Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / CoFeB thin films were produced using the technique of magnetronsputtering. Six samples were produced magnetic thin films with two different thicknesses, using different settings for shading masks. For each film were made two measurements of magnetization, a parallel to the easy axis of magnetization, and the other perpendicular to the axis. The films produced with shading masks non-magnetic show a deteriorated magnetic configuration compared to those produced with magnetic material with a cut. Different thicknesses of the films provide different values in the coercive field of the sample. The thicker films have an increase in the coercive field. With these results there is a possibility of making tunnel junctions measures aimed tunnel magneto-resistance with CoFeB films as an electrode. / Filmes finos de CoFeB foram produzidos utilizando a técnica de magnetron sputtering. Foram produzidas seis amostras de filmes finos magnéticos com duas espessuras diferentes, utilizando diferentes configurações para máscaras de sombreamento. Para cada filme foram feitas duas medidas de magnetização, uma paralela ao eixo fácil de magnetização, e outra perpendicular ao eixo. Os filmes produzidos com máscaras de sombreamento não magnéticas apresentam uma configuração magnética deteriorada em comparação aos produzidos com máscaras de material magnético com um corte. Diferentes espessuras dos filmes proporcionam diferentes valores do campo coercivo da amostra, para os filmes mais espessos temos um aumento no campo coercivo. Com esses resultados há uma possibilidade de confecção de junções túnel visando medidas de magneto resistência túnel com filmes de CoFeB como eletrodo.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / IntroduÃÃo: A VentilaÃÃo NÃo Invasiva (VNI) consiste na oferta de suporte ventilatÃrio sem uso de prÃtese traqueal, atravÃs de uma interface (usualmente uma mÃscara) adaptada entre o ventilador e o paciente. Embora a VNI apresente eficÃcia semelhante ao mÃtodo invasivo em otimizar a troca gasosa de pacientes com insuficiÃncia respiratÃria de vÃrias etiologias, ainda hà uma taxa de insucesso considerÃvel desta modalidade. A despeito do fato de que a intolerÃncia à interface à um importante fator associado à falha do procedimento, existem poucos trabalhos na literatura comparando diferentes dispositivos. Assim, estudos que avaliem a eficÃcia e a seguranÃa e que comparem diferentes interfaces sÃo necessÃrios. A utilizaÃÃo de voluntÃrios sadios exibe a vantagem de eliminar os sintomas da insuficiÃncia respiratÃria que podem prejudicar uma avaliaÃÃo mais especÃfica da interface. Objetivos: Avaliar e comparar trÃs tipos de mÃscaras para VNI, em voluntÃrios sadios, quanto à freqÃÃncia e tipos de efeitos adversos e quanto ao nÃvel de conforto. CasuÃstica e MÃtodo: O estudo consistiu em um ensaio clÃnico randomizado do tipo crossover comparando as mÃscaras nasal (N), facial (F) e facial total (FT), em ventilador gerador de fluxo com orifÃcio exalatÃrio no circuito. Cada voluntÃrio usava as trÃs interfaces em uma seqÃÃncia randomizada. A VNI era aplicada por tempo total de 10 minutos para cada interface. Durante este perÃodo, dois nÃveis de pressÃo inspiratÃria e expiratÃria (IPAP e EPAP) no modo de ventilaÃÃo bilevel eram aplicados, por 5 minutos, com cada mÃscara. Foi testado um nÃvel baixo de pressÃo (Pbx) com IPAP de 11cmH2O e EPAP de 6cmH2O e um nÃvel moderado a alto de pressÃo (Pma) com IPAP de 15cmH2O e EPAP de 10cmH2O. Ao final de cada perÃodo de 5 minutos, era aplicado ao voluntÃrio questionÃrio padronizado