Syftet med studien är att undersöka om det finns skillnader i den politisk kommunikationen på digitala plattformar beroende på vilken målgrupp kommunikationen riktar sig till samt analysera hur dessa skillnader utspelar sig. Målet är att ge en djupare förståelse för hur politisk kommunikation är anpassad till olika målgrupper och hur strategier och budskap är utformade för att nå och engagera väljare i olika åldersgrupper. Forskningsfrågan som ska besvaras är: Hur anpassar politiska partier sin kommunikation på digitala plattformar för att nå sin målgrupp? Huvudmaterialet består i första hand av primärkällor, men även sekundära källor förekommer. Till de primära källorna hör bland annat Instagraminlägg från Moderaterna (MUF) och Socialdemokraternas Ungdomsförbunds (SSU) sidor samt Facebookinlägg från Moderaterna (M) och Socialdemokraternas (S) officiella sidor. De sekundära källorna består huvudsakligen av tidigare forskning och artiklar. Studiens teoretiska ramverk bygger på Gunnar Sjöbloms teorier om de tre politiska arenorna och Jürgen Habermas teorier om det offentliga samtalet och det fria ordet, metoden som används är en kvalitativ innehållsanalys. Slutsatserna visar bland annat att ungdomsförbund, som riktar sig till en yngre målgrupp, tenderar att ha en mer informell och humoristisk ton medans de officiella partierna, som riktar sig till en äldre målgrupp, tenderar att kommunicera mer objektivt och formellt. / The purpose of the study is to investigate whether there are differences in political communication on digital platforms depending on which target group the communication is aimed at and to analyze how these differences play out. The goal is to provide a deeper understanding of how political communication is adapted for different target groups and how strategies and messages are designed to reach and engage voters in different demographic groups. The research question to be answered is: How do political parties adapt their communication on digital platforms to reach their target group? The main material consists primarily of primary sources, but secondary sources also occur. The primary sources include, among other things, Instagram posts from the pages of the Moderate Youth Union (MUF) and the Social Democrats Youth Union (SSU), as well as Facebook posts from the official pages of the Moderates (M) and the Social Democrats (S). The secondary sources mainly consist of previous research and articles. The study's theoretical framework is based on Gunnar Sjöblom's theories about the three political arenas and Jürgen Habermas theories about the public sphere and free speech, the method used is a qualitative content analysis. The conclusions show, among other things, that youth associations, which are aimed at a younge target group, tend to have a more informal and humorous tone, while the official parties, which are aimed at an older target group, tend to communicate more objectively and formally.

Ischaemic stroke is a major cause of mortality and chronic disability for which there is no effective treatment. The subventricular zone (SVZ) is an adult neurogenic niche which mediates limited endogenous repair following stroke. To harness this phenomenon for therapy, it is important to understand how the SVZ niche is altered in stroke, and the processes that recruit neural precursors to the site of injury, which becomes a de facto neurogenic niche. Galectin-3 (Gal-3) is a β-galactoside binding protein involved in cellular adhesion, inflammation and tumour metastasis. Gal-3 is specifically expressed in the SVZ and maintains neuroblast migration to the olfactory bulb, although its role in post-stroke neurogenesis is not well-understood. Therefore, this project aimed to (1) characterise the cytoarchitecture of the SVZ in response to stroke, and (2) examine the role of Gal-3 in stroke outcome and tissue remodelling, and test the hypothesis that Gal-3 is required for neuroblast ectopic migration into the ischaemic striatum. Using the intraluminal filament model of middle cerebral artery occlusion (MCAO) in mice, and whole mounts of the lateral ventricular wall, significant SVZ reactive astrocytosis and increased vascular branching were observed, thereby disrupting the neuroblast migratory scaffold. Stroke increased SVZ cell proliferation without increase in cell death. Post-stroke ependymal cells were enlarged and non-proliferative, and assumed a reactive astroglial phenotype, expressing de novo high levels of glial fibrillary acidic protein. This was associated with focal planar cell polarity misalignment, and turbulent and decreased rate of cerebrospinal fluid flow. These findings demonstrate significant changes in multiple SVZ cell types which are positioned to influence post-stroke neurogenesis and regulation of the neural stem cell niche Gal-3 was up-regulated in the ischaemic brain and ipsilateral SVZ. To elucidate the role of Gal-3 after stroke, MCAO was performed in wildtype and Gal-3 null (Gal-3^-/-) mice, and parameters of stroke outcome and post-stroke neurogenesis compared. The deletion of Gal-3 did not affect infarct volumes or neurological outcomes, although neuroblast migration into the ischaemic striatum was increased in Gal-3^-/- brains. Gal-3^-/- mice failed to mount an angiogenic response in the ischaemic striatum, and this was associated with lower levels of vascular endothelial growth factor (VEGF) and increased anti-angiogenic protein levels. Loss of Gal-3 further disrupted the pro-proliferative neural-vascular interaction at the basement membrane. The current data indicate that Gal-3 is a pleiotropic molecule which has distinct roles in both the SVZ and the post-stroke striatum as niches of adult neurogenesis.

