Dissertação (mestrado)—Universidade de Brasília, Faculdade de Ciências Econômicas, Programa de Pós-Graduação em Economia, 2014 / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-10-22T18:51:29Z No. of bitstreams: 1 2014_AmonKablanGuyOlivier.pdf: 669638 bytes, checksum: 057ba9c4c92da757de215eab63f886e3 (MD5) / Approved for entry into archive by Tania Milca Carvalho Malheiros(tania@bce.unb.br) on 2014-10-24T14:30:12Z (GMT) No. of bitstreams: 1 2014_AmonKablanGuyOlivier.pdf: 669638 bytes, checksum: 057ba9c4c92da757de215eab63f886e3 (MD5) / Made available in DSpace on 2014-10-24T14:30:12Z (GMT). No. of bitstreams: 1 2014_AmonKablanGuyOlivier.pdf: 669638 bytes, checksum: 057ba9c4c92da757de215eab63f886e3 (MD5) / A integração econômica foi se apresentando como estratégia de promoção do desenvolvimento para os países periféricos. Na África, os Estados começaram a se aproximar dessa estratégia após sua independência política no final dos anos 50 e início da década de 60.A finalidade era conjugar esforços para a libertação dos territórios que ainda se encontravam sob jugo colonial, buscando também a libertação econômica dos territórios independentes. Em1994, oito países da África Ocidental criaram a União Econômica e Monetária da África Ocidental (UEMOA), um prolongamento da União Monetária da África Ocidental (UMOA),criada em 1962. A UEMOA manteve não só o mesmo instituto de emissão monetária, o banco Central dos Estados da África Ocidental (BCEAO), mas também a mesma moeda, o Franco da Comunidade Francesa Africana (Cfa), os quais vigoravam na UMOA. O objetivo da UEMOA é aprofundar as relações econômicas entre os países-membros e melhorar as condições competitivas do bloco. Nesse contexto, o objetivo desta dissertação é analisar as experiências da UEMOA à luz das correntes econômicas ortodoxa e heterodoxa. Para isso, são apresentadas algumas das principais abordagens da ortodoxia e da heterodoxia, incluindo a discussão de aspectos teóricos como a neutralidade ou não da moeda, a formação de uma união monetária, o grau de independência do Banco Central, o financiamento das economias dos países-membros pelo setor bancário da UEMOA. ______________________________________________________________________________ ABSTRACT / The economic integration has been presented as a strategy for promoting development orperipheral countries. In Africa, the states began to approach after their political independencein the late 50 and early 60 years, as a way to join forces to the freedom of the territories stillunder colonial rule, seeking also the economic freedom of the independent territories. In1994, eight countries of West Africa established the West African Economic and MonetaryUnion (also known by it’s french acronym, UEMOA), which is the extension of the WestAfrican Monetary Union (also known by its french acronym, UMOA) established in 1962. AUEMOA kept not only the same Institute of monetary emission, the Central Bank of WestAfrican States (BCEAO), but also the same money, the CFA Franc, which prevailed on theUMOA. The objective of the UEMOA was to develop economic relations between itsmember countries and improve the competitive conditions of the Union. The aim of thisdissertation is to analyze the experiences of the UEMOA under orientation of orthodox andheterodox economic thinking. To make this, this dissertation will present some mainapproaches of orthodoxy and heterodoxy, including the discussion about some theoreticalaspects, such as neutrality or non-neutrality of money, the formation of the monetary union,the question of central bank independence, the financing of the economies of membercountries by the banking system of the UEMOA.