de efeitos adversos das interfaces, incluindo dor em vÃrios pontos de pressÃo das mÃscaras, percepÃÃo incÃmoda de vazamentos, sensaÃÃo de ressecamento nasal e oral e claustrofobia. O voluntÃrio tambÃm indicava seu nÃvel de conforto (em uso da interface) atravÃs de uma Escala AnalÃgica Visual de 10 cm (EAV) (sendo zero o mÃximo desconforto e dez a ausÃncia de desconforto). Havia um intervalo de 10 minutos em respiraÃÃo espontÃnea sem mÃscara entre cada perÃodo de VNI. Durante todo o protocolo, foram monitorizados freqÃÃncia respiratÃria (f), Volume Corrente (VC), Oximetria de pulso (SpO2) e Capnografia (EtCO2) instalada entre a mÃscara e o orifÃcio exalatÃrio. Para a anÃlise comparativa das variÃveis categorizadas, foram utilizados os testes qui-quadrado de Pearson, exato de Fisher e Mcnemar e para as variÃveis quantitativas foram utilizados os testes ANOVA e dos mÃnimos quadrados. Resultados: Foram avaliados 24 voluntÃrios sadios (12 mulheres) com idade entre 18 e 35 anos (mÃdia de 25,7). Quanto aos efeitos adversos e considerando o nÃvel de pressÃo mais baixo (Pbx) observou-se 1. A incidÃncia de pelo menos um efeito foi de 91,7% para N e FT e 95,8% para F. 2. A mÃscara N teve mÃdia de efeitos adversos por paciente menor do que a F (3,58 x 5,0 p=0,002) e do que a FT (3,58 x 4,71 p=0,03). 3. O efeito adverso com maior incidÃncia nas trÃs interfaces foi âpressÃo da mÃscaraâ (N=54,2% F=66,7% e FT=66,7%). 4. Dor nos pontos de pressÃo foi significativamente menor com a FT do que com a F (37,5% x 66,7% p=0,01), sem diferenÃa em relaÃÃo à N. 5. A incidÃncia de percepÃÃo incÃmoda de vazamentos (olhos/boca) foi menor com a FT do que com a N (41,7% x 75% p=0,03) e sem diferenÃa significativa entre a N e a F. 6. Queixas de ressecamentos (nasal/oral) foram bem menos freqÃentes com a interface nasal tanto em relaÃÃo à facial (25% x 62,5% p= 0,01) quanto à facial total (25% x 75% p<0,001). 7. Em relaÃÃo à claustrofobia, a mÃscara facial total apresentou uma tendÃncia maior do que a nasal (33,3% x 8,3% p= 0,07). Considerando as mesmas variÃveis, ao se incrementar a pressÃo, verificou-se que: 1. A incidÃncia de efeitos adversos permaneceu alta, sendo 95,8% para N e FT e 100% para F. 2. A mÃdia de efeitos adversos por voluntÃrio na mÃscara nasal permaneceu menor, sendo estatisticamente significativa em relaÃÃo à facial (4,75 x 6,04 p= 0,009). 3. âPressÃo da mÃscaraâ continuou sendo o efeito adverso mais freqÃente nas trÃs interfaces (N=62,5% F=70,8% FT=75%). 4. NÃo houve mais diferenÃa entre as mÃscaras com relaÃÃo à dor nos pontos de pressÃo. 5. Com relaÃÃo aos vazamentos incÃmodos, houve apenas tendÃncia de piora em F comparando-se com FT (83,3% x 54,2% p= 0,09). 6. Ressecamentos permaneceram menos freqÃentes na mÃscara nasal, sendo N (41,7%) x F (66,7%) p= 0,03 e N (41,7%) x FT (79,2%) p=0,02. 7. Maior tendÃncia à claustrofobia persistiu na mÃscara FT em relaÃÃo à N (33,3% x 8,3% p= 0,07). 8. O incremento da pressÃo aumentou a mÃdia de efeitos adversos nas trÃs interfaces, sendo estatisticamente significativo na mÃscara nasal (3,58 x 4,75 p=0,003) e na facial (5,0 x 6,04 p= 0,007) e exibindo tendÃncia na facial total (4,71 x 5,33 p=0,07). 