Persistent organic pollutants (POPs) are a threat to the environment and human health because they are ubiquitous, resistant to degradation, can bio-accumulate in organisms and bio-magnify in food chains. They have a detrimental effect on the reproductive, nervous and immunity systems of vertebrates. An international treaty, the Stockholm Convention on POPs, came into force in 2004 and aims to limit and eventually prohibit any use and unintentional production of POPs. South Africa ratified the Convention in 2002. Those compounds currently listed by the Stockholm Convention as POPs include chlorinated pesticides such as dichlorodiphenyltrichlorethane (DDT), chlordane and dieldrin, and industry-related compounds such as polychlorinated biphenyls (PCBs) and hexachlorobenzene. Polychlorinated dibenzo-p-dioxins (PCDDs) and polychlorinated dibenzofurans (PCDFs) are also regarded as POPs but - together with some PCBs - they are the unintentional result of anthropogenic activity. This study focussed on the PCDDs, PCDFs and dioxin-like PCBs in the aquatic environment of South Africa particularly because the water resources in this country are under pressure. Despite the fact that South Africa has the sources of these compounds, little is known about the levels of these three groups of compounds. The concentration of twelve dioxin-like PCBs, seven PCDDs and ten PCDFs were determined for 22 sites selected on the grounds of their proximity to possible pollution sources. Analytical determinations included gas chromatography/mass spectrometry and a cell-based bio-assay, the H4IIE-/17C reporter gene assay. Possible sources of the observed pollution were inferred using the following statistical investigative methods: principal component and hierarchical cluster analysis. Seven of the sites had levels higher than the threshold effect concentration of Canada's sediment quality guidelines of 0.85 ngTEQ kg'1 (Toxic Equivalency Quotient). The other sites had lower levels. The highest concentration, 17.8 ng TEQ kg"1, was measured at a site in the southern Gauteng Province. Most of the PCDD/F pollution seemed to have come from combustion sources related to human activity, rather than industrial combustion. Most of the dioxin-like PCB pollution seemed to have been from commercial PCB preparations. Future research would require better characterisation of the sources in order to reduce the formation of these compounds, but also to better understand the exposure and risk scenarios, if humans are to be in close contact with these sources. / Thesis (Ph.D. (Zoology))--North-West University, Potchefstroom Campus, 2008.

Texte remanié de: Thèse 3# cycle--Lettres--Paris X, 1969. / Thèse soutenue sous le titre : "Cinéma moderne et société de consommation.

Th. 3e cycle--Institut d'art et d'archéologie--Paris 1, 1971. / Mention parallèle de titre ou de responsabilité : 'Oi toihografies tou 'Osiou Louka : ta dutika parekklēsia / Theanō Hatzēdakē-Mpahara ; prol., André Grrabar. Notice translittérée du grec selon ISO R/843 (1968). Bibliogr. p. 189-199. Index.

Zugl.: Bremen, Univ., Diss., 2008

Zugl.: Bremen, Universiẗat, Diss., 2008.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains viii, 255 p. Includes bibliographical references (p. 234-255). Available online via OhioLINK's ETD Center

La thèse actuelle présente une étude de l’œuvre complète du dramaturge, écrivain, metteur en scène et acteur français contemporain Jean-Luc Lagarce (1957-1995) dont la création dramatique a été pleinement reconnue après son décès et la découverte de sa dernière pièce Le Pays lointain qui a tout de suite connu un énorme succès critique et a été plusieurs fois mise en scène. Organisée en quatre chapitres majeurs, la présente recherche rencontre nécessairement les préoccupations des spécialistes du langage et plus particulièrement de la linguistique conversationnelle et de l'approche pragmatique. Ce regard croisé permet une réflexion sur la nouvelle poétique dramatique et littéraire de Jean-Luc Lagarce centrée sur la complexité inhérente à la réalisation empirique de la parole, au lieu de se réduire à un simple fonctionnement des interactions verbales attestées dans la société contemporaine. L’œuvre de Jean-Luc Lagarce se présente ainsi comme la résultante dramatique, stylistique et littéraire spécifique de ce théâtre discursif qu’est le « théâtre du langage ». / The present thesis presents a study of the complete work of contemporary French playwright, writer, director and actor Jean-Luc Lagarce (1957-1995) whose dramatic creation was fully recognized after his death and the discovery of his last play The Far Country, which has immediately been enormously critical and has been staged several times. Organized into four major chapters, this research necessarily meets the concerns of language specialists and more particularly of conversational linguistics and the pragmatic approach. This cross-look allows a reflection on Jean-Luc Lagarce's new dramatic and literary poetics centered on the complexity inherent in the empirical realization of speech, instead of being reduced to a mere functioning of verbal interactions attested in contemporary society. The work of Jean-Luc Lagarce thus appears as the dramatic, stylistic and literary resultant specific to this discursive theater that is the "theater of language".