Submitted by Jadson Francisco de Jesus SILVA (jadson@uefs.br) on 2018-01-29T23:16:03Z No. of bitstreams: 1 Adilson_Almirante_biblioteca.pdf: 10152803 bytes, checksum: 30e4450d727a2f15e626c26a05c598b6 (MD5) / Made available in DSpace on 2018-01-29T23:16:03Z (GMT). No. of bitstreams: 1 Adilson_Almirante_biblioteca.pdf: 10152803 bytes, checksum: 30e4450d727a2f15e626c26a05c598b6 (MD5) Previous issue date: 2017-08-29 / In this work, we present an alternative method for clustering of galaxies, based on the data of galaxies available in large scale astronomical surveys. We have used the Friends of Friends (FoF) algorithm, as the basis of our clustering, with LL (Linking Length) and the minimum value of separation between galaxies, as our parameters. We have used a catalogue with approximately 44 thousand galaxies. After the simulation with six different values of LL, we analysed our clustering by means of the comparison with the obtained one by Tempel et al. (2016). In this comparison, we obtained a similarity of 79%. We also supplemented the validation of our method with an analysis of the silhouette coefficient, obtaining a general coefficient equal to 0.80. We present the characteristics of the groups obtained in our work, their comparison with the obtained one by Tempel et al. (2016) as well as the discussion with the non-grouped galaxies. / Neste trabalho apresentamos um m?todo alternativo para agrupamento de gal?xias, por meio do uso, dos dados de gal?xias dispon?veis em grandes levantamentos astron?micos. Utilizamos o algoritmo FoF, Friends of Friends, como base para o agrupamento, com os par?metros de LL (Linking Length) e o valor m?nimo de gal?xias, em comum para definir a uni?o entre grupos pr?ximos. Utilizamos um cat?logo com aproximadamente 44 mil gal?xias e ap?s a simula??o com seis valores distintos para o LL, e com a compara??o dos respectivos agrupamentos com os obtidos por Tempel et al. (2016), obtivemos, similaridade, de aproximadamente 79%. Complementamos a avalia??o com uma an?lise do Coeficiente se Silhueta, e encontramos agrupamentos com coeficiente geral de 0,80. Apresentamos a discuss?o e caracter?sticas dos grupos obtidos, assim como das gal?xias n?o agrupadas.