9. Em relaÃÃo à EAV de conforto, foi observado menos conforto com Pma em relaÃÃo à Pbx nas trÃs interfaces, sendo N (7,54 x 7,13 p=0,01), F (7,50 x 6,54 p<0,001) e FT (7,25 x 6,50 p=0,001), sem diferenÃa significativa entre as mesmas. NÃo houve variaÃÃes significativas com relaÃÃo aos parÃmetros fisiolÃgicos que pudessem influenciar o estudo comparativo dos efeitos adversos e conforto das interfaces. NÃo houve detecÃÃo de curva pelo capnÃgrafo quando se utilizou a mÃscara facial total, evidenciando a completa eliminaÃÃo do CO2 pelos orifÃcios exalatÃrios desta interface. ConclusÃo: As trÃs interfaces apresentaram alta incidÃncia de efeitos adversos em voluntÃrios sadios. A mÃscara nasal apresentou mÃdia de efeitos adversos por voluntÃrio menor do que as outras duas interfaces, destacando-se menor incidÃncia de ressecamentos. A mÃscara facial total parece estar associada a menos queixas de dor e de percepÃÃo incÃmoda de vazamentos, porÃm exibe maior tendÃncia à claustrofobia em comparaÃÃo Ãs outras duas interfaces. As trÃs interfaces apresentaram um bom nÃvel de conforto, sem diferenÃa significativa entre elas. O aumento dos nÃveis de pressÃo no modo bilevel diminuiu o conforto e aumentou os efeitos adversos relatados pelos voluntÃrios sadios nas trÃs interfaces / Rationale: Non-invasive ventilation (NIV) is defined as a ventilatory support technique using an interface (usually a mask) instead of tracheal intubation to adapt the patientâs respiratory system to the ventilator. Although it is as efficacious as the invasive method in terms of improving gas exchange in patients with respiratory failure due to various etiologies, it remains associated with considerable failure rates. Despite the association between interface and low tolerance to NIV, few studies have been published evaluating the efficacy and safety of each type of interface. interfaces are best studied on healthy subjects avoiding the interference of confounding factors related to respiratory failure. Objective: To evaluate and compare three types of masks used as NIV interface on healthy volunteers with regard to frequency and type of adverse events and level of comfort. Method: A randomized, crossover clinical trial was conducted to evaluate and compare nasal (N), facial (F), and total face (TF) masks adapted to healthy volunteers using a flow generator ventilator with a circuit exhalation valve. The three masks were tested on all subjects in random sequence during 10 minutes each, equally divided between two levels of expiratory and inspiratory positive airway pressure (EPAP; IPAP) in bilevel ventilation: a low-pressure (LoP) setup (IPAP: 11cmH2O; EPAP: 6cmH2O) and a moderate to high-pressure (MoHiP) setup (IPAP=15cmH2O; EPAP=10cmH2O). At the end of each 5-min period, the subjects were given a standardized written questionnaire on adverse events including questions about uncomfortable pressure and pain at contact points between mask and face, unpleasant perception of air leaks, nasal and oral mucosal dryness and claustrophobia. They also recorded sensations of comfort on a 10-cm visual analogical scale (10=absence of discomfort; 0=maximum discomfort). A 10-min interval of spontaneous, mask-free breathing was allowed between each period of NIV. The respiratory rate (RR), tidal volume (TV), pulse oxymetry (SpO2) and end-tidal CO2 volume (EtCO2), measured between mask and exhalation valve, were monitored during the entire protocol. While categorized variables were analyzed with Pearsonâs Chi-square test, Fisherâs exact test and McNemarâs test, continuous variables were analyzed with ANOVA and least-squares regression. Results: The study included 24 healthy volunteers (12 women) aged 18 to 35 (mean age: 25.7 years). The following was observed with regard to adverse events while using the LoP setup: a) The incidence of one or more adverse events by subject was 91.7% for N and TF and 95.8% for F; b) The number of adverse events per subject was smaller for N than for F (3.58 vs. 5.0; p=0.002) or TF (3.58 vs. 4.71; p=0.03); c) The most frequently