Introdução: Com o desenvolvimento das artroplastias não cimentadas, estudos vêm sendo realizados com o objetivo de se determinar se as hastes femorais não cimentadas poderiam ser utilizadas em qualquer paciente,ou estaria reservada apenas para aqueles que possuem boa qualidade óssea. Um estudo comparativo é realizado para avaliar a osteointegração de hastes femorais não cimentadas nas artroplastias totais de quadril em pacientes que apresentam má qualidade óssea, comparando com pacientes que apresentam boa qualidade óssea. Materiais e métodos: Este estudo inclui 196 pacientes submetidos à artroplastia total do quadril primária não cimentada por diagnóstico de osteoartrite primária e secundária com no mínimo de 12 meses de seguimento, divididos em dois grupos: um contendo pacientes com boa qualidade óssea (DorrA); e outro com pacientes com má qualidade óssea (Dorr B e C). Foi avaliada a osteointegração através da análise radiográfica seguindo os critérios estabelecidos por Engh, além de avaliar o resultado clínico e funcional através do questionário de WOMAC. Foram também avaliadas as complicações decorrentes do processo cirúrgico em ambos os grupos. Resultados:Há diferença na frequência do gênero no grupo Má Qualidade Óssea (MQO) (p=0,009) com predomínio de mulheres e diferença no diagnóstico inicial,havendo um número maior de casos de patologias reumatológicas e sequelas de displasia no grupo MQO (p=0,0002). Não observamos diferença quanto a idade, lado operado e tempo de seguimento entre os dois grupos. Não observamos diferença entre os grupos quando avaliado o escore clínico, a osteointegração ou a necessidade de revisão. Observamos um maior risco de fratura intraoperatória do fêmur proximal no grupo MQO (p=0.03) comparando-se com o grupo Boa Qualidade Óssea (BQO). Conclusão: Concluímos que as hastes femorais não cimentadas osteointegram igualmente, independentemente da qualidade óssea do paciente e que fraturas intraoperatórias ocorrem mais quando realizadas hastes femorais não cimentadas em pacientes com má da qualidade óssea / Introduction: With the development of the non cemented total hip replacement, many studies were carried out to determinate if uncemented femoral stem can be used in every patient, or if this kind of implants are reserved for those patients with good bone quality. A comparative study was carried out to evaluate the osseointegration of uncemented femoral stem in total hip replacements in patients that have poor bone quality, comparing with patients that have good bone quality. Methods: The study included 196 cases of primary uncemented total hip arthroplasties due to a diagnosis of primary or secondary osteoarthritis, with a minimum of 12 months of follow-up, divided in two groups: one with patients that have good bone quality (Type A Dorr), and another with patients that have poor bone quality (Types B and C Dorr). Osseointegration was evaluated by X ray analysis, following the Engh\'s criteria. Clinical and functional results were also evaluated by the application of the WOMAC questionnaire, and complication in both groups were reported. Results: Regarding our patient\' gender, we observed a significant difference between the two groups: there was more women in the group of Poor Bone Quality (PBQ) (p=0,009). We also observed a significant difference in the initial diagnosis of the patients: there was more osteoarthritis secondary to rheumatic pathologies and hip dysplasia in the PBQ group (p=0,0002). There was no difference when observed the mean age, operation\' side and mean time of follow-up between the two groups. We also did not observed differences between the groups when evaluated the clinical scores, the osseointegration of the femoral stem and the need of revision of the arthroplasty by any reason. But, in the PBQ, we observed a higher risk of intra operative fracture in the proximal femur compared with the group Good Bone Quality (GBQ) (p=0,03). Conclusion: We concluded that the uncemented femoral stem has an equal rate of osseointegration, despite the bone quality and that there is a higher risk of intra operative fracture when implanted an uncemented femoral stem in bone with poor quality

