Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A área estudada está inserida na Faixa Ribeira, Segmento Central da Província Mantiqueira (Almeida et al., 1973, 1977, 1981), que representa um cinturão de dobramentos e empurrões gerado no Neo-proterozóico/Cambriano, durante a Orogênese Brasiliana, na borda sul/sudeste do Cráton do São Francisco (Almeida, 1971, 1977; Cordani et al., 1967, 1973; Cordani & Brito Neves, 1982; Teixeira & Figueiredo, 1991). Neste contexto, o Complexo Quirino é o embasamento retrabalhado do Terreno Paraíba do Sul (Heilbron et al., 2004). O Complexo Quirino é formado por extensos corpos de ortognaisses foliados a homogêneos, leuco a mesocráticos, de granulometria média à grossa, composicionalmente variando entre granitóides tonalíticos/granodioríticos a graníticos, e apresentando enclaves de rochas ultramáficas, máficas e cálcio-silicáticas (ricas em tremolita). Os ortognaisses tonalíticos/granodioríticos apresentam porfiroblastos de plagioclásio e a hornblenda como máfico principal, contrastando com os de composição granítica que apresentam porfiroblastos de K-feldspato e biotita predominante. Como acessórios aparecem zircão, titanita, apatita e epidoto. Também estão associados a estes ortognaisses, granitóides neoproterozóicos que formam corpos individualizados ou lentes anatéticas no conjunto paleoproterozóico. Estes são compostos predominantemente por biotita gnaisse e hornblenda-biotita gnaisse. A análise litogeoquímicas dos ortognaisses do Complexo Quirino demonstrou a existência de duas séries magmáticas distintas. A primeira pertencente à série cálcio-alcalina de alto-K apresenta uma composição mais expandida granítica-adamelítica/granodioritica/tonalítica e é correlacionável aos bt-ortognaisses e alguns hb-bt-ortognaisses. Os ortognaisses da série médio-K apresentam composição predominantemente tonalítica, sendo correlacionáveis à maioria dos hornblenda-biotita gnaisses. Enclaves lenticulares de metapiroxeníticos e anfibolíticos ocorrem em muitos afloramentos. Também ocorrem granitóides neoproterozóicos de composição graníticas a quartzo-monzoníticas O estudo isotópico de Sm-Nd e Sr demonstrou que os ortognaisses da série cálcio-alcalina de alto-K e aqueles da série cálcio-alcalina de médio-K possuem idades modelo TDM variando entre paleoproterozóicas a arqueanas, consistentes com dados U-Pb em zircão publicados na literatura. A série cálcio-alcalina de alto-K é mais antiga (2308 9,2 Ma a 2185 8 Ma) do que a série calcio-alcalina de médio-K (2169 3 a 2136 14 Ma) e a existência de zircões herdados com idades mínimas de 2846 Ma e 2981 Ma para série de médio-K e 3388 16 para série de alto-K. Os granitóides brasilianos possuem idades de cristalização neoproterozóica correlacionada a Orogênese Brasiliana (602 a 627 Ma) (Viana, 2008; Valladares et al., 2002)./Com base nos dados de Sr e Sm-Nd foi possível caracterizar 4 grupos distintos. Os grupos 1 e 2 são formados por rochas de idade paleoproterozóica (2,1 a 2,3 Ga) com idades modelo TDM variando de 2,9 e 3,4 Ga, εNd entre -8,1 e -5,8 e 87Sr/86Sr(t) = 0,694707 (Grupo 1) e TDM variando de 2,5 a 2,7 Ga, εNd entre -5,8 e -3,1 e 87Sr/86Sr(t) = 0,680824 (Grupo 2), formados no paleoproterozóico com contribuição de uma crosta arqueana. O grupo 3 é formado por rochas juvenis de idade paleoproterozóica, com idades de cristalização variando entre 2,0 e 2,2 Ga e com idades modelo TDM variando de 2,1 a 2,2 Ga e εNd entre + 1,5 e + 1,2. O grupo 4 é formado durante o neoproterozóico (645 Ma) por rochas possivelmente de idade paleoproterozóico com idades modelo TDM igual a 1,7 Ga e εNd igual a -8,3. / The study area is part of the Ribeira Belt, Central Segment Mantiqueira Province (Almeida et al., 1973, 1977, 1981), which represents one of fold-thrust belt in neoproterozoic/cambrian generated during the Brasiliano Orogeny, at the edge south / southeast of the São Francisco Craton (Almeida, 1971, 1977, Cordani et al., 1967, 1973, Brito Neves & Cordani, 1982, Teixeira and Figueiredo, 1991). In this context, the Quirino Complex is the reworked basement of Paraiba do Sul Terrain (Heilbron et al., 2004). Quirino Complex is formed by extensive bodies of foliated orthogneisses the homogeneous, the leuco mesocratic, average