A canção popular enquanto objeto de estudos acadêmicos vem ganhando relevância em diferentes áreas do conhecimento, e diversas têm sido as formas pelas quais ela é abordada. A premissa central que ampara esta pesquisa é entendê-la como uma manifestação sociocultural que se realiza através da performance, ancorada em pesquisas que propõem tal enfoque. Paralelamente a isso, por questões de posicionamento político de esquerda e feminista, tenho interesse particular em estudar as representações femininas na canção popular brasileira, abordadas aqui, especificamente, através de personagens mulheres de canções compostas por Chico Buarque para que quatro importantes cantoras da nossa cultura dessem voz a elas, corporificando-as através de suas performances: Elis Regina, Nara Leão, Maria Bethânia e Gal Costa. Ao longo do trabalho, faço uma revisão sobre as diversas – e interdisciplinares – perspectivas teóricas que dão suporte ao meu estudo. Inicio retomando questões sobre os Estudos da Performance, e, a partir desses, da Música Enquanto Performance. Como a representação de personagens femininas é um aspecto central desta pesquisa, apresento os estudos que defendem o entendimento do conceito de gênero enquanto uma categoria performativa, para, na sequência, revisar alguns estudos feministas sobre gênero em música. Embasada em todo esse arcabouço teórico, apresento alguns conceitos e metodologias que dão suporte às análises que proponho, como os aspectos a serem observados em uma performance, a ferramenta que possibilita um mapeamento da performance audiovisual – MaPA –, os estudos sobre as expressões faciais, dentre outros. Eu então defendo uma virada epistemológica na abordagem da canção, de modo que seja entendida enquanto performance, e uma relevância central ao papel das intérpretes é reivindicada, propondo que os sentidos das canções analisadas são co-construídos por Chico Buarque (através das canções); Elis, Nara, Bethânia e Gal (através das suas performances), e eventuais atores diversos. As quatro canções analisadas foram compostas para cada uma dessas cantoras interpretarem. Logo, discuto também a relação sociocultural do compositor com essas intérpretes. Apresento um capítulo de revisão sobre as características do cancioneiro de Chico Buarque que pretendo ressaltar, i. e., as personagens femininas e marginalizadas, para depois, após uma breve retomada das personae artísticas de cada uma das cantoras, estabelecer interpretações amparadas pela interação de suas performances, as personagens que interpretam e os significados sugeridos pela canção. Como feminista, acredito que esse estudo possa contribuir para dar visibilidade a essas personagens apresentadas nas canções – a maioria delas retratada em uma posição desfavorável nas relações de poder que expressam, mas que são bastante representativas de uma grande parcela das mulheres daquela sociedade (brasileira, nas décadas de 60 e 70). Além disso, ao reivindicar um lugar central à figura das intérpretes pelo estudo dessas canções enquanto performance, elas adquirirem um status de protagonistas na criação musical, papel que por muito tempo tem sido renegado às mulheres em nossa cultura ocidental. / Popular song as an object of academic studies has gained relevance lately in different areas of knowledge, and several have been the ways in which it has been approached. The central premise that supports this research is to understand it as a sociocultural manifestation that happens through its performance, anchored in researches that propose such an approach. In parallel with this, for Left and feminist political positions, I am particularly interested in studying female representations in Brazilian popular song, specifically addressed here through women characters from songs composed by Chico Buarque so that four important singers of our culture could give voice to them, embodying them through their performances: Elis Regina, Nara Leão, Maria Bethânia and Gal Costa. Throughout the work, I review the various - and interdisciplinary - theoretical perspectives that support my study. To begin with, I take up questions on Performance Studies, and, based on these, on Music as Performance. As the representation of female characters is a central aspect of this research, I present the studies that defend the understanding of the concept of gender as a performative category, and then review some feminist studies on gender in Music. Based on this theoretical framework, I present some concepts and methodologies that support the analyzis I propose, such as the aspects to be observed in a performance, a tool that allows a mapping of audiovisual performances - MaPA -, studies on the facial expressions, among others. I then defend an epistemological turn in song studies, so that it is understood as performance, and interpreters’ significant role is claimed, intending that the meanings of the analyzed songs are co-constructed by Chico Buarque (through the songs); Elis, Nara, Bethânia and Gal (through their performances); and other possible actors. The four analyzed songs were composed for each of these singers to perform. Therefore, I also discuss the sociocultural relationship of the composer with these interpreters. I present a review chapter on the characteristics of Chico Buarque's songs I intend to highlight, such as the female and marginalized characters, and then, after a brief resumption of the artistic personae of each of the singers, I propose interpretations supported by the interaction of their performances, the characters they interpret and the meanings suggested by the song. As a feminist, I believe that this study may contribute as a way of giving visibility to these characters presented in the songs - most of them portrayed in a weaker position in power relations they express, but which are quite representative of an expressive number of women in that society (Brazil in the 60s and 70s). Moreover, by claiming a central place for the interpreters’ figure as we study these songs as performances, they acquire a status of protagonists in musical creation, a role that have long been denied to women in our Western culture.

