Esta dissertação relaciona algumas séries de trabalhos desenvolvidos ao longo dos últimos anos, de 2003 a 2008. Gravuras, instalações, fotografias, desenhos e ilustrações de livros são colocadas em diálogo. Na dissertação essas obras compõem uma única seqüência de oitenta e uma imagens. / This dissertation makes a bridge between a set of works developed throughout the past few years, from 2003 to 2008. They are engravings, collages, installations, photos, drawings and illustrations of books that intend to dialogue among themselves. In this dissertation the workks are presented as a single sequency of 81 images.

La thèse est consacrée à l’expression emblématique chez Jean Baudoin (1584-1650). D’abord Lecteur de Marguerite de Valois, Marie de Médicis l’envoya en Angleterre afin de traduire l’Arcadie de la Comtesse de Pembroke en 1624. Il fit partie de la maison du cardinal de Richelieu et fut un protégé du chancelier Séguier. Dès 1634, il rejoignit les premiers membres de l’Académie française et participa à la rédaction de ses statuts. À cet auteur et traducteur très abondant, on attribue quatre-vingt six ouvrages, dont la plupart sont des traductions significatives pour l’orientation qu’il donne à son oeuvre : les Discours politiques sur l’oeuvre de Tacite de Scipio Ammirato (1618), La Sagesse Mysterieuse des Anciens de Francis Bacon, la Mythologie de Natale Conti (1627) ou encore les Monita et Exempla politica de Juste Lipse (1606 et 1650). La tradition iconographique est essentielle chez Jean Baudoin, ainsi que l’explication symbolique. Le Recueil d’Emblemes divers, publié pour la première fois à Paris en 1638-1639 est l’objet principal de la recherche ici entreprise. Ce recueil d’emblèmes est une oeuvre de l’invention de Jean Baudoin qui a toutefois été fortement influencé, dans sa rédaction, par ses traductions antérieures. Deux autres ouvrages traduits par Baudoin sont indispensables à l’étude approfondie du Recueil d’Emblemes divers : l’adaptation de l’Iconologia de Cesare Ripa (première partie, 1636-1637 ; première et seconde parties, 1644) et la traduction des Fables d’Esope Phrygien (1631). Ce travail se propose d’aborder dans un premier temps la façon dont Baudoin n’a eu de cesse de mettre sa personne et son oeuvre au service du renforcement et de l’affirmation de la monarchie française et de l’édification morale du lecteur. Dans un second temps, nous nous proposons d’étudier les connexions entre ces trois ouvrages majeurs qui permettent de comprendre la portée de l’expression emblématique chez Jean Baudoin, à travers trois axes majeurs. Le renouvellement de la forme emblématique ; la création d’un vocabulaire allégorique qui avait pour fin la codification de la représentation du pouvoir et de la figure royale et une étude des gravures, de leur fonctionnement dans le texte et des mécanismes de leur production. / This dissertation is about the emblematical expression in the work of Jean Baudoin. At first Marguerite de Valois’s lecturer, he was sent to England by Marie de Médicis in order to translate L’Arcadie de la Comtesse de Pembroke, in 1624. Baudoin belonged to the House of the Cardinal de Richelieu and was one of chancelier Séguier’s protégés. As soon as 1634, hejoined the first members of the Académie française and took part in the writing of its statutes. Eighty six pieces of work are attributed to this prolific author and translator, most of which are translations significant of the orientation he gave to his work: the “Discours politiques” on Tacite’s work by Scipio Ammirato (1618), La Sagesse Mystérieuse des Anciens by Francis Bacon (1619), Mythologie by Natale Conti (1627) or Monita et Exempla politica by Justus Lipsus (1606 & 1650). The iconographical tradition is paramount in Jean Baudoin’s work, as well as the emblematical expression. The Recueil d’Emblemes divers, first published in Paris in 1638-1639 is the focus of the present dissertation. This collection of emblems was designed by Jean Baudoin, but he was largely influenced in its writing by previous translations. Two other pieces of work translated by Baudoin are essential to the thorough study of the Recueil d’Emblemes divers: the adaptation of Cesare Ripa’s Iconologia (First part 1636-1637, First and second part 1644) and the translation of Esope Phrygien’s Fables in 1631. The present work will first focus on how Baudoin constantly put himself and his work at the service of the reinforcement and affirmation of the French monarchy and of the moral edification of the reader. Then, we will study the connections between these three major works which enable to understand the importance of emblematical expression in Jean Baudoin. To do so, three main aspects will be studied: the renewal of the emblematical form/ genre, the creation of an allegorical vocabulary whose aim was the codification of the representation of power and monarchy, and a study of engraving, of it functioning in the text and of its production processes.