Esta pesquisa propõe uma revisão do conceito de estética, que, para além, de um conjunto de regras de categorização da arte, pode ser compreendida como expressão dotada de sensibilidade capaz de provocar reações ainda que momentâneas, voltadas para a experiência afetiva, emotiva e sensorial do espectador. Isso se deve, especialmente, porque o conceito de estética precisou se adaptar às novas formas de expressão como a fotografia, o cinema, as performances, instalações e, agora, a incorporação dos dispositivos eletrônicos não apenas na divulgação, como também na produção de sensibilidades. O mundo mediado pelos meios de comunicação eletrônicos e que se torna ainda mais presente na era digital vê o espírito de vanguarda e constante transformação, desloca-se das artes ditas primárias para a expressão tecnológica. No campo das artes, a grande novidade a partir do último quarto do século XX, foi a valorização da arte de rua, do retorno ao coletivo e ocupação do espaço público, especialmente com a arte da periferia, sintetizada na cultura hip-hop, que sempre se utilizou dos dispositivos eletrônicos de forma subversiva, tanto na produção como na divulgação de sua expressão cultural. Arte da periferia, que vem sendo reconhecida como uma das tendências criativas mais importantes deste início de século, como fenômeno orgânico, pulsante e visceral, além de uma forma autêntica de fazer política conectada com as experiências sociais de grandes massas urbanas segregadas, gera soluções originais, criativas, sustentáveis e autônomas. O hip-hop é uma arte de rua e para a rua, voltado para a ocupação do espaço público, para expressão do corpo, desde o flash mob à street dance, passando pelos graffitis e a pichações, o rap e o funk com seus \"pancadões\". Um fenômeno cultural surgido nas periferias dos grandes centros urbanos do mundo inteiro. Estética do improviso, da criatividade, da bricolagem, da mixagem, da colagem e reelaboração de elementos de outras artes, que utiliza a transgressão como estratégia de explicitação das diferenças. / The purpose of this research is to review the concept of aesthetics understood not only as a set of rules for categorizing art. Aesthetics can also be understood as a form of expression endowed with sensitivity and capable of provoking reactions related to affective, emotional and sensorial experience of the viewer, although the reactions could be momentary. In a certain way, this happens because the concept of aesthetics has been adapting to deal with new forms of expression such as photography, cinema, performances, installations and, more recently, the incorporation of electronic devices, which plays an important role not only in the dissemination but also in the production of sensitivities. In the field of arts, the great novelty of the last quarter of the twentieth century was the valorisation of street art, the return to the collective and occupation of public space, especially with the art of the periphery, synthesized in hip-hop culture, which has always used subversive electronic devices, both in the production and in the dissemination of its cultural expression. Periphery art, which has been recognized as one of the most important creative trends of this century, as an organic, pulsating and visceral phenomenon, as well as an authentic way of doing politics connected with the social experiences of large segregated urban masses, generates original solutions, creative, sustainable and autonomous. Hip-hop is a street and street art, focused on the occupation of public space, for expression of the body, from flash mob to street dance, graffiti and graffiti, rap and funk with their \" pancadões \", all of them part of hip-hop aesthetics, as a cultural phenomenon that appeared in the peripheries of the great urban centers of the whole world. Aesthetics of improvisation, creativity, DIY, mixing, collage and re-elaboration of elements of other arts, creating syncretism and cultural hybridism, in addition to using transgression as a strategy to explain differences.

Law Wai Sing. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2002-2003, design report." / Chapter 00 --- INSPIRATION --- p.1 / Chapter 01 --- SYNOPSIS --- p.2 / Chapter 1.1 --- HIP HOP'S ORIGIN --- p.2 / Chapter 1.2 --- HIP HOP IN HONG KONG --- p.3 / Chapter 1.3 --- ANALYSIS - 4 RELATIONS --- p.5 / Chapter 1.4 --- ANALYSIS - HIP HOP SPACE --- p.6 / Chapter 1.5 --- INTERVIEWS --- p.7 / Chapter 02 --- SITE --- p.12 / Chapter 2.1 --- MONGKOK --- p.12 / Chapter 2.2 --- SITE --- p.13 / Chapter 03 --- PROGRAMME --- p.22 / Chapter 3.1 --- PUBLIC PERFORMANCE SQUARE / Chapter 3.2 --- USERS' RELATIONS / Chapter 3.3 --- PROGRAMME LIST / Chapter 04 --- DESIGN CONCEPT --- p.23 / Chapter 05 --- PROPOSAL --- p.29 / Chapter 5.1 --- PLAN --- p.29 / Chapter 5.2 --- ELEVATION --- p.34 / Chapter 5.3 --- SECTION --- p.35 / Chapter 5.4 --- EXTERIOR PERSPECTIVE --- p.36 / Chapter 5.5 --- INTERIOR PERSPECTIVE --- p.41