A canção popular enquanto objeto de estudos acadêmicos vem ganhando relevância em diferentes áreas do conhecimento, e diversas têm sido as formas pelas quais ela é abordada. A premissa central que ampara esta pesquisa é entendê-la como uma manifestação sociocultural que se realiza através da performance, ancorada em pesquisas que propõem tal enfoque. Paralelamente a isso, por questões de posicionamento político de esquerda e feminista, tenho interesse particular em estudar as representações femininas na canção popular brasileira, abordadas aqui, especificamente, através de personagens mulheres de canções compostas por Chico Buarque para que quatro importantes cantoras da nossa cultura dessem voz a elas, corporificando-as através de suas performances: Elis Regina, Nara Leão, Maria Bethânia e Gal Costa. Ao longo do trabalho, faço uma revisão sobre as diversas – e interdisciplinares – perspectivas teóricas que dão suporte ao meu estudo. Inicio retomando questões sobre os Estudos da Performance, e, a partir desses, da Música Enquanto Performance. Como a representação de personagens femininas é um aspecto central desta pesquisa, apresento os estudos que defendem o entendimento do conceito de gênero enquanto uma categoria performativa, para, na sequência, revisar alguns estudos feministas sobre gênero em música. Embasada em todo esse arcabouço teórico, apresento alguns conceitos e metodologias que dão suporte às análises que proponho, como os aspectos a serem observados em uma performance, a ferramenta que possibilita um mapeamento da performance audiovisual – MaPA –, os estudos sobre as expressões faciais, dentre outros. Eu então defendo uma virada epistemológica na abordagem da canção, de modo que seja entendida enquanto performance, e uma relevância central ao papel das intérpretes é reivindicada, propondo que os sentidos das canções analisadas são co-construídos por Chico Buarque (através das canções); Elis, Nara, Bethânia e Gal (através das suas performances), e eventuais atores diversos. As quatro canções analisadas foram compostas para cada uma dessas cantoras interpretarem. Logo, discuto também a relação sociocultural do compositor com essas intérpretes. Apresento um capítulo de revisão sobre as características do cancioneiro de Chico Buarque que pretendo ressaltar, i. e., as personagens femininas e marginalizadas, para depois, após uma breve retomada das personae artísticas de cada uma das cantoras, estabelecer interpretações amparadas pela interação de suas performances, as personagens que interpretam e os significados sugeridos pela canção. Como feminista, acredito que esse estudo possa contribuir para dar visibilidade a essas personagens apresentadas nas canções – a maioria delas retratada em uma posição desfavorável nas relações de poder que expressam, mas que são bastante representativas de uma grande parcela das mulheres daquela sociedade (brasileira, nas décadas de 60 e 70). Além disso, ao reivindicar um lugar central à figura das intérpretes pelo estudo dessas canções enquanto performance, elas adquirirem um status de protagonistas na criação musical, papel que por muito tempo tem sido renegado às mulheres em nossa cultura ocidental. / Popular song as an object of academic studies has gained relevance lately in different areas of knowledge, and several have been the ways in which it has been approached. The central premise that supports this research is to understand it as a sociocultural manifestation that happens through its performance, anchored in researches that propose such an approach. In parallel with this, for Left and feminist political positions, I am particularly interested in studying female representations in Brazilian popular song, specifically addressed here through women characters from songs composed by Chico Buarque so that four important singers of our culture could give voice to them, embodying them through their performances: Elis Regina, Nara Leão, Maria Bethânia and Gal Costa. Throughout the work, I review the various - and interdisciplinary - theoretical perspectives that support my study. To begin with, I take up questions on Performance Studies, and, based on these, on Music as Performance. As the representation of female characters is a central aspect of this research, I present the studies that defend the understanding of the concept of gender as a performative category, and then review some feminist studies on gender in Music. Based on this theoretical framework, I present some concepts and methodologies that support the analyzis I propose, such as the aspects to be observed in a performance, a tool that allows a mapping of audiovisual performances - MaPA -, studies on the facial expressions, among others. I then defend an epistemological turn in song studies, so that it is understood as performance, and interpreters’ significant role is claimed, intending that the meanings of the analyzed songs are co-constructed by Chico Buarque (through the songs); Elis, Nara, Bethânia and Gal (through their performances); and other possible actors. The four analyzed songs were composed for each of these singers to perform. Therefore, I also discuss the sociocultural relationship of the composer with these interpreters. I present a review chapter on the characteristics of Chico Buarque's songs I intend to highlight, such as the female and marginalized characters, and then, after a brief resumption of the artistic personae of each of the singers, I propose interpretations supported by the interaction of their performances, the characters they interpret and the meanings suggested by the song. As a feminist, I believe that this study may contribute as a way of giving visibility to these characters presented in the songs - most of them portrayed in a weaker position in power relations they express, but which are quite representative of an expressive number of women in that society (Brazil in the 60s and 70s). Moreover, by claiming a central place for the interpreters’ figure as we study these songs as performances, they acquire a status of protagonists in musical creation, a role that have long been denied to women in our Western culture.