reported adverse event was âmask pressureâ (N=54.2%; F=66.7%; FT=66.7%); d) Pain at points of mask contact was less frequently reported for TF than for F (37.5% vs. 66.7%; p=0.01), but no significant difference was observed between TF and N; e) The incidence of unpleasant air leak perception around the eyes or mouth was lower for TF than for N (41.7% vs. 75%; p=0.03) but no significant difference was observed between N and F; f) Complaints of nasal or oral dryness were much less frequent for N than for F (25% vs. 62.5%; p=0.01) or TF (25% vs. 75%; p<0.001); g) Claustrophobia was more frequently reported for TF than for N (33.3% vs. 8.3%; p=0.07). The higher airway pressure of the MoHiP setup resulted in: a) The incidence of one or more adverse events per subject remained high (95.8% for both N and TF; 100% for F); b) On the average, N continued to be associated with the lowest number of adverse events per subject, the difference between N and F being statistically significant (4.75 vs. 6.04; p=0.009); c) Mask pressure remained the most common complaint (N=62.5%; F=70.8%; FT=75%); d) No significant difference was observed concerning pain; e) Reports of unpleasant air leak perception increased more for F than for TF (83.3% vs. 54.2%; p=0.09); f) N continued to be associated with the lowest incidence of dryness (N=41.7% vs. F=66.7%; p=0.03; and N=41.7% vs. TF=79.2%, p=0.02); g) The incidence of claustrophobia remained higher for TF than for N, though not statistically so (33.3% vs. 8.3%; p=0.07); h) On the average, pressure augmentation induced a higher number of adverse events per subject in all 3 mask types. The increase was statistically significant in the case of N (3.58 vs. 4.75; p=0.003) and F (5.0 vs. 6.04; p=0.007) and tended to be so for TF (4.71 vs. 5.33; p=0.07); i) No significant difference was observed between the masks with regard to comfort, but the MoHiP setup was reportedly less comfortable than the LoP setup for all mask types: N (7.54 vs. 7.1; p=0.01), F (7.50 vs. 6.54; p<0.001) and TF (7.25 vs. 6.50; p=0.001). Physiological variations observed during the protocol could not account for the adverse events or comfort sensation reported. Interestingly, the CO2 curve remained undetected by the capnograph while using TF, probably because the exhaled CO2 was completely eliminated through orifices in the mask. Conclusions: All three mask types presented a high incidence of adverse events in healthy volunteers. The nasal (N) mask was associated with a lower mean number of adverse events per subject, especially with regard to dryness. Although the total face (TF) mask seemed to be associated with fewer reports of pain and with a lower incidence of unpleasant air leak perception, claustrophobia was also more frequently reported. The masks were equally efficacious in terms of comfort. Higher pressure levels in the bilevel mode were associated with increased reports of discomfort and adverse events in healthy volunteers

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-03-28T18:40:30Z No. of bitstreams: 2 Dissertação - Ana Paula Zenóbia Balduino - 2016.pdf: 1728908 bytes, checksum: 9be0fded92c1a4fb663d04300deb1993 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-03-31T10:36:32Z (GMT) No. of bitstreams: 2 Dissertação - Ana Paula Zenóbia Balduino - 2016.pdf: 1728908 bytes, checksum: 9be0fded92c1a4fb663d04300deb1993 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-03-31T10:36:32Z (GMT). No. of bitstreams: 2 Dissertação - Ana Paula Zenóbia Balduino - 2016.pdf: 1728908 bytes, checksum: 9be0fded92c1a4fb663d04300deb1993 