Re-processed oxide fuel product from the Thermal Oxide Reprocessing Plant (THORP) is stored in Type 316L stainless steel, using a design of several nested cans, with the outer can providing the safety case containment barrier. The research reported in this PhD thesis aims to support the safety case related to these storage cans, by identifying and characterising susceptible microstructure sites and associated material surface conditions. The overarching goal of this project is to understand the propensity of THORP storage cans towards localised corrosion and Environment Assisted Cracking (EAC) in HCl and chloride-bearing atmospheric environments. The investigation focused on two possible corrosion cases: (1) understanding the effect of surface finishing on material performance in chloride-containing atmospheric environments, and (2) characterising the effects of the HCl aqueous solutions inside the can, with potential formation of HCl vapour. Microstructure investigations were carried out on surface-treated type 316L coupon specimens. The application of aqua blasting resulted in a deformed near-surface microstructure, containing compressive residual stresses to a depth of 100-120 micrometres. Subsequent laser engraving produced a recrystallized surface layer with tensile residual stresses reaching to a depth of 200 micrometres. Changes of surface roughness topography were accompanied by the development of a thick oxide/hydroxide film after laser engraving. Atmospheric exposure revealed similar corrosion attack for all samples, with laser engraving exhibiting the lowest number of corrosion sites, but with the largest average depth of attack. In addition, laser engraving led to atmospheric-induced stress corrosion cracking (AISCC) within two weeks of exposure to 386 ug/cm2 MgCl2-laden droplet deposits, with crack growth rates similar to ground U-bend samples. Strategies to reduce the likelihood of AISCC of laser-engraved components are discussed. The influence of HCl concentration and exposure temperature on the corrosion type and rate of annealed and cold rolled type 316L stainless steel has also been investigated. Cold rolling of up to 20 % reduction was introduced, with potentio-dynamic polarization measurements conducted in 0.01 - 3 M HCl aqueous solution. Results are compared to microstructures immersed under open circuit conditions, and to HCl-laden droplet deposits at temperatures up to 80C. Corrosion type diagrams are introduced to describe the transition between uniform corrosion, mixed-mode uniform with pitting corrosion, and pitting corrosion only, as a function of temperature, HCl concentration, and cold deformation. SCC tests of type 316L stainless steel have been carried out at 110C, by exposing U-Bend samples to HCl-laden droplets and HCl vapour. The humidity of the environment was controlled using defined volume fractions of H2O in a sealed environmental chamber. HCl-laden droplets with chloride deposition densities exceeding 1.5 ug/cm2 led to SCC after 90 minutes of exposure, whereas no corrosion attack was observed for samples with exposure to 0.15 ug/cm2 HCl. Increasing HCl concentrations resulted in fewer, but longer cracks, reaching up-to several hundreds of micrometres in length. HCl vapour exposure was carried out by adding various volumes of HCl solution in a beaker to the sealed test chambers. These HCl vapour tests confirmed a change of corrosion type with HCl concentration, from pitting corrosion with SCC, to the occurrence of uniform corrosion.

Esta dissertação relaciona algumas séries de trabalhos desenvolvidos ao longo dos últimos anos, de 2003 a 2008. Gravuras, instalações, fotografias, desenhos e ilustrações de livros são colocadas em diálogo. Na dissertação essas obras compõem uma única seqüência de oitenta e uma imagens. / This dissertation makes a bridge between a set of works developed throughout the past few years, from 2003 to 2008. They are engravings, collages, installations, photos, drawings and illustrations of books that intend to dialogue among themselves. In this dissertation the workks are presented as a single sequency of 81 images.