The aim of this work is proposal of possibilities how to use regional products for regional development, to strengthen togetherness and cohesion with the given region together with an emphasis on identity and cultural heritage. This work compares regional products in two specific areas of different countries , Klatovsko in the Czech Republic and the Pays du Revermont in France. The work characterizes a particular environment, the role of regional organizations, the definition of quality, certification of origen and labeling local traditional foods. A quantitative and qualitative survey shows that interest in traditional product by consumers is high and obvious connection between the consumer, regional product and particular region. National pride and the importance of protecting of cultural heritage has showed to be one of the priorities of our epoch. The results of this work eneble practical utility. They can be useful information and base for municipality of city on issues of other development of the region and cooperation in various areas within the national and international level.

Throughout the years there has been rise to extensive debate in the media and in the research world about the Swedish Democrats being labeled as a populist radical right-winged party or even leaning towards a centrist position with authoritarian values. With a general election coming up soon this year the aim of this study is with the help of a two-dimensional approach, combining the traditional left/right dimension and the GAL-TAL dimension, to find out where the SD place themselves on the political spectrum. The left/right dimension focuses on socioeconomic interests – the relationship between the state and the market while GAL-TAN considers socio-cultural issues such as independence and the degree of individual freedom. By conducting a qualitative content analysis and an ideal-type analysis in this study, several statements from the party's manifestos from the year 2010, 2014 and 2018 have been analyzed to find out where the party can be placed on the political spectrum. The study shows that the SD can be placed on the two-dimensional scale, where the party combines elements of TAN, some libertarian elements (GAL), where SD positions itself as a centrist-right party in some issues of the economic dimension. In addition, results show that social conservatism has been a prominent ideology in the SD:s manifestos over the years. / <p>2018-06-07.</p>

A canção popular enquanto objeto de estudos acadêmicos vem ganhando relevância em diferentes áreas do conhecimento, e diversas têm sido as formas pelas quais ela é abordada. A premissa central que ampara esta pesquisa é entendê-la como uma manifestação sociocultural que se realiza através da performance, ancorada em pesquisas que propõem tal enfoque. Paralelamente a isso, por questões de posicionamento político de esquerda e feminista, tenho interesse particular em estudar as representações femininas na canção popular brasileira, abordadas aqui, especificamente, através de personagens mulheres de canções compostas por Chico Buarque para que quatro importantes cantoras da nossa cultura dessem voz a elas, corporificando-as através de suas performances: Elis Regina, Nara Leão, Maria Bethânia e Gal Costa. Ao longo do trabalho, faço uma revisão sobre as diversas – e interdisciplinares – perspectivas teóricas que dão suporte ao meu estudo. Inicio retomando questões sobre os Estudos da Performance, e, a partir desses, da Música Enquanto Performance. Como a representação de personagens femininas é um aspecto central desta pesquisa, apresento os estudos que defendem o entendimento do conceito de gênero enquanto uma categoria performativa, para, na sequência, revisar alguns estudos feministas sobre gênero em música. Embasada em todo esse arcabouço teórico, apresento alguns conceitos e metodologias que dão suporte às análises que proponho, como os aspectos a serem observados em uma performance, a ferramenta que possibilita um mapeamento da performance audiovisual – MaPA –, os estudos sobre as expressões faciais, dentre outros. Eu então defendo uma virada epistemológica na abordagem da canção, de modo que seja entendida enquanto performance, e uma relevância central ao papel das intérpretes é reivindicada, propondo que os sentidos