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-04-02T15:27:10Z No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-04-06T14:02:30Z (GMT) No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) / Made available in DSpace on 2018-04-06T14:02:30Z (GMT). No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) Previous issue date: 2018-02-07 / Essa disserta??o investiga como se d? a forma simb?lica atuante no hibridismo est?tico presente nos filmes de Jean-Luc Godard, especificamente em O Dem?nio das Onze Horas (Pierrot Le Fou, 1965), Paix?o (Passion, 1982) e Adeus ? Linguagem (Adieu Au Langage, 2014), no que toca a rela??o entre cinema e pintura. Duas quest?es centrais nortearam o foco desta investiga??o: como se d? a constru??o simb?lica da maneira pict?rica de Godard? Os elementos pict?ricos presentes na narrativa f?lmica se prop?em realmente a construir significados e transmitir sensa??es reais como as do movimento impressionista nas pinturas? A rela??o entre cinema e pintura na obra de Godard ? trabalhada aqui no contexto de promover um di?logo entre as artes e a comunica??o. Partindo do pressuposto de que filmes s?o objetos art?sticos que comunicam por meio de elementos simb?licos, este trabalho busca identificar a forma simb?lica de Godard dentro de uma linguagem h?brida por meio da an?lise de elementos como a cor e a luz. / This research aimed to expand the existing studies regarding the relationship between cinema and painting, investigating how the symbolic form acting in the hybridism present in the films of French film director Jean-Luc Godard. The dissertation is developed in two chapters. The first chapter, entitled "From pictorial to cinematographic", focuses on cinema and its transformations concerning the ways to represent the "real", emphasizing the French New Wave and Godard?s cinema. In the second chapter, entitled ?Cinema, painting and hybrid language in Jean-Luc Godard?, after defining the concept of hybridism and its applicability, regarding the use of color, to the aspects of symbolic, hybrid and intertextual representation in the cinema, the films Pierrot Le Fou (1965), Passion (1982) e Goodbye to Language (2014) are analyzed in light of Vanoye and Goliot-L?t? (1994), Penafria (2009) and Rose (2003). Throughout the text, the relationship between cinema and painting in Godard's work is carried out with a view to promoting a dialogue between art and communication. Two questions guided the investigation: how does the symbolic construction of Godard's pictorial way take place? Do the pictorial elements present in the filmic narrative really propose to construct meanings and transmit real sensations like those of the Impressionist movement in the paintings? In the understanding achieved by the research, it is affirmed that symbolism and poetics are inherent in cinema and painting in the film production of Jean-Luc Godard.

Malgré la célébrité de certaines de ses estampes, consacrées à la mode et qui ont donné naissance à un genre appelé « bonnart », la dynastie Bonnart demeure peu connue. Ce travail vise à reconstruire l’histoire de cette famille parisienne et de ses deux boutiques de L’Aigle et du Coq, implantées rue Saint-Jacques. À l’étude de ses quatre générations succède l’analyse de la production de ses différents membres, qui furent imprimeurs, graveurs et marchands, mais aussi peintres et dessinateurs. Les Bonnart participèrent à des commandes royales et à la célébration du règne de Louis XIV tout en s’intéressant aux nouvelles tendances de l’art de leur temps. Notre catalogue comprend plus de 2 000 estampes, peintures et dessins ; il dessine un fonds qui dépasse largement les gravures de mode, résultant à la fois d’une activité de création et d’édition, comparable en bien des points à ceux de grandes familles contemporaines comme les Mariette ou les Poilly. Une grande partie de notre travail est ensuite consacrée à l’image de mode de la dynastie Bonnart, qui développe avec succès une formule influencée par les œuvres des Lepautre et de Jean Dieu de Saint-Jean. Ses membres profitent d’un intérêt général envers la mode, dont témoignent les articles du Mercure galant, et sont à l’origine de plusieurs innovations, en particulier celle du « portrait en mode ». Notre dernière partie revient quant à elle sur la réception et la fortune des Bonnart, depuis le XVIIe siècle jusqu’à aujourd’hui. Leurs images ont en effet largement été exploitées par les arts décoratifs, avant d’être considérées comme des documents historiques qui renseigneraient de manière fiable sur les mœurs de l’Ancien Régime et l’histoire du vêtement. / In spite of the fame of some of its engravings consecrated to fashion, which have given rise to a style called « bonnart », the Bonnart dynastie remains little known. This work aims to reconstruct the story of this Parisian dynasty and of its two boutiques « L’Aigle » and « Le Coq » established Rue Saint-Jacques. To the story of its four generations succeeds the analysis of the production of its different members that were printers, engravers and merchants, but also painters and designers. The Bonnart participated to royal orders and to the celebration of the reign of Louis XIV while interesting to the new tendencies of the art of their time. Our catalogue includes more than 2000 engravings, paintings and drawings ; it draws funds that pass widely beyond the « modes », resulting at once from an activity of creation and from an activity of edition, comparable in many aspects with those of great contemporaneous families such as those of the Mariette or of the Poilly families. A big part of our work, after that, is consecrated to the image of « mode » of the Bonnart dynasty that develops with success a formula influenced by the works of the Lepautre and of Jean Dieu de Saint-Jean. Its members profit by a general interest for fashion, shown in the articles of the « Mercure galant » ; they are at the origin of several innovations, in particular that of the « portrait en mode ». Our last part, as for it, come back to the reception and fortune of the Bonnart, from the 17th century until now. Their images have been, effectively, widely exploited by the decoratives arts, before being regarded as historical documents that would give valuable information about the customs of the Old Regime and the story of the clothing.