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the present study aimed to analyze samples of cosmetic clays (white, red and green) used in facial treatments with regard to chemical composition, assessing the existence of potentially toxic metals to health, regulated by RDC Resolution nº 48 of ANVISA and their fluorescence concentrations of X-ray energy dispersive (EDXRF). For structural analysis, samples were characterized by diffraction techniques X-ray (XRD) and conventional, high-resolution laser spectroscopy in the infrared Fourier transform spectroscopy (FTIR), for determining the clay forming and impurities for each sample. In addition, we evaluated the bioavailability of metals in samples by the method proposed by Rodriguez and Diaz the release test metals by acid treatment. The EDXRF analysis for the analyzed clays showed the presence of 5 (Ba, Cr, Pb, Nd and Zr) metals regulated by ANVISA Resolution RDC nº 48 as prohibited. XRD analysis of the fresh samples showed the presence of clays of the kaolinite, illite, halloysite, dickite, montmorillonite and mica muscovite the presence of mineral impurities. In assessing the availability of harmful metals present in samples by treating this acid pointed by XRD technique the progressive decline and the loss of crystallinity of the peaks relating to mineral impurities. In FTIR analysis for fresh samples stands out the band in the region 1382 cm-1 present as an impurity and its removal after acid treatment. It follows therefore that these clays have some undesirable metals in its composition, and to carry out an acid attack these species become available and may cause problems to health, requiring more rigorous quality control because it is a product of continuous use. / No presente estudo objetivou-se analisar amostras de argilas cosméticas (branca, vermelha e verde) usadas em tratamentos faciais com relação à composição química, avaliando a existência de metais potencialmente tóxicos para a saúde, regulados pela resolução RDC nº 48 da ANVISA e suas respectivas concentrações por fluorescência de raios-X com energia dispersiva (EDXRF). Para a análise estrutural, as amostras foram caracterizadas pelas técnicas de difração de raios-X (DRX) convencional e de alta resolução e espectroscopia de absorção na região do infravermelho com transformada de Fourier (FTIR), para a determinação dos argilominerais formadores e impurezas presentes para cada amostra. Além disso, avaliou-se a biodisponibilidade dos metais nas amostras pelo método proposto por Rodriguez e Diaz, pelo teste de liberação de metais por tratamento ácido. A análise de EDXRF para as argilas analisadas apontaram a presença de 5 (Ba, Cr, Pb, Nd e Zr) metais regulados pela resolução ANVISA RDC nº 48 como proibidos. A análise de DRX para as amostras in natura das argilas apontaram a presença dos argilominerais caulinita, ilita, haloisita, diquita, montmorilonita e mica muscovita e a presença de impurezas minerais. Ao avaliar a disponibilidade dos metais nocivos presentes nas amostras pelo tratamento ácido este apontou pela técnica de DRX a diminuição progressiva e a perca da cristalinidade dos picos referentes às impurezas minerais. Na análise de FTIR para as amostras in natura destaca-se a banda na região de 1382 cm-1 presente na forma de impureza, e sua remoção após tratamento ácido. Conclui-se, portanto que estas argilas possuem alguns metais indesejáveis em sua composição, e ao realizar um ataque ácido estas espécies se tornam disponíveis, podendo ocasionar problemas a saúde, sendo necessário um maior rigor no controle de qualidade por se tratar de um produto de uso contínuo.

