory bodies are now moving away from conservative evaluations to best estimate calculations that are accompanied by uncertainty evaluations. In this work, the Total Monte Carlo (TMC) method was applied to study the impact of nuclear data uncertainties from basic physics to macroscopic reactor parameters for the European Lead Cooled Training Reactor (ELECTRA). As part of the work, nuclear data uncertainties of actinides in the fuel, lead isotopes within the coolant, and some structural materials have been investigated. In the case of the lead coolant it was observed that the uncertainty in the keff and the coolant void worth (except in the case of 204Pb), were large, with the most significant contribution coming from 208Pb. New 208Pb and 206Pb random nuclear data libraries with realistic central values have been produced as part of this work. Also, a correlation based sensitivity method was used in this work, to determine parameter - cross section correlations for different isotopes and energy groups. Furthermore, an accept/reject method and a method of assigning file weights based on the likelihood function are proposed for uncertainty reduction using criticality benchmark experiments within the TMC method. It was observed from the study that a significant reduction in nuclear data uncertainty was obtained for some isotopes for ELECTRA after incorporating integral benchmark information. As a further objective of this thesis, a method for selecting benchmark for code validation for specific reactor applications was developed and applied to the ELECTRA reactor. Finally, a method for combining differential experiments and integral benchmark data for nuclear data adjustments is proposed and applied for the adjustment of neutron induced 208Pb nuclear data in the fast energy region.

ELECTRA is a Swedish training reactor concept that will use fourth generation nuclear reactor technology, and is cooled by natural circulation of liquid lead. During a fuel inspection the reactor vessel has to be emptied on metal coolant and the power must be shutoff, this can lead to a meltdown. By calculating the produced residual heat in the fuel pins during the power shutdown and coolant drainage, the cladding temperature could be calculated. The potential usage of argon, helium or nitrogen gas as an emergency coolant during loss of lead was investigated. The gas coolant will unavoidably contain small amounts of water vapour which can have a negative impact on the core. This matter was examined with a literature study on the effect of water vapour on the cladding surface; FeCrAl, an iron- base alloy with high aluminium and chromium content.  The burnup simulation code Serpent was used for calculating the residual heat. The results indicated that just after five days of shutdown the residual heat decreased to 31 W/pin and continued to progressively decrease in the coming days. It was evaluated that the residual heat developed in the core would not exceed 600°C.  Calculations on the emergency gas coolant showed that nitrogen gas offered the best solution on terms of thermal decrease and cost-effectiveness. While helium cooling was the recommended option due to its inertness.  The literature study done on the oxidizing effect of water vapour on FeCrAl, shows little impact due to the high oxidation resistance of this alloy as a result of the high aluminium and chromium percentage.

ELECTRA is a Swedish training reactor concept that will use fourth generation nuclear reactor technology, and is cooled by natural circulation of liquid lead. During a fuel inspection the reactor vessel has to be emptied on metal coolant and the power must be shutoff, this can lead to a meltdown. By calculating the produced residual heat in the fuel pins during the power shutdown and coolant drainage, the cladding temperature could be calculated. The potential usage of argon, helium or nitrogen gas as an emergency coolant during loss of lead was investigated. The gas coolant will unavoidably contain small amounts of water vapour which can have a negative impact on the core. This matter was examined with a literature study on the effect of water vapour on the cladding surface; FeCrAl, an iron- base alloy with high aluminium and chromium content.  The burnup simulation code Serpent was used for calculating the residual heat. The results indicated that just after five days of shutdown the residual heat decreased to 31 W/pin and continued to progressively decrease in the coming days. It was evaluated that the residual heat developed in the core would not exceed 600°C.  Calculations on the emergency gas coolant showed that nitrogen gas offered the best solution on terms of thermal decrease and cost-effectiveness. While helium cooling was the recommended option due to its inertness.  The literature study done on the oxidizing effect of water vapour on FeCrAl, shows little impact due to the high oxidation resistance of this alloy as a result of the high aluminium and chromium percentage.

ELECTRA is a Swedish training reactor concept that will use fourth generation nuclear reactor technology, and is cooled by natural circulation of liquid lead. During a fuel inspection the reactor vessel has to be emptied on metal coolant and the power must be shutoff, this can lead to a meltdown. By calculating the produced residual heat in the fuel pins during the power shutdown and coolant drainage, the cladding temperature could be calculated. The potential usage of argon, helium or nitrogen gas as an emergency coolant during loss of lead was investigated. The gas coolant will unavoidably contain small amounts of water vapour which can have a negative impact on the core. This matter was examined with a literature study on the effect of water vapour on the cladding surface; FeCrAl, an iron- base alloy with high aluminium and chromium content.  The burnup simulation code Serpent was used for calculating the residual heat. The results indicated that just after five days of shutdown the residual heat decreased to 31 W/pin and continued to progressively decrease in the coming days. It was evaluated that the residual heat developed in the core would not exceed 600°C.  Calculations on the emergency gas coolant showed that nitrogen gas offered the best solution on terms of thermal decrease and cost-effectiveness. While helium cooling was the recommended option due to its inertness.  The literature study done on the oxidizing effect of water vapour on FeCrAl, shows little impact due to the high oxidation resistance of this alloy as a result of the high aluminium and chromium percentage.

The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.

Le mythe des Atrides, qui résume à lui seul, toutes les horreurs et toutes les cruautés dont l’homme a pu se rendre coupable – fratricide, régicide, parricide, matricide, infanticide, inceste, cannibalisme, sacrifice humain – et qui a été relativement négligé par la tragédie classique au XVIIe siècle, a connu un essor sans précédent au XVIIIe siècle où une vingtaine de pièces tragiques lui ont été consacrées, sans compter les opéras et les ballets. Mais ce théâtre tragique, en dépit de son immense succès auprès du public au XVIIIe siècle, a pâti par la suite d’un regrettable préjugé auquel le célèbre vers de Victor Hugo - « Sur le Racine mort, le Campistron pullule », n’est pas étranger. Nous élevant contre cette vision réductrice , nous avons voulu par cette étude qui a porté sur huit des œuvres dramatiques les plus significatives qui ont traité des principaux épisodes de la fable antique – allant du crime de Tantale à la vengeance d’Oreste, en passant par le sacrifice d’Iphigénie et le meurtre d’Agamemnon – montrer la spécificité dramatique, morale et philosophique de la tragédie des Lumières qui a été « un laboratoire des formes et des idées » où se sont élaborées à la fois une sensibilité nouvelle, une nouvelle dramaturgie et une nouvelle vision du monde, bien différentes de celles de la tragédie classique. / The myth of Atrides, which summarizes to him only, all the horrors and all the cruelties the man of which was able to be guilty - fratricide, regicide, parricide, matricide, infanticide, incest, cannibalism, human sacrifice - and which was relatively neglected by the classic tragedy in the XVIIth century, knew an unprecedented development about the XVIIIth century when about twenty tragic plays were dedicated to him, without counting the operas and the ballets. But this tragic theater, in spite of its immense success with the public in the XVIIIth century, suffered afterward from a regrettable prejudice to which Victor Hugo's famous verse - " On the Racine died, The Campistron swarms "-, is not foreign. Raising us against this reducing vision, we wanted by this study which concerned eight of the most significant dramatic works the significant which handled main episodes of the antique fable - going of the crime of Tantale to Oreste's vengeance, including the sacrifice of Iphigénie and the murder of Agamemnon - to show the dramatic, moral and philosophic specificity of the tragedy of the Lights which was " a laboratory of the forms and the ideas " where developed at the same time a new sensibility, a new dramatic art and a new vision of the world, very different from those classic tragedy.