In the work described in this thesis I studied how increases in nitrogen (N) inputs may affect plant community structure in boreal forest understorey vegetation. These phenomena were investigated in N fertilization experiments and along a national N deposition gradient. After five years of N additions, large changes in understorey vegetation composition were observed in the fertilization study. In plots that received 50 kg N ha'1 year"1 (N2), the abundance of the dominant species, Vaccinium myrtillus, decreased on average by 32 %. No decrease was observed in control plots during the same period. In contrast, the grass Deschampsia flexuosa responded positively to increased N input, being on average more than five times as abundant in the N2 treatments as in controls. Also an increase was seen in the incidence of disease caused by the parasitic fungus Valdensia heterodoxa on leaves of V. myrtillus following N additions. The parasite was on average nearly twice as abundant in N2 plots than in control plots. This could be explained by increased N concentrations in host plant tissue. Disease incidence also increased following experimental additions of glutamine to leaf surfaces of V. myrtillus, suggesting a causal connection between plant N concentration and performance of the fungus. The parasite also played a key role in the observed changes in understorey species composition. D. flexuosa was more abundant in patches in which V. myrtillus was severely affected by V heterodoxa. This suggests that V heterodoxa mediates the increased abundance of D. flexuosa following increased N additions. The fungus mediates changes in the composition of understorey vegetation mainly by increasing light availability via premature leaf loss of V. myrtillus. The incidence of disease due to the parasite was on average higher in large than in smaller N-treated plots, indicating that the response to N fertilization is spatially scale dependent. This shows that using small plot sizes in experiments that simulate changed environmental conditions may be problematic, as important interactions may be underestimated. Comparison of the occurrence of understorey species between regions with different rates of N deposition revealed that the occurrence of the two dwarf shrubs V. myrtillus and V. vitis- idaea was lower in regions with high N deposition compared to regions with low deposition. The opposite pattern was found for V heterodoxa. This is consistent with expectations from N fertilization experiments. For D. flexuosa no differences in occurrence were found between the different regions investigated. The effects on vegetation and mycorrhizal fungi observed following N additions were also found to be long lasting. Nine years after termination of the fertilization, no signs of recovery were detected, and nearly 50 years after termination characteristic signs of N fertilization were found among bryophytes and mycorrhizal fungi. This suggests that the time needed for re-establishment of the original biota following N-induced changes may be substantial. / <p>Diss. (sammanfattning) Umeå : Umeå universitet, 2002, härtill 5 uppsatser</p> / digitalisering@umu

[EN] This work presents the study of a new set of unconventional praxis of the guitar. Fieldwork is conducted in which the outcome is a set of nearly one hundred works related to the unorthodox use of guitar. This research clarifies if these works have common characteristics that make them relatable to each other as belonging to different patterns of use, and if their production, exhibition and consumption practices respond to identifiable models. Twenty usage patterns are detected and processed; Sub-objectives find the proportion of sound artists and musicians contributing to these kind of practices. Furthermore, the research finds the frequency of use in these practices of five conventional types of guitars as starting points. Analysis is developed which finds that most frequent alterations of the common uses of the guitar are given in it's conventional performativity, followed by alterations in the timbre and to a lesser extent morphological changes in the instrument itself. The research reveals that multidisciplinary centers and art galleries are spaces that welcome artists from both the conservatory and pop music, as well as from visual arts. Classical music auditoriums, however, welcome proposals almost exclusively from classically trained composers. Furthermore, the proportion between male and female practitioners was found to be disproportional. Other results obtained in this study are the personal art projects which are related to the contents. These works have been made between 2007 and 2015, and they have been employed as part of the research methodology. / [ES] Este trabajo aborda el estudio de toda una nueva praxis a partir de la guitarra, pero utilizada de formas diferentes a sus usos convencionales, de ahí que lo hayamos denominado