particle size of the thick, compositionally ranging from tonalitic granitoids / granodioritic to granitic, and featuring enclaves of ultramafic, mafic and calcium silicate (rich in tremolite). The tonalite orthogneiss / granodioritic present porphyroblasts of plagioclase and hornblende as mafic main, contrasting with those of granitic composition showing porphyroblasts of K-feldspar and biotite predominates. Accessories appear as zircon, titanite, apatite and epidote. Also associated with these orthogneisses, neoproterozoic granitoids that make up individual bodies or lenses in the set anatetics paleoproterozoic. These are composed predominantly of biotite gneiss and hornblende-biotite gneiss. Lithogeochemical analysis of orthogneiss from Quirino Complex suggest the existence of two distinct magmatic series. The first belongs to the high-K calc-alkaline series composition shows a more expanded granitic-adamelític/granodioritic/tonalitic and is correlated to some orthogneisses and bt-hb-bt-orthogneiss. The medium-K orthogneisses series feature predominantly tonalitic composition, and correlated to most of the hornblende-biotite gneiss. Lenses enclaves metapiroxenitics and amphibolites occur in many outcrops. Neoproterozoic granitoids also occur composition of granitic to quartz-monzonitic. The isotopic study of Sm-Nd and Sr showed that the high-K calc-alkaline series orthogneisses and those of medium-K calc-alkaline series, have TDM model ages ranging from Archean to Paleoproterozoic, consistent with U-Pb data zircon from the literature. The high-K calc-alkaline series is older (2308 9.2 Ma to 2185 8 Ma) than medium-K calc-alkaline series (2169 3 to 2136 14 Ma) and occurs the existence of zircons inherited with minimum ages of 2846 Ma and 2981 Ma for medium-K series and 3388 16 for high-K series. The brasiliano granitoids have neoproterozoic crystallization ages correlated to Brasiliano Orogeny (602-627 Ma) (Viana, 2008, Valladares et al., 2002). Based on data of Sr and Sm-Nd was possible to identify four distinct groups. Groups 1 and 2 are formed by rocks of Paleoproterozoic (2.1 to 2.3 Ga) TDM model ages ranging from 2.9 to 3.4 Ga, εNd between -8.1 and -5.8 and 87Sr / 86Sr ratios (t) = 0.694707 (Group 1) and TDM ranging from 2.5 to 2.7 Ga, εNd between -5.8 and -3.1 and 87Sr/86Sr (t) = 0.680824 (Group 2), formed with the assistance of a Paleoproterozoic Archean. The third group consists of Paleoproterozoic juvenile rocks with crystallization ages ranging between 2.0 and 2.2 Ga and TDM model ages ranging from + 2.1 to + 2.2 Ga and εNd between +1.5 and +1.2. Group 4 is formed during the Neoproterozoic (645 Ma) of rocks with Paleoproterozoic age possibly TDM model ages exceeding 1.7 Ga and εNd= -8.3.

Marianne North was a major figure within the history of nineteenth-century botanical illustration. She produced a substantial body of botanical paintings as the result of extensive travels to many different parts of the world and was responsible for the founding of a major purpose-built gallery containing a representative collection of her work which still stands today in the Royal Botanical Gardens at Kew. Despite North's percieved importance as a botanical painter, relatively little of any critical/analytical substance has been written about her life and work from an art-historical or scientific perspective. North's place within nineteenth-century visual culture is arguably a contested one, despite having been a major contributor to nineteenth-century botanical painting. North's work therefore remains problematic to both botanists and art historians because it does not conform wholly to the established nineteenth century conventions of either scientific-botanical illustration or art. This thesis will explore the uncertain positioning of North's painting through a close analysis of its relationship to nineteenth and twentieth-century visual practices. In light of this analysis, it will be argued that North's painting does not successfully combine artistic and scientific perspectives, as some have argued, but instead presents an unidentifiable mode of visual representation that shifts uncertainly between art and science, thereby deconstructing any categorical distinction between the two.