Esta tese é um estudo analítico-interpretativo do romance A Hora da Estrela, de Clarice Lispector. Com base nas teorias de Mikhail Bakhtin, explicitam-se os elementos dialógicos que estariam na base da composição do romance final de Lispector. Por dialogismo, entendem-se as várias interações crítico-paródicas que o narrador Rodrigo S.M, persona masculina criada pela autora, estabelece com outros discursos no processo metaliterário que embasa a construção da narrativa. Entre estes discursos, a análise dá especial atenção à paródia que o narrador faz de diferentes formas narrativas e dramáticas, entre as quais se destacam o romance de folhetim, o melodrama, o romance regional, o romance social e o romance psicológico. O tom dialógico-paródico dominante na obra permite detectar traços de carnavalização usados como arma de crítica e denúncia social. No âmbito desta carnavalização, destaca-se a presença de máscaras ancestrais da arcaica romanesca retomadas e atualizadas por Lispector, em especial as máscaras do tolo, do bufão e do trapaceiro, personagens arquetípicos que, oriundos do solo da cultura popular, teriam importante papel na consolidação do romance como gênero fundamentalmente voltado para a representação/encenação crítica de discursos (ainda segundo Bakhtin). Analisam-se também algumas crônicas de Lispector consideradas importantes para a compreensão da figuração do \"personagem tolo\" sem sua obra. Trata-se de crônicas que tematizam o longo contato da escritora com empregadas domésticas, personagens que antecipam e inspiram a criação de Macabéa. A importância do tolo é destacada, na medida em que ele se apresenta como uma \"máscara\" que permite interagir criticamente com os discursos instituídos, ou seja, com a ideologia dominante. O tolo que estranha e não compreende a sociedade que o cerca torna-se um importante elemento de denúncia da falsidade e do perniciosismo das relações sociais estabelecidas. A ele se junta o bufão, representado ironicamente na persona burlesca do narrador masculino Rodrigo S.M., que, em clima de carnavalização, desmascara e destrona discursos no processo autocrítico de construção da narrativa. / This thesis is an analysis and interpretation of Clarice Lispector\'s novel The Hour Of The Star. Based on Mikhail Bakhtin\'s theories, the work focuses attention on various forms and degrees of dialogic orientation in the discourse of the narrator Rodrigo S.M., who is a kind of fictional \"male mask\" created by the author in order to develop parodic stylization of a series of other discourses, specially of epic and dramatic forms, such as the melodrama, the \"serialized novel\" (\"feuilleton-roman\"), the social novel, the regional novel and the psychological novel. The dialogic and parodic tone of Lispector\'s novel implies the use of carnivalization as a tool of social criticism. It is also considered that the novelist has constructed the main characters, including the narrator, out of ancient and durable popular masks which, according to Bakhtin, had a great role in the constitution of the specific dialogism of novelistic discourse. These masks, which correspond to the figures or artistic images of the fool, the clown and the rogue, go back into the depths of folklore and have a vital connection with the public square and the public spectacle. In the context of the novel, these popular masks assist the author in the task of parodying the languages of others as well as different literary and non - literary discourses. Besides, the analysis focuses on some Lispector\'s short stories which were regarded important for the understanding of the image of the fool character, mainly those ones well known to be based on her real life. The theme of such stories is Lispector\'s daily contact with housemaids, an inspiration for the creation of Macabéa, the \"fool\" protagonist of The Hour Of The Star. The importance of the fool is emphasized in this study due to the fact that his stupidity and incomprehension of the conventions of society and its canonized discourses (religious, political, judicial, scholarly) turn to be a dialogic category whose function is to rip off ideological falsehood. In addition to the fool, there is the clown, a role played by Rodrigo S. M., the male narrator who, as a mask, has the right to speak in otherwise languages and maliciously distort and turn them upsidedown

Orientador: Marília Vieira Soares / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T15:33:32Z (GMT). No. of bitstreams: 1 Agg_Katia_D.pdf: 1789662 bytes, checksum: 3e6d5de4032f421aa98c8c1890956e48 (MD5) Previous issue date: 2012 / Resumo: A partir do olhar sobre a máscara e sua efetiva atuação no corpo cênico, desencadeou-se o interesse em pesquisar a maneira pela qual a essência deste elemento milenar, presente desde a origem da dança, pode manifestar-se na dança cênica da atualidade. Para tanto, este estudo parte da premissa de uma perspectiva integralizadora dos elementos de cena, tais como iluminação, cenário e figurino, para a expansão do entendimento e conseqüente composição da Máscara Corporal. Tal entendimento passa pela reflexão realizada por meio dos registros históricos no que se refere