heterodoxias de la guitarra. Los artistas que realizan dichas prácticas son principalmente compositores con formación en música clásica, artistas sonoros y músicos de rock. Hemos englobado las alteraciones en los usos habituales en tres grupos fundamentales: alteraciones en el instrumento, alteraciones en la performatividad y alteraciones en la tímbrica. Como objetivos nos hemos propuesto esclarecer si estas obras presentan características que las hacen relacionables entre sí como pertenecientes a diversos patrones de uso y si sus prácticas de producción, exhibición y consumo responden a modelos identificables. También averiguar cuál es la distribución entre artistas sonoros y músicos, distintos espacios de presentación de los trabajos, hombres y mujeres y los cinco tipos de guitarras contemplados, desde la guitarra española hasta la eléctrica. Como estrategia metodológica, hemos realizado un trabajo de campo cuyo resultado es un conjunto de casi un centenar de obras relacionadas con el uso heterodoxo de la guitarra. Además, se ha detectado y elaborado una veintena de patrones de uso, a destacar entre otros "guitarra instalada", "guitarra preparada", "guitarra destruida" y "eros guitar". A partir de ello hemos realizado un análisis en el que hemos averiguado que las alteraciones de los usos convencionales más habituales se dan en la performatividad, seguidas de alteraciones en la tímbrica y en menor medida de alteraciones morfológicas en el propio instrumento. Como resultados de esta investigación hemos comprobado que los centros multidisciplinares y las galerías de arte son espacios que acogen a artistas procedentes tanto del conservatorio, como de la música pop, como de las artes plásticas. Y cómo los auditorios de música clásica acogen propuestas casi exclusivamente de compositores de música clásica contemporánea. La proporción entre hombres y mujeres en la creación y presentación de las obras estudiadas es similar a la que se da en los usos habituales de la guitarra, es decir, muy alejada de la paridad. Otros de los resultados obtenidos en este trabajo han sido los proyectos propios en relación a los contenidos, realizados entre 2008 y 2015, y que también nos han servido como metodología de investigación. / [CA] Aquest treball aborda l'estudi de tota una nova praxis a partir de la guitarra, però utilitzada de formes diferents als seus usos convencionals, per aquest motiu ho hem denominat heterodòxies de la guitarra. Els artistes que realitzen aquestes pràctiques són principalment compositors amb formació en música clàssica, artistes sonors i músics de rock. Hem englobat les alteracions en els usos habituals en tres grups fonamentals: alteracions en l'instrument, alteracions en la performativitat i alteracions en la tímbrica. Com a objectius ens hem proposat esclarir si aquestes obres presenten característiques que les fan relacionables entre si com a pertanyents a diversos patrons d'ús i si les seues pràctiques de producció, exhibició i consum responen a models identificables. També esbrinar quina és la distribució entre artistes sonors i músics, diferents espais de presentació dels treballs, homes i dones i els cinc tipus de guitarres contemplats, des de la guitarra espanyola fins a l'elèctrica. Com a estratègia metodològica, hem realitzat un treball de camp el resultat del qual és un conjunt de quasi un centenar d'obres relacionades amb l'ús heterodox de la guitarra. A més, s'ha detectat i elaborat una vintena de patrons d'ús, a destacar entre altres "guitarra instal·lada", "guitarra preparada", "guitarra destruïda" i "eros guitar". A partir d'açò hem realitzat una anàlisi en el qual hem esbrinat que les alteracions dels usos convencionals més habituals es donen en la performativitat, seguides d'alteracions en la tímbrica i en menor mesura d'alteracions morfològiques en el propi instrument. Com a resultats d'aquesta recerca hem comprovat que els centres multidisciplinars i les galeries d'art són espais que acullen a artistes procedents tant del conservatori, com de la música pop, com de les arts plàstiques. I com els auditoris de música clàssica acullen propostes quasi exclusivament de compositors de música clàssica contemporània. La proporció entre homes i dones en la creació i presentació de les obres estudiades és similar a la qual es dóna en els usos habituals de la guitarra, és a dir, molt allunyada de la paritat. Altres dels resultats obtinguts en aquest treball han sigut els projectes propis en relació als continguts, realitzats entre 2008 y 2015, i que també ens han servit com a metodologia de recerca. / Ferrer Molina, JL. (2016). HETERODOXIAS DE LA GUITARRA DESDE 1960 HASTA 2015:PATRONES DE USOS Y PROYECTOS PROPIOS [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63229

A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking. Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication. The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.