Research from multiple domains has provided insights into how neighborhood design can be improved to have a more favorable effect on physical activity, a concept known as walkability. The relevant research findings/hypotheses have been integrated into a Walkability Framework, which organizes the design elements into nine walkability categories. The purpose of this study was to test whether this conceptual framework can be used as a model to measure the interactions between the built environment and physical activity. We explored correlations between the walkability categories and physical activity reported through a survey of residents of Tucson, Arizona (n=486). The results include significant correlations between the walkability categories and physical activity as well as between the walkability categories and the two motivations for walking (recreation and transportation). To our knowledge, this is the first study that reports links between walkability and walking for recreation. Additionally, the use of the Walkability Framework allowed us to identify the walkability categories most strongly correlated with the two motivations for walking. The results of this study support the use of the Walkability Framework as a model to measure the built environment in relation to its ability to promote physical activity. (C) 2017 The Authors.

Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).

Neste trabalho foi desenvolvido e caracterizado um aparato óptico para geração de padrões de perfurações em escala micrométrica em diversas classes de materiais. Este sistema, fundamentado nas técnicas de percussão e trepanação, foi acoplado a um laser industrial nanopulsado de Nd:YAG operando em 532 nm. Sua viabilidade foi analisada em amostras de alumínio metálico, cerâmica de α−alumina, poli(cloreto de vinila) (PVC) e silício cristalino. Verificou-se que as melhores condições para a obtenção de microperfurações de precisão são proporcionadas pelo método de trepanação assistido por um alto fluxo de ar. Micrografias eletrônicas comprovaram que estes parâmetros resultam em microperfurações simétricas, precisas e, geralmente, desprovidas de rebarbas. Suas dimensões, comparadas ao método de percussão, são evidentemente superiores devido à maior quantidade de material processado nesta técnica. Verificou-se que os diâmetros de microperfurações por percussão variaram de 25 a 200 µm enquanto que pelo método de trepanação estes resultados foram de aproximadamente 50 a 240 µm, dependendo das propriedades do material e da fluência aplicada. Um estudo sobre a velocidade de perfuração em função da fluência incidente comprovou a alta dependência da taxa de ablação com relação às propriedades térmicas e ópticas dos materiais. A análise de secções retas transversais em microperfurações obtidas por percussão e trepanação também indicou a formação de deformações internas em materiais com baixas velocidades de perfuração, tais como alumínio metálico e α−alumina. Esse fenômeno está diretamente associado ao plasma formado no interior de algumas microcavidades, sobretudo pelo método de trepanação sob baixos regimes de fluência. Estudos da região termicamente afetada em silício cristalino por espectroscopia micro−Raman também indicaram a ausência de tensões induzidas por ambas as técnicas empregadas e evidências de transições cristalinas entre a fase cúbica do diamante (Si−I) e hexagonal compacta (Si−IV); as quais foram mais pronunciadas em altos regimes de fluências. De maneira geral estes resultados contribuíram para a comprovação da eficiência e viabilidade do sistema desenvolvido e para a caracterização de microperfurações de precisão em materiais metálicos, cerâmicos e poliméricos / In this work, it was developed and characterized an optical apparatus that was used to generate holes in micrometric scale in several classes of materials. This system, based on the techniques of percussion and trepanning drilling, was connected to an industrial nanopulsed Nd:YAG laser operating in 532 nm. Its viability was analyzed for metallic aluminum, α−alumina ceramic, poly(vinyl chloride) (PVC) and single crystalline silicon samples. It was verified that the trepanning method assisted by intense air jet had given the best conditions for the attainment of precise microdrillings. Electronic micrographs has proved that this technique results in symmetrical and precise microholes, generally without burrs. Their dimensions are evidently superior to those obtained by the percussion method, probably due to the different amounts of material processed in each technique. It was verified that the microholes diameters had varied approximately from 25 to 200 µm for percussion, while for the trepanning method they has varied from 50 to 240 µm, depending on the material properties and the applied fluence. A study about the drilling velocity in function of the incident fluence had proved the high dependence of the ablation rate with relation to the thermal and optical materials properties. The analysis of transversal cross−sections