Trata-se da produção de um conjunto de gravuras em metal, realizado pelos procedimentos da água-forte, água-tinta e ponta- seca e estampado em papéis diversos. A aproximação e desenho da paisagem geraram, neste trabalho, a invenção de uma realidade simbólica, construída de acordo com as especificidades de linguagem da gravura em metal, como resposta emocional à luz observada nos fatos da realidade visível. / This is the production of a set of engravings, performed by the procedures of etching, aquatint and drypoint and printed in several papers. The approach and landscape design generated in this work the invention of a symbolic reality, constructed according to the specific language of engraving as an emotional response to the light of observed facts of the visible reality.

Henri IV et son panache blanc, Jeanne d’Arc en armure, Vercingétorix vaincu amené devant César… ces représentations liées à l’histoire de France nous sont aujourd’hui familières. Pourtant leur origine est ancienne : elles apparaissent dès la première moitié du XIXe siècle dans les arts visuels et dans l’historiographie, lorsqu’émerge la vogue de l’histoire, et spécialement de l’histoire nationale. Le médium de l’illustration, alors en plein essor, devient un agent efficace de la création et de la diffusion de représentations liées à l’histoire de France. En effet, les éditeurs en quête de formules éditoriales plus séduisantes commencent à intégrer des illustrations dans les ouvrages historiques savants, lorsqu’une telle association semblait auparavant délicate. Cette thèse se propose donc d’étudier les illustrations produites pour les ouvrages historiques parus entre 1814 et 1848. Les ouvrages historiques illustrés s’adressent à un lectorat de plus en plus large, que nous distinguons en termes de classes sociales (populaire, bourgeois) et d’âges (adultes, enfants). Les discours comme les illustrations tentent donc de s’adapter aux attentes et aux dispositions de ces divers lectorats, ce que nous étudierons dans le premier chapitre. Une part de la vogue pour les ouvrages historiques illustrés vient de ce qu’ils font écho aux préoccupations contemporaines : la question de la fondation de la France en tant que nation, en particulier, soulève de vastes débats. Notre deuxième chapitre examinera donc l’illustration de l’historiographie des périodes considérées comme fondatrices, le haut Moyen-Age et la Révolution française. Enfin, si l’historiographie illustrée de cette période apparaît très francocentrée, certains ouvrages viennent éveiller l’intérêt des lecteurs pour une histoire aux échelles « micro » ou macro », intéressée par l’histoire régionale et par l’histoire transnationale (troisième chapitre). Au fil du temps et des publications illustrées émergent donc des schémas iconographiques récurrents, contribuant à enraciner un récit historique iconotextuel, hybride de texte et d’images, dans l’imaginaire national. / Which images pop into the minds of Frenchmen when they recall their national history? Henry IV and his white panache, Joan of Arc in her armor, or Vercingétorix and his long hair. Where do these representations come from? How did they develop and with which narrative? This dissertation aims at studying the origins of these images : the spreading of the illustrated historical narrative in France from 1814 to 1848. Indeed, in these years, a true economy of the illustrated history book emerged. These illustrated narratives – these iconotexts – progressively clarified and strengthened a national history in image on which French identity was leaning on. The illustration of history developed interacting with other historical-focused media: theater, panorama, and especially history painting, standing as a model from which to set apart in order to find its own language. Over the course of time and publications, iconotextual patterns established themselves. Therefore, the illustration of history, spread through a larger and larger audience, contributed to the rooting of a national historical narrative into the collective psyche.