das canções analisadas são co-construídos por Chico Buarque (através das canções); Elis, Nara, Bethânia e Gal (através das suas performances), e eventuais atores diversos. As quatro canções analisadas foram compostas para cada uma dessas cantoras interpretarem. Logo, discuto também a relação sociocultural do compositor com essas intérpretes. Apresento um capítulo de revisão sobre as características do cancioneiro de Chico Buarque que pretendo ressaltar, i. e., as personagens femininas e marginalizadas, para depois, após uma breve retomada das personae artísticas de cada uma das cantoras, estabelecer interpretações amparadas pela interação de suas performances, as personagens que interpretam e os significados sugeridos pela canção. Como feminista, acredito que esse estudo possa contribuir para dar visibilidade a essas personagens apresentadas nas canções – a maioria delas retratada em uma posição desfavorável nas relações de poder que expressam, mas que são bastante representativas de uma grande parcela das mulheres daquela sociedade (brasileira, nas décadas de 60 e 70). Além disso, ao reivindicar um lugar central à figura das intérpretes pelo estudo dessas canções enquanto performance, elas adquirirem um status de protagonistas na criação musical, papel que por muito tempo tem sido renegado às mulheres em nossa cultura ocidental. / Popular song as an object of academic studies has gained relevance lately in different areas of knowledge, and several have been the ways in which it has been approached. The central premise that supports this research is to understand it as a sociocultural manifestation that happens through its performance, anchored in researches that propose such an approach. In parallel with this, for Left and feminist political positions, I am particularly interested in studying female representations in Brazilian popular song, specifically addressed here through women characters from songs composed by Chico Buarque so that four important singers of our culture could give voice to them, embodying them through their performances: Elis Regina, Nara Leão, Maria Bethânia and Gal Costa. Throughout the work, I review the various - and interdisciplinary - theoretical perspectives that support my study. To begin with, I take up questions on Performance Studies, and, based on these, on Music as Performance. As the representation of female characters is a central aspect of this research, I present the studies that defend the understanding of the concept of gender as a performative category, and then review some feminist studies on gender in Music. Based on this theoretical framework, I present some concepts and methodologies that support the analyzis I propose, such as the aspects to be observed in a performance, a tool that allows a mapping of audiovisual performances - MaPA -, studies on the facial expressions, among others. I then defend an epistemological turn in song studies, so that it is understood as performance, and interpreters’ significant role is claimed, intending that the meanings of the analyzed songs are co-constructed by Chico Buarque (through the songs); Elis, Nara, Bethânia and Gal (through their performances); and other possible actors. The four analyzed songs were composed for each of these singers to perform. Therefore, I also discuss the sociocultural relationship of the composer with these interpreters. I present a review chapter on the characteristics of Chico Buarque's songs I intend to highlight, such as the female and marginalized characters, and then, after a brief resumption of the artistic personae of each of the singers, I propose interpretations supported by the interaction of their performances, the characters they interpret and the meanings suggested by the song. As a feminist, I believe that this study may contribute as a way of giving visibility to these characters presented in the songs - most of them portrayed in a weaker position in power relations they express, but which are quite representative of an expressive number of women in that society (Brazil in the 60s and 70s). Moreover, by claiming a central place for the interpreters’ figure as we study these songs as performances, they acquire a status of protagonists in musical creation, a role that have long been denied to women in our Western culture.