ao uso da máscara na dança cênica ocidental e dialoga com personalidades do cenário artístico atual da dança e do teatro. Os Laboratórios Corporais (LabCor 1 e 2) consolidaram a busca por referências aos questionamentos de como, quando e de que maneira a máscara corporal atua no processo criativo e potencializa o corpo cênico. Os laboratórios contaram ainda com o uso da saia e da luz negra como provocadores criativos do exercício cênico Aliança. Reconhece-se, assim, a máscara corporal como impulsionadora desse processo, ao propiciar ao corpo a sua desterritorialização, ou seja, um estado de suspensão promovido pelo distanciamento do corpo cotidiano e de seus referenciais já conhecidos. Ademais, a potencialidade transformadora, inerente à máscara, revela-se na relação do corpo com outros elementos cênicos na busca pela emergência de um Quem que dança ao interagir com o corpo cênico em outro tempo/espaço / Abstract: From the glance on the mask and its effective acting in the scenic body, the interest was awoken in investigating the way for which the essence of this thousand-year-old, present element, that is present since the origin of the dance, can manifest itself in the current scenic dance. To that end, this study starts from the premise of an integrated perspective of the scenic elements, such as lighting, scenery and costume, for the expansion of the understanding and consequent construction of the Physical Mask. This understanding occurs through the reflection carried out by means of the historical records of the mask use in the scenic western dance and interacts with personalities from the artistic current scenery of the dance and of the theater. The Physical Laboratories (LabCor 1 and 2) consolidated the search for references to the following questions: how, when and in which way the physical mask acts in the creative process and it intensifies the staging body. Over the laboratories there was still the use of the skirt as well as the black light as creative provocateurs of the scenic exercise Aliança. The physical mask is recognized like an impulse of this process, while it provides the body its deterritorialization, in other words, a state of suspension promoted by the distance of the daily body and of its already known referential systems. Furthermore, the transformative potentiality, which is intrinsic to the mask, is exposed in the relation of the body with other scenic elements in the search of the emergence of the one who dances while interacting with the scenic body in another time / space / Doutorado / Artes Cenicas / Doutor em Artes

Face à une œuvre souvent présumée hermétique et à un sujet lyrique fuyant, la critique a souvent considéré les stratégies qui président à l’avènement d’une création en apparence impersonnelle et les masques soigneusement apposés par le poète lui-même comme des obstacles à l’émergence du sens : comprendre Saint-John Perse exige alors de le démasquer. Tout en originant notre recherche dans ces découvertes pérennes, nous prenons ici le contre-pied de cette démarche pour étudier les masques en eux-mêmes, tels qu’ils se donnent à lire dans le grain du texte, non comme des écrans ou des outils de mystification mais comme des révélateurs. Ainsi envisagés dans la linéarité constitutive des Œuvres complètes et dans une perspective bien plus que figurale, le Conquérant, l’Étranger ou encore le Shaman apparaissent comme les modalités d’émergence d’un portrait diffracté, celui de Saint-John Perse, cet autre en lui à qui prête vie Alexis Leger. Au sein d’un ample drame poétique dont ils renouvèlent profondément la lyrique, cette galerie de personnages mime ses postures, anime le récit de son regard, multiplie les auxiliaires de sa quête ontologique et colporte sa parole singulière ; les masques du Poète s’avèrent en cela emblématiques de son être-au-monde et de la poésie telle que la conçoit Saint-John Perse, à la fois renouvellement et renouement. / In response to a work often considered as abstruse and a lyrical and elusive subject, critics have often sized up the strategies of the advent of a creation that seems impersonal and the masks thoroughly set down by the poet himself as an obstacle to the emergence of meaning; in order to understand Saint-John Perse it is essential to unmask him. While originating our research in/on these perennial discoveries, we have taken the opposite course to this approach in order to study the masks themselves, as they reveal rather than hide. So envisaged in the essential linearity of the complete Works and in a much more than figural perspective, the Conqueror, the Foreigner or still the Shaman seem as the modalities of emergence of a diffracted portrait, the Saint-John Perse’s one, this other one in him to whom life Alexis Leger lends. Within an ample poetic drama of which they change profoundly the Lyric, this gallery of characters mimes his postures, leads the narrative of its appearance, multiplies the auxiliaries of his ontological quest and spreads its singular word; the masks of the Poet turn out in the symbolic of his being to the world and of the poetry such as conceives it Saint-John Perse, at the same time renewal and renouement.

