Esta dissertação dedica-se ao estudo da obra \"Cem Vistas do Monte Fuji\" (Fugaku Hyakkei) (1834-47?), de Katsushika Hokusai (1760-1849), pintor japonês do século XVIII-XIX. Trata-se de um livro-imagem (ehon), com cento e duas estampas impressas em preto-e-branco (sumizukuri) e tons de cinza (em sua 1ª edição), produzidas com a técnica da xilogravura japonesa, dentro do estilo ukiyo-e (pinturas do mundo-flutuante). O foco da pesquisa está em (1) estudar os assuntos presentes nas estampas, reconhecendo suas categorias dentro de tópicas tradicionais da pintura japonesa, suas referências temáticas, literárias, mitológicas, religiosas e particularidades; (2) analisar os aspectos temáticos e estéticos, em relação à espacialidade, perspectivas e composições, para identificar e refletir acerca das influências ocidentais, chinesas e da tradição japonesa presentes na obra. Ao final do projeto propõe-se uma revisão de nomenclatura para as vistas do mundo natural (shizen), produzidas por Hokusai, em sua última fase de criação (século XIX) comumente chamadas, pelos especialistas, de sansuiga (pinturas de montanhas-e-águas), no Japão, ou \"pintura de paisagem\", no Ocidente. Para tanto, na primeira parte contextualiza-se a vida e obra do pintor, apresentando brevemente características da sociedade japonesa, do período Edo (1603-1868), o estilo artístico ukiyo-e, a técnica utilizada, os sistemas tradicionais de transmissão de saberes nas artes e os nomes de artistas (go) do pintor, para então realizar um estudo sobre os gêneros \"pintura de paisagem\", da tradição ocidental, e \"pinturas de montanhas-e-águas\", da tradição chinesa (shanshuihua) e japonesa (sansuiga), a fim de compará-los e reconhecer as influências estéticas e temáticas presentes nas estampas do pintor. Na segunda parte analisa-se a obra \"Cem vistas do Monte Fuji\", elencando-se assuntos dentro de tópicas da tradição pictórica japonesa, para que assim fosse possível reconhecer as camadas e composições das estampas, tal como suas referências formais e temáticas, debatidas no primeiro capítulo. Foi realizado, para fins metodológicos, uma classificação em sete categorias, para cada uma delas foram selecionadas algumas imagens que melhor exemplificam temas e tratamentos formais que se pretendeu discutir: (i.) Cenas históricas, figuras mitológicas e lendárias; (ii.) Pinturas de montanhas-e-águas e de flores-e-pássaros; (iii.) Cenas de homens-letrados, de contemplação e de lugares-famosos; (iv.) Cenas de assuntos religiosos; (v.) Cenas de usos-e-costumes, de viajantes e trabalhadores; (vi.) Os disfarces e as linhas do Mt. Fuji; (vii.) Geometria, carpintaria e arquiteturas. / This dissertation is dedicated to the study of \"Hundred Views of Mount Fuji\" (Fugaku Hyakkei) (1834-47?), by Katsushika Hokusai (1760-1849), a 18th-19th century Japanese painter. It is a picture-book (ehon), with one hundred and two prints in black-and-white (sumizukuri) and shades of gray (in its 1st edition), produced with the Japanese woodcut technique, in the style of ukiyo-e (floating-world paintings). The focus of the research is to (1) study the subjects present in the prints, recognizing their categories within traditional Japanese painting topics, their thematic, literary, mythological, religious, and particular references; (2) to analyze the thematic and aesthetic aspects, in relation to spatiality, perspectives and compositions, to identify and reflect on the Western, Chinese and Japanese influences present in the work. At the end of the project is proposed a review of nomeclature for the views of the natural world (shizen), produced by Hokusai, in their last phase of creation (19th century) commonly called by experts, sansuiga (mountains-and-waters paintings), in Japan, or landscape painting, in the West. Therefore, the first part contextualizes the work and life of the painter, briefly presenting characteristics of Japanese society in the Edo period (1603-1868), the ukiyo-e artistic style, the technique used, traditional transmission systems of knowledge in arts and the artist\'s names (g) of the painter, to carry out a study of the \"landscape painting\" genres, of the Western tradition, and \"mountains-and-waters paintings\", of the Chinese tradition (shanshuihua) and Japanese (sansuiga) traditions, in order to compare them and to recognize the aesthetic and thematic influences present in the painter\'s prints. In the second part, the work \"Hundred Views of Mount Fuji\" is analyzed, listing subjects within topics of Japanese painting tradition, so that it would be possible to recognize the layers and compositions of the paintings, as well as their formal and thematic references discussed in the first chapter. For methodological purposes, a classification was made in seven categories, for each one of them was selected some images that best exemplified formal themes and treatments that were intended to be discussed: (i) Historical scenes, mythological figures and legendary; (ii.) Mountains-and-waters and flowers-and-birds paintings; (iii.) Scenes of literate men, contemplation and famous-places; (iv.) Scenes of religious subjects; (v.) Scenes of uses-and-customs, travelers and workers; (vi.) Fujis disguises and lines; (vii.) Geometry, carpentry and architectures.