In this thesis, the physical properties of certain multi-functional organic crystals were studied in detail. This study involves the growth of single crystals of Glucuronic acidγ-lactone (GAL), Imidazoliumtartarate (IMLT), (Bis)imidazoliumtartarate (BIMLT), and Diisopropylammonium iodide (DPI) and investigations of their optical, dielectric, piezoelectric, pyroelectric, and ferroelectric properties as a function of temperature and dependence on crystal structure in these organic crystals. Piezoelectric resonance was observed at certain frequencies when dielectric constant was monitored along the b-plate of GAL crystals. The electro-mechanical coupling coefficient estimated at the resonance near 1 MHz frequency revealed an exceptionally large value in GAL similar to that in inorganic lead titanate. The dependence of the piezoelectric resonance frequency on temperature was studied in detail. These crystals showed excellent second- and third-order nonlinear optical properties as well as high laser damage threshold. The high values of χ(2) andχ(3), laser damage threshold, and low UV cut-off makes GAL crystals an interesting prospect for NLO and laser applications. Towards this goal, GAL crystals were studied in detail with regard to determination of directions of dielectric axes, optic axes, and collinear phase-matching. Single crystals of another promising NLO organic crystal, IMLT were also grown which showed interesting dielectric, piezoelectric, and NLO properties. The dielectric dispersion with temperature provided an insight to the polarization mechanisms. Like GAL, IMLT also exhibits piezoelectric resonance. The existence of only one easy axis of vibration in IMLT enabled the candidate to identify the first resonance peak as corresponding to the fundamental mode of oscillation in the sample. This also helped to determine many piezoelectric parameters. By angular phase matching, one direction of phase matching in IMLT was identified. The conversion efficiency of IMLT along this direction was determined which was high in comparison to that in a standard KDP crystal. At piezoelectric resonance frequencies, the electro-optic response due to photo-elastic contributions is enhanced. Single crystals of organic ferroelectric BIMLT were grown by mixing two moles of imidazole with one mole of l-tartaric acid. The controversy with regard to the phase transition temperature of BIMLT was clarified by the DSC and structural analysis in this work. Previously, studies on BIMLT were limited to polycrystalline samples and single crystals with inclusions primarily due to the difficulty in growing good quality single crystals from aqueous solution. However, by experimenting the growth process using different solvents, good quality single crystals were achieved without the trapping of mother solution. This remarkable find is a notable result in these crystals for ferroelectric applications. The mechanism of ferroelectricity in BIMLT is mainly attributed to the transfer of protons along N–H---O hydrogen bonds in the direction of b-axis. Interestingly, the values of spontaneous polarization and Curie-temperature in the organic ferroelectric material DPI were significantly high and comparable to several popular inorganic ferroelectrics. The polarization obtained in this material is the highest among reported organic ferroelectrics. In addition to the high Curie temperature and spontaneous polarization, there were unique phase transitions that were revealed in DPI. The mechanism of ferroelectricity is quite complex, mainly being displacive type on account of the change in orientation of dipoles with electric field. Some contribution to ferroelectricity comes from the order-disorder nature of Nitrogen atom.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-03T19:59:46Z No. of bitstreams: 1 CarlosAugustoPitombeiraViana_DISSERT.pdf: 6091129 bytes, checksum: 6b322f3b76880a60304c936d6e6bd65b (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-09T11:06:40Z (GMT) No. of bitstreams: 1 CarlosAugustoPitombeiraViana_DISSERT.pdf: 6091129 bytes, checksum: 6b322f3b76880a60304c936d6e6bd65b (MD5) / Made available in DSpace on 2017-01-09T11:06:40Z (GMT). No. of bitstreams: 1 CarlosAugustoPitombeiraViana_DISSERT.pdf: 6091129 bytes, checksum: 6b322f3b76880a60304c936d6e6bd65b (MD5) Previous issue date: 2016-05-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Neste trabalho, analisamos os mecanismos que regem os processos que governam o aquecimento do disco gal?ctico atrav?s da din?mica das velocidades espaciais U, V e W extra?das do Cat?logo Genebra-Copenhagen. N?s partimos da premissa, at? ent?o aceita a priori, de que os processos que atuam no disco gal?ctico s?o de natureza aleat?ria e respons?veis por um aquecimento puro revelado pela componente W. Em seguida, n?s utilizamos um modelo baseado na Mec?nica Estat?stica N?o-Extensiva onde derivamos as fun??es de distribui??o de probabilidade que quantificam o afastamento da Gaussianidade dado o perfil da cauda da distribui??o mensurado pelo ?ndice entr?pico q. Nossos resultados revelam que a aleatoriedade ocorre apenas em regi?es limitadas de idade independente da velocidade espacial e faixa espectral, contrariando assim a premissa acima destacada. Al?m disso, utilizando as distribui??es do tipo n?o-Gaussianas para descrever o comportamento das velocidades U, V e W, n?s encontramos que o aumento da dispers?o da velocidade, sigma, com a idade das estrelas segue uma lei do tipo lei de pot?ncia, indicando que existe um desencadeamento do tipo avalanche ocorrendo em diferentes escalas. Finalmente, nossos resultados colocam um novo olhar nessa quest?o e abre um caminho para o estudo das componentes cinem?ticas Gal?cticas pela ?tica de modelos estat?sticos mais robustos que levam em conta os efeitos de n?o-gaussianidade e n?o-linearidade.