in microholes obtained by percussion and trepanning methods has also indicated the formation of internal deformations in materials with low drilling velocities, such as metallic aluminum and α−alumina. This phenomenon is directly associated with the plasma formed inside of some microcavities, mainly appling the trepanning method under lower fluence regimes. Studies in the thermally affected region in crystalline silicon, by micron-Raman spectroscopy, has also indicated the absence of induced tensions for both techniques employed, as well as indications of crystalline transitions between the cubic phase of the diamond (Si−I) and compact hexagonal (Si−IV); which were more pronounced in high incident fluences. In general way these results has contributed to the verification of the efficiency and viability of the developed system and to the precise characterization of microholes in metallic, ceramic and polymeric materials

This thesis responds to a call to bring humanities into organisation studies. The researcher analyses and interprets contemporary Surrealist paintings for understanding organisational dystopia. While organisational dystopia is not new to the field of Critical Management Studies (CMS), it is a concept enriched by a variety of imaginative stances addressing marginalised or silenced experiences of work life. One such area of imagination is painting. Paintings have historically examined work as a subject of art, yet art has been missed in organisation studies. To address this issue, as well as contribute further to an understanding of organisational dystopia, this thesis presents a case for expanding the field of culture studies in CMS by looking into Surrealism and paintings. This thesis is one of the first of its kind to analyse and interpret paintings in the discipline of organisation studies. The researcher formulates an original framework for examining the contemporary Surrealist paintings by the artist Tetsuya Ishida, who represents the dark, gloomy dystopia of Japanese salarymen. The framework is a system to analyse form (material) and content (meaning), and to interpret paintings. Through this devised framework, paintings are analysed and interpreted in response to two research questions: What are qualities of organisational dystopia? and What are themes of organisational dystopia? The researcher elaborates on organisational dystopia in two ways. First, in the identification of qualities of organisational dystopia, including objectification of labour. Second, in the recognition of themes of organisational dystopia, such as a totalitarian control of private space and complexities of escaping or enduring a dystopia. By addressing organisational dystopia, the researcher presents a warning about the darkness of progress. This research contributes in the two main ways: adding to knowledge on organisational dystopia and arguing that paintings are a valuable method to research design. Thus, this thesis presents a way forward for organisation studies to investigate concepts and criticisms via imagination and art.

This thesis analyses European themes in the work of the American painter RB Kitaj. It focuses most closely on the 1960s, a relatively under-researched period of his work, certainly compared with the 1970s and 80s, in part because most of the existing literature follows Kitaj's reading of his own oeuvre. Using canvases from the 1960s as examples, the thesis examines Kitaj's concerns with the history of the European Left prior to World War II. Study of these paintings reveals how, even at this early stage of his career, Kitaj conflated autobiography and history. A comparison of Kitaj's published and draft texts, written during and after these paintings were made, shows him altering their meaning according to his current concerns. This, in turn, shows how his revisions influenced later scholars' readings. Furthermore, due attention is given to two important, though often overlooked, bodies of work from the 1960s: the screenprints and the installation made at Lockheed for the Los Angeles County Museum of Art. Both reveal a sustained engagement with European themes, such as the Industrial Revolution, Modernism and its legacies, and Jewish history. Whereas Kitaj emphasised the centrality of Judaism to his work throughout the 1970 and 80s, he downplayed his concern with technology and Modernism, although both continued to inform his imagery until well into the 1980s. His shift away from new technology (eg photo-screenprinting) and a Modernist aesthetic, in favour of life drawing, is analysed against contemporary artistic debates in Britain, together with his fascination with the evolving history of the European Left during the 1970s. Kitaj's work reveals a sustained but constantly modulating, at times conflicted, meditation on European history and culture from an American perspective. In the final analysis, however, his engagement with Europe is, perhaps, the result of a spiritual and psychological impulse rooted in his personal and family history.