It always has been a need for the abiltiy to create color proofs. When an error occurs late in the production process, itis allways complicated and difficult to correct the error. In this project, digital proofs been made and discussions havebeen held with several people in the printing industry, in order to examine how well excisting digital proofs, meet thedemand of the market. And how close the digital proofs can come to the actual printsheat from the press. The study hasbeen shown that the one thing that has had the most influence on the outcome for the quality of a digital proof, is theprintshop operator’s knowledge about color management and proofing systems. Many advertising agencies in the graphicindustry think rasterised proofs are not necessesary and expensive. Therefor they prefer a cheaper alternative, whichdoesn’t show colors as well as the rasterised proof, but well enough to be content with it. There are a good awarenessconcerning lack of communication between printshop, reproduction and advertising agency. Advertising agencies thinkthat printshop rarely listen to what they have to say, while the printshop think that the advertising agency doesn’t understandwhat they are trying to tell them. The outcome of the printed proofs in this study can’t be representive for howgood digital proofs are conducted in regular basis in the industry. The divergence between the print press sheat and thedigital proof that was made was bigger than expected. This shows that implementation of ICC profiles in a color managementflow, not alone is the answer to making perfect digital proofs. There are so many other issues that has to be examined,like color management software, measure tools and correct color management module. In order to make a perfectproof, you have to look at the whole picture. In the end, the human eye finally has the last word on wheather theproof is good or not.

Usually, the explanations about the little electoral competitiveness of peruvian political parties have emphasized the unlikelihood that this situation could be reversed. However, when each case is analyzed carefully, we can see that groups like APRA and the Fujimorista Movement have developed some features beyond their leaders which, in certain situations, have provide them a little more electoral competitiveness than others parties, such as the Popular Christian Party (PPC). From this point, the following article argues that this difference in the competitiveness of the peruvian parties is basically for the type of strategies that they have been implemented. While some of them have seen in the permanent positioning a way to be more competitive in the medium term, others have believed that the competitiveness is achieved more quickly when political parties reduce their intervention in political debates. In that sense, this article tested an actor-center explanation to understand the little competitiveness of peruvian parties and also will risk a less pessimistic view of their future. / Las explicaciones sobre la poca competitividad electoral de los partidos políticos peruanos han enfatizando de manera predominante la improbabilidad de que ello se revierta. Sin embargo, cuando cada partido es visto con detalle se puede notar que algunos como el APRA y el Movimiento Fujimorista han desarrollado características más allá de sus líderes, los cuales en determinadas coyunturas, les han brindado una mayor competitividad electoral frente a los demás, como el Partido Popular Cristiano (PPC), por ejemplo. A partir de esta observación, el siguiente artículo argumentará que esta ligera –aunque no menos importante– diferencia en las capacidades competitivas se debe principalmente a las estrategias que han aplicado. Mientras unos han visto en el posicionamiento claro y permanente una forma de ganar competitividad en el mediano plazo, otros han creído que ello reside en la poca presencia en el debate político. Es así que, junto a una explicación voluntarista para entender la poca competitividad electoral de los partidos peruanos, se arriesgará una mirada menos pesimista sobre su futuro.

Indiana University-Purdue University Indianapolis (IUPUI) / While most sealants available are resin-based, glass ionomer-based cements can be used as sealants, with the advantage of being more tolerant to moisture during placement and of releasing fluoride. The objective of this study was to evaluate the influence of different fissure conditioning techniques on penetration and microleakage of glass ionomer (GI) and resin-modified glass ionomer cements (RMGI) used as sealants. Clinically sound extracted human molars were distributed into nine experimental groups (n = 15 each). Group 1 (control) was sealed with resin-based sealant (Delton) following clinically accepted techniques. Groups 2 through 6 were sealed with RMGI (Vitremer) after having the fissure conditioned with either polyacrylic acid (RMGI-control), 35-percent H3PO4, low viscosity 35-percent H3PO4 with a surfactant, self-etch conditioner, or 35-percent H3PO4 followed by self-etch conditioner. Groups 7 through 9 were sealed with GI sealant (Fuji Triage) after having the fissures conditioned with either polyacrylic acid (GI-control), 35- percent H3PO4 or low viscosity 35-percent H3PO4 with a surfactant. After aging through thermocycling (2500 cycles), specimens were incubated in methylene blue for four hours and sectioned at multiple locations. Digital images were obtained using a digital stereomicroscope, and microleakage was determined by scoring the dye penetration along the enamel-sealant interface. The penetration of the material was determined by calculating the percentage of the total length of the fissure penetrated by the material. Results: The use of self etch-conditioner significantly increased RMGI penetration, while surface conditioning with 35-percent phosphoric acid with surfactant significantly decreased microleakage of GI. The resin-based sealant placed after 35-percent phosphoric acid surface conditioning showed the best penetration and the least level of microleakage. In conclusion, results from this study suggest that the placement of glass ionomer-based sealants can be enhanced by modifying current conditioning methods.