L’objectif de cette étude est de montrer – par une analyse rigoureuse des principes harmoniques qui gouvernent les multiples sections du tryptique pour piano Masques Op. 34 de Karol Szymanowski – qu’au-delà d’une apparente hétérogénéité de surface, le discours musical est organisé de façon cohérente et subtile par l’interpénétration du niveau de perception immédiate du corps sonore et du niveau infra-sensible qui procède de l’ordre des fondamentales harmoniques. Cette thèse propose également des conseils d’interprétation, déterminés par l’expérience analytique. / The purpose of this study is to show—by means of a rigorous analysis of the harmonic principles which govern the multiple sections of the piano triptych Masques Op. 34 of Karol Szymanowski — that beyond the apparently heterogeneous surface the musical discourse is subtly and coherently organised by the interpenetration of two layers: the immediate perception of sound structure and the underlayer which proceeds from the order of the harmonic fundamentals. This thesis also proposes suggestions for interpretation, determined by the analytical experience.

Le « pouvoir » des femmes (Étude du monde féminin Bassari à Ethiolo). Sous une apparence simple et réservée, le monde féminin bassari dissimule une grande complexité caractérisé par une façon d'être des femmes, tout à la fois mystérieuse et déterminée. Cette façon d'être constitue le pouvoir des femmes d'Ethiolo. Ce travail se propose d'étudier le monde féminin bassari à Ethiolo (un village situé à l'extrémité du Sénégal oriental à la frontière avec la Guinée Conakry). Un monde qui ne peut être compris si l'on n'observe pas conjointement le monde masculin bassari et l'imbrication entre ces deux univers. L'analyse du système d'âge, qui est à la base de l'organisation sociale de cette population, l'analyse de l'administration du pouvoir, qui se base sur la détention des secrets des masques (pour les hommes) et sur l'affinité particulière avec le monde des esprits (pour les femmes), l'analyse du rôle des femmes pendant l'initiation masculine sont les arguments principaux traités dans cette thèse. Les femmes bassari avec leur attachement aux traditions, leur conscience de la valeur de leur culture et, néanmoins leur capacité d'adaptation aux bouleversements inévitables du monde moderne contribuent à la préservation de l'avenir des Bassari. / The « power » of women (A study of the feminine world of the Bassari in Ethiolo). Behind an apparently simple and « shy » demeanor, the Bassari feminine world conceals great complexity, characterized by women being mysterious and decisive at the same time. Such behavior is the power of the women of Ethiolo. The purpose of the project is to study the Bassari feminine world in Ethiolo (a village located in Eastern Senegal on the border with Guinea-Conakry). Such world cannot be understood without simultaneously observing the masculine world of the Bassari and the interaction of between the two. The main subjects of the following paper are: the analysis of the age system, which lays at the basis of the social organization of the Bassari population, the analysis of the administration of power, based on the control of the secrets of masks (for men) and the peculiar affinity with the world of spirits (for women), and lastly the role of women during male initiation. Bassari women, with their attachment to traditions, their awareness of the value of their culture and nonetheless their ability to adapt to the inevitable changes of the modern world, contribute to the preservation of the future of the Bassari.

No description available.

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