O presente trabalho tem o intuito de dissertar sobre as desigualdades territoriais paulistanas e as resistências nos lugares a partir dessa condição. Entre paisagens de abundância e escassez, encontramos usos pelo Hip Hop que revelam a atual formação corporativa e fragmentada de São Paulo, cidade informacional. Entre os usos informacionais e corporativos de São Paulo e suas fragmentações engendra-se, desde a década de 80, o Movimento Hip Hop, o qual traz à tona novos usos dos objetos e ações que configuram São Paulo. Ao mesmo tempo em que a formação de São Paulo foi lugar para a modernização de projetos hegemônicos, os usos do território nos revelam que, no cotidiano das ações, cada local vive o encontro dessas racionalidades e, ao mesmo tempo, produz a contra-racionalidade pelas práticas da cultura. Por meio dos usos contemporâneos do território pelo movimento Hip Hop encontramos a razão dos lugares que conformam e são conformados pela prática dos Dj, Mc, Break e Grafitti. Mesmo com o acesso restrito às novas tecnologias da informação, o processo de criação em seus lugares é duplamente criativo pois, além da produção de suas atividades, cria meios à comunicação das suas práticas, sendo a comunicação territorial um importante instrumento do processo de produção e continuidade do Hip Hop. Assim, as investigações aqui apresentadas buscam compreender como um território cada vez mais preparado às ações de interesses capitalistas abriga e fortalece a prática do movimento Hip Hop. Este movimento funde relações territoriais corporativas à escassez produzida em seus locais, valorizando e veiculando a consciência dos usos do território pelo lugar e pela cultura. / The present work aims to understand the inequalities that take place in the paulistano territory and every resistance that arise against them. Among landscapes that range from abundance to shortage, we found that territory usage by the Hip Hop movement reveals the actual corporative and unequal configuration of the informational city, São Paulo. Among the informational and corporative uses of São Paulo city and also its fragmentations, the Hip Hop movement emerged in 1980s brings new possibilities of using objects and actions that form the São Paulo city. At the same time in which the São Paulo city formation was characterized by the modernization of big projects, the territory usage actually reveal us that in the daily actions each place lives its own rationality creating at the same time the counter rationality by the culture practice. By the contemporaneous usages of the territory by the Hip Hop movement we found the reason created by the practices of the Dj, Mc, Break e Grafitt. Even whit restrict access to new informational technologies, the creative process in those places are doubly creative since they produce their own activities and create a way to communicate their practices, revealing the territorial communication as an important instrument to the production and even continuity of the Hip Hop. Therefore, in the scrutiny here presented we sought to comprehend how a territory prepared to the capitalist interests hold and strengthen the emergence of movements such as the Hip Hop that favors the fusion of territorial corporative relationships to the shortage produced in those places, valuating and casting the conscience of using the territory by the place and culture.

Neste texto estão os resultados de pesquisa sobre a participação e as identidades de mulheres nas culturas juvenis do funk e do hip hop em São Paulo, a partir da perspectiva dos marcadores sociais da diferença. Ao fazer uma breve e interessada retomada histórica de como as duas expressões culturais se desenvolveram no Brasil, falo sobre a participação das mulheres nestas cenas, comumente tratadas como masculinizadas. Em seguida, são abordados temas recorrentes entre as mulheres de quem estive próxima, como a identidade periférica, a relação com diferentes ativismos de mulheres e feminismos, o modo como pensam a sexualidade e o erotismo enquanto mulheres, em sua maioria, negras, e o modo como abordam as relações de gênero e afetivo-sexuais em suas performances artísticas e também no dia-a-dia. Ao longo do texto, são destacadas semelhanças e diferenças entre os dois grupos, e nossas experiências conjuntas são situadas em uma discussão mais ampla sobre feminismos, relações de gênero e de sexualidade que vêm ganhando visibilidade. / This text presents the results of the research on participation and women\'s identities in funk and hip hop youth cultures in São Paulo, from the perspective of the social markers of difference. While making a brief and interested historical recovery of how the two cultural expressions developed in Brazil, I talk about the participation of women in these scenes, commonly treated as masculine. Then, recurring themes among women who\'ve been close to are addressed issues, as peripheral identity, the relationship with different womens activism and feminisms, the way they think about sexuality and eroticism as women, mostly black women, and how they address gender and sexual-affective relations in their artistic performances and also on their daily lives. Throughout the text, similarities and differences are highlighted between the two groups, and our joint experiences are situated in a broader discussion about feminisms, gender relations and sexuality that are gaining visibility.