L’importance des pratiques de la gravure pendant la Grande Guerre en France en Belgique et en Angleterre s’explique en partie par le renouveau des techniques (taille-douce, bois, lithographie) qui s’opère au cours de la deuxième moitié du XIXe siècle et au début du XXe siècle. Durant la guerre, elle permet aux artistes de s’engager par leur art mais elle dépasse largement la production stricte d'un art de propagande. La gravure fait en effet l’objet d’un investissement nouveau et important pour figurer le conflit, y compris par des artistes qui ne l’ont que peu voire jamais pratiquée avant-guerre. Guerre et gravure semblent ainsi adhérer l’une à l’autre et s’actualisent mutuellement. Cette thèse a pour ambition de mettre en évidence les enjeux de ces pratiques de la gravure pour représenter la guerre dans ces trois pays alliés. L’étude de la représentation fragmentée et fragmentaire du conflit qu’offre cette production se présente comme un apport concret à l’histoire de la création en temps de guerre et à l’histoire culturelle de la Première Guerre mondiale. / The importance of engraving practices during the Great War in France, Belgium and England is explained in part by the revival of techniques (copper-plate, wood, stone) that occurred during the second half of the nineteenth and the early twentieth century. During the war, it allowed artists to get involved through their art, but it largely exceeded propaganda art productions. Engraving was effectively well used by artists to highlight the conflict, and even by those who had little or never practised this form of art before. War and engraving seemed to complement and update each other mutually. This thesis aims to emphasize the importance of engraving in representing the war in the three allied countries. The study of fragmented and fragmentary representation of the conflict that this production demonstrates is a concrete contribution to the history of artistic creation in times of war and to the cultural history of the First World War.

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-08T17:20:36Z No. of bitstreams: 1 feridasurbanasseg.pdf: 14259703 bytes, checksum: 769bebec8f632c51ffc3b494a4467a05 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:27:15Z (GMT) No. of bitstreams: 1 feridasurbanasseg.pdf: 14259703 bytes, checksum: 769bebec8f632c51ffc3b494a4467a05 (MD5) / Made available in DSpace on 2013-04-18T12:27:15Z (GMT). No. of bitstreams: 1 feridasurbanasseg.pdf: 14259703 bytes, checksum: 769bebec8f632c51ffc3b494a4467a05 (MD5) Previous issue date: 2008 / A presente dissertação aborda aspectos relacionados com apropriações de formas encontradas em ruínas urbanas, nos muros, passeios e fachadas da Cidade de Salvador, bem como os procedimentos técnicos e operacionais para a sua remoção e desconstrução. A interface de interação urbana resultou em formas selecionadas e posteriormente trabalhadas através da gravura, utilizando-se de matriz xilográfica e serigráfica, desenvolvidas a partir do concreto e do isopor, formando objetos e imagens por camadas de impressão. O amplo emprego das feridas urbanas deslocando-as para o espaço interno da galeria e (re)significando-as através dos objetos visuais, fez uma analogia entre o corpo humano e a cidade, como signos presentes no concreto deste revestimento que é o corpo social. As investigações destas formas encontradas no território urbano geram uma poética, baseada em elementos e materiais, com significados diversos e aspectos plásticos conceituais a partir de princípios formativos para a construção da obra de arte; sustentados principalmente, por conceitos de filósofos e pensadores como Gaston Bachelar, Giulo Carlo Argan, De Fusco, Nelson Brissac Peixoto, Fayga Ostrower e Luigi Pareyson. / Salvador