Esta dissertação de mestrado é uma reflexão sobre uma pesquisa educacional de campo que contemplou o hip-hop como cultura juvenil e cujo objetivo era construir fazeres educacionais que se valem do hip-hop. O texto discute a experiência educacional que teve lugar na organização não governamental Casa do Zezinho, no extremo sul da cidade de São Paulo. A instituição oferecia oficinas de hip-hop a jovens de ambos os sexos, entre 13 e 17 anos e regularmente matriculados na rede pública, e minha intervenção se deu nesse contexto, em parceria com a professora de hip-hop. Descrevo o itinerário da pesquisa contemplando aspectos institucionais, subjetivos e de articulação do projeto durante sua realização. Minha intervenção consistiu em exercícios e atividades de natureza cultural como a produção de textos, grafitti e coreografias matizados pela motivação e pelo despertar de uma consciência crítica, artística e, principalmente, de pertença à ancestralidade africana, arrancada de suas raízes pelo processo histórico escravagista colonial cujos resquícios perduram até hoje, em parceria com a professora de hip-hop da Instituição. Os exercícios visavam sobretudo conectar esses jovens com sua ancestralidade perdida, pois pensamos o hip-hop como cultura juvenil legítima e procuramos valorizá-lo como percurso educacional, inclusive a jornada heroica que se narra em suas letras, análoga à dos jovens em seu cotidiano e à minha própria como pesquisador. No processo de construção das oficinas, consubstanciou-se a presença da religiosidade africana, de sua arte e de seu pensamento, traduzidos e atualizados pela cultura hip-hop. O resultado foi um percurso formativo que se valeu de uma cultura juvenil praticada principalmente por jovens pobres das periferias do Brasil e, compartilhando essa experiência, procurou-se resgatar a autoestima desses jovens e favorecer a integração social e geracional de membros das comunidades. / This master dissertation is a reflection of an educational research in the field that faced hip hop as a youth culture, which goal was to build educational procedures from hip hop. The text discusses the experience that took place at the Non-Governmental Organization Casa do Zezinho, in the far south of São Paulo City. The institution offered hip-hop workshops for young people of both sexes, between 13 and 17 years old, who were officially enrolled at the schools of the public system, and my intervention took place in this context, in partnership with the teacher of hip-hop. I shall narrate the itinerary of the research, considering institutional, subjective and articulatory aspects of it, along its making. My intervention consisted of exercises and cultural activities such as the production of texts, graffiti and choreography tinted by motivation and the awakening of a critical conscience, artistic awareness and especially the feeling of belonging to African ancestry, torn from its roots through the historic slave process which colonial remnants linger to the present days. The exercises were aimed, above of all, to connect these young people to their lost ancestry, because we believed hip hop as a legitimate youth culture and we struggle to value it as an educational route, including the heroic journey that is described in its lyrics, analogous to the youth struggles in their everyday life, and my own as a researcher. It was embodied into the workshops the process of construction to reveal the presence of African religiosity, its art and its thinking, translated and updated by the hip hop culture. As a result, I developed a training path that drew upon a youth culture mainly practiced by poor young people from the outskirts of Brazil and when sharing this experience, we tried to rescue the self-esteem of these young people and promote social and generational integration of community members.

In this thesis I investigate the portrayal of women in Hip Hop as either a sista' or a ho, a dichotomy that mirrors the Freudian Madonna-whore complex prevalent in Western Society. Belittled and disparaged by the sexism implied by this dichotomy, women have become victims of various forms of misogynistic abuse. Queen Latifah stands up against this misogyny, using Hip Hop in the very way it was designed to be used “as a voice for the disenfranchised“ speaking out against the sexism in Hip Hop in the same way African American males use Hip Hop against White mainstream society. She thus challenges the sista'-ho dichotomy and becomes empowered to decry gender discrimination in the same way African American males become empowered to denounce racism through the performance of Hip Hop.

Computational modeling in the field of biomechanics is becoming increasingly popular and successful in practice for its ability to predict function and provide information that would otherwise be unobtainable. Through the application of these new and constantly improving methods, kinematics and joint contact characteristics in pathological conditions of femoroacetabular impingement (FAI) and total hip arthroplasty (THA) were studied using a lower extremity computational model. Patients presenting with FAI exhibit abnormal contact between the femoral neck and acetabular rim leading to surrounding tissue damage in daily use. THA is the replacement of both the proximal femur and acetabular region of the pelvis and is the most common surgical intervention for degenerative hip disorders. A combination of rigid osteoarticular anatomy and force vectors representing soft tissue structures were used in developing this model. Kinematics produced by healthy models were formally validated with experimental data from Burnfield et al. This healthy model was then modified to emulate the desired morphology of FAI and a THA procedure with a range of combined version (CV) angles. All soft tissue structures were maintained constant for each subsequent model. Data gathered from these models did not provide any significant differences between the kinematics of healthy and FAI but did show a large amount of variation in all THA kinematics including incidents of dislocation with cases of lower CV angles. With the results of these computational studies performed with this model, an increased understanding of hip morphology with regards to STS has been achieved.

Study Design: Cross-sectional. Background: Although decreased hip abduction and lateral rotation strength has been found in females with patellofemoral pain syndrome (PFPS), few studies have included males. Aim: To determine if hip abduction and lateral rotation strength is decreased in males with PFPS. Methods: Eight males participated. Isometric hip abduction and external rotation strength was measured with a hand-held dynamometer. Four subjects had unilateral patellofemoral pain (mean age = 26.5 ± 7.5 years) and 4 asymptomatic subjects were controls (mean age = 23 ± 6.4 years). The recorded measurements from the symptomatic legs were compared with the asymptomatic legs, and also with the controls. Results: No significant differences in hip abduction or lateral rotation strength were found between the symptomatic and asymptomatic legs of male subjects with PFPS. The PFPS subjects did not have generally weaker hip strength compared with the asymptomatic controls. Conclusion: Males with PFPS do not appear to have decreased hip abduction and lateral rotation strength. However, the sample size was too small for conclusions to be drawn. This study can be used as a preliminary step in gathering evidence about factors affecting PFPS in males, which may in turn shed light on appropriate clinical treatments.

During a major part of modernity the concept of identity was something that in many ways was predetermined for the individual. People in general remained in the same social spheres as the generations before, shared common religions and beliefs and where more or less bound to a geographic area. Identity and lifestyle was something that was adapted quite unreflected from habit and tradition. Though, during the cultural modernisation process that took place in the twentieth century, previous shared patterns of interpretation vanished and became individual.  Finding references, constructing an identity and establishing a self became individual. There was also a shift in the relationship to the objects that surround us. Instead of seeing the objects from a functionalistic view, objects and commercial goods also became representations of ourselves that sent out signals of who we wanted to be as individuals. The globalized media society that we have today gives an opportunity where we can pick up elements from different phenomena in society to create an eclectic blend of references as a way to construct our own lifestyle and unique identity. This essay deals with the question of how jewellery can function as a mark of identity. I have investigated three different jewellery practices to see what possibilities jewellery have as a potential communicator of identity. The jewellery practices that I investigated are Bling Bling jewellery within the Hip-Hop culture, jewellery in the Black Metal community and contemporary jewellery art in Sweden. What I found in common between these, at the surface very different cultural expressions, is that they mix different cultural references in a way similar to collage. By doing that they create new patterns of interpretation and codes that can be read by the ones initiated, which creates a sense of belonging and identity. Another aspect of jewellery within these practices is that the wearer or the maker charges the artefact with a meaning. To state either by making or wearing a piece of jewellery that this object stands for or talks about this and then communicate that to the surrounding. And if others accept these values it creates a common code of identity. / <p>Upphovsrättsskyddat bildmaterial har tagits bort från orginalet.</p>