A sinterização a laser (SL), uma das tecnologias de manufatura aditiva (MA), se mostra de grande interesse devido a uma série de características, mas, principalmente, devido a sua capacidade de processar uma ampla gama de materiais em pó, a qual amplia possibilidades de pesquisa e desenvolvimento no campo do Design. Neste trabalho, sob o prisma da MA, tem-se por objetivo realizar a sinterização a laser em um equipamento de gravação e corte a laser convencional, sem pré-aquecimento do material. No desenvolvimento do estudo, foi utilizado um equipamento galvanométrico a laser para a realização de experimentos de sinterização de poliestireno em pó (PS 200). Os ensaios de caracterização desse material polimérico amorfo, constataram o diâmetro médio dos grãos de 54,3 μm em formato irregular. Para viabilizar o processo proposto, investigaram-se os parâmetros de processo para a SL, valendo-se de um dispositivo de controle da altura da mesa de trabalho. A melhor amostra (geometria circular) foi construída com potência 20 W, velocidade de varredura de 200 m/min e distância entre linhas de varredura do feixe laser de 0,1 mm. Esse último parâmetro, é relacionado ao diâmetro do foco do feixe laser, o qual foi estimado pelos ensaios em 0,3 mm. Com isso, foi calculada a densidade de energia transferida para o material, conhecida como Número de Andrew (An), em 0,06 J/mm² Análises visuais, macroscópicas e microscópicas, antes e depois da sinterização de uma camada (2D) e de camadas empilhadas (3D), além de sua digitalização tridimensional, foram realizadas. As amostras apresentaram deformação no plano x-y (elipticidade), no eixo z (empenamento) e grande porosidade. Nos ensaios de empilhamento de camadas foi determinada, para os parâmetros utilizados, a espessura de camada de 0,15 mm. Posteriormente, foi construído um modelo 3D com 100 camadas, o qual apresentou um acabamento liso na maior parte de sua lateral, porém, foram observadas estrias verticais ao longo da sua altura, as quais foram consideradas como característica do processo (devido à inércia dos espelhos galvanométricos). Por fim, esses parâmetros foram validados em um ensaio valendo-se de uma forma orgânica (face humana) em escala 1:4. O fator crítico foi o empenamento, o qual prejudica a distribuição de novas camadas de pó, mas pôde ser contornado com espessuras de camada de alturas superiores a esse empenamento. Assim, considera-se que para a viabilização prática do processo de sinterização proposto, em equipamentos de corte e gravação a laser convencionais, torna-se importante o desenvolvimento de um dispositivo de distribuição de pó automatizado, o qual permitiria a construção de modelos 3D de maior tamanho e complexidade. / Laser sintering (SL), one of the additive manufacturing (MA) technologies, is of great interest due to a number of characteristics, but mainly due to its ability to process a wide range of powder materials, which offers possibilities for research and development in the Design’s field. In this work, under the prism of the MA, the goal is to perform laser sintering in a conventional laser engraving and cutting equipment, without preheating the material. In the development of the study, a galvanometric laser equipment was used to perform powder polystyrene (PS 200) sintering experiments. The characterization tests of this amorphous polymer material showed the average grain diameter of 54.3 μm in irregular shape. In order to make the proposed process feasible, the process parameters for the SL were investigated, using a device to control the height of the workbench. The best sample (circular geometry) was built with 20 W power, laser scan speed of 200 m/min and distance between scanned lines of 0.1 mm. This last parameter is related to the diameter of the laser beam waist, which was estimated by the tests in 0.3 mm Thus, the energy density transferred to the material, known as Andrew's Number (An), was calculated at 0.06 J/mm². Macroscopic and microscopic visual analysis, before and after the sintering of a two-dimensional layer (2D) and of stacked layers (3D), in addition to its 3D scanning, were performed. The samples displayed deformation in the x-y plane (ellipticity), at the z-axis (warpage) and high porosity. In the layer stacking tests, the layer thickness of 0.15 mm was determined for the parameters used. Next, a 3D model with 100 layers was sintered, which presented a smooth finish in most of its lateral, however, vertical streaks were observed along its height, which were considered as characteristic of the process (due to the inertia of the galvanometric mirrors). Finally, these parameters were validated in an assay using an organic form (human face) in a 1: 4 scale. The critical factor was the warpage, which impairs the distribution of new layers of powder, but could be worked around with layer thicknesses of heights higher than this warpage. Thus, it is considered that for the practical feasibility of the proposed sintering process in conventional laser cutting and engraving machine, it is important to develop an automated powder distribution device, which would allow the construction of greater size and complexity 3D models.

Made available in DSpace on 2014-12-17T15:06:44Z (GMT). No. of bitstreams: 1 PedroGL.pdf: 4055992 bytes, checksum: 07612ef4f6c8a37bccd1cdde0131f320 (MD5) Previous issue date: 2009-01-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This master thesis is an overview of how the Egyptian writing became a ruin, and then was mythunderstood by the Western culture through speculations based on its figurative appeal or by its magical nature this invention results not only in new idea of writing, but also in many graphical experiments which take part in the creation of the Renaissance and Baroque visual identity / A presente disserta??o ? um panorama de como a escrita hierogl?fica eg?pcia se torna uma ru?na e ent?o ? reinterpretada pelo Ocidente atrav?s de especula??es motivadas por seu apelo imag?tico ou por seu car?ter m?gico uma inven??o que resulta n?o apenas numa nova id?ia escrita, transcendental, mas que se desdobra em v?rias experimenta??es gr?ficas que participam ativamente da cria??o da identidade visual do Renascimento e Barroco