Resumo: A atividade antimicrobiana do laser Er:YAG foi avaliada sobre biofilme bacteriano constituído por Escherichia coli ATCC 8739, Escherichia coli ATCC 25922, Staphylococcus aureus ATCC 6538 e 3 cepas de Fusobacterium nucleatum e sobre biofilme de microrganismos salivares. Os biofilmes foram submetidos à ação do laser a 1,2 W e 10 Hz por 5, 10, 15, 20, 30 e 60 s e fez-se a avaliação da microbiota residual em ágar sangue, em anaerobiose. O biofilme salivar se mostrou mais sensível nos primeiros tempos de irradiação. A redução microbiana em relação ao controle foi estatisticamente significativa entre todos os tempos testados. Avaliou-se também a ação do laser Er:YAG sobre 7 cepas de Fusobacterium nucleatum inoculadas sobre a superfície de corpos-de-prova (5mmX4mm) de dentes extraídos. Fez-se a aplicação do laser nos mesmos parâmetros físicos mencionados anteriormente, durante 15 s, levando à eliminação total do conteúdo séptico. O estudo avaliou também a irradiação do laser de Er:YAG durante tempos subinibitórios sobre a atividade hemolítica e susceptibilidade de 9 cepas de Fusobacterium nucleatum a amoxicilina, eritromicina, metronidazol e tetraciclina. Após a irradiação do laser, determinou-se a concentração inibitória mínima (CIM) para as drogas através do método de diluição em ágar. A ação do laser sobre a atividade hemolítica foi determinada em sangue humano. Verificou-se que o laser Er:YAG não afetou a atividade hemolítica de Fusobacterium nucleatum, que se mostrou α-hemolítica, tampouco a susceptibilidade a drogas dos isolados testados. / Abstract: Antimicrobial activity of Er:YAG laser was evaluated on a bacterial biofilm constituted by Escherichia coli ATCC 8739, Escherichia coli ATCC 25922, Staphylococcus aureus ATCC 6538 and 3 strains of Fusobacterium nucleatum and on biofilm produced by salivary microorganisms. Biofilms were irradiated by Er:YAG laser, 1,2 W and 10 Hz, for 5, 10, 15, 20, 30, and 60 s and the evaluation of residual contamination was performed on blood agar, under anaerobiosis. It was verified that salivary biofilm showed to be more susceptibility to the Er:YAG laser in shorter periods of laser irradiation. Bacterial reduction was significative in all tested periods of irradiation. The activity of Er:YAG laser was also evaluated on 7 strains of Fusobacterium nucleatum inoculated on samples of human dentin (5mm X 4mm), obtained from extracted teeth. The laser was used following the same physical parameters, as previously described, for 15 s, leading to complete elimination of their septic content. The study also evaluated the effects of subinibitory irradiation of Er:YAG laser on bacterial susceptibility of 9 strains of Fusobacterium nucleatum to antimicrobial drugs (amoxicillin, erythromycin, metronidazole, tetracycline) and hemolysis. Thus, after laser irradiation, the minimal inhibitory concentration of antimicrobial drugs was determined by using an agar dilution method. The influence of laser on hemolysis was carried out on human blood. It was verified that Er:YAG laser did not produce any measurable effect on hemolytic activity and the microbial susceptibility to tested antimicrobial drugs. / Orientador: José Ricardo Kina / Coorientador: Elerson Gaetti Jardim Júnior / Mestre

In 1949, Giorgio de Chirico held a one-man show at London’s Royal Society of British Artists. It featured 100 paintings including Old Master copies (early 1920s), Renoiresque female nudes (1930s), and Neobaroque work (since the late 1930s). Founded on the artist’s belief that “traditions are our greatest riches, they are the stout pillars of progress”, the exhibition created an “immense museum of strangeness” inhabited by the melancholic ‘shadow’ of 15th-19th century European masters. The displayed artwork prompted one British critic to ask: “Can art advance by going backwards?” Taking this comment as its starting part, the present thesis explores de Chirico’s complicated relationship with the great masters, seeking answers as to how and why he sought to take possession of the past. Constituting one of the most misunderstood and under-researched areas of his career, it challenges the Surrealist-fuelled opinion that de Chirico’s stylistic 'volte-face' of 1919 repudiated his early Metaphysical art (1910-18) in support of the theory that the great masters inform his entire career (1908-76). Interpreted as an integral part of the dechirican aesthetic, I maintain that his post-1910 work employs the great masters as a vehicle for lending tangible form to his understanding of Nietzschean metaphysics, principally eternal recurrence and 'dépaysement', two themes explored in 1910-18. Rather than a Return to Craft in a quest to restore the great tradition of painting, I argue that de Chirico uses ancient painting techniques – along with great master compositions, styles, subject matters and application of colour – as secondary, 'dejà-vu'-like filters that provoke sensations of metaphysical revelation, surprise and enigma. The ‘mysterious transformation’ of their work allows de Chirico to sing a “new song” about the past and present that sit “on the great curve of eternity.” Such work does not deal with repudiation, reaction or revolution, but renaissance: the journey of metaphysical discovery. An in-depth examination of de Chirico’s critical and autobiographical texts (1911-62), which explore the notions of journey and discovery, strengthens this theory, as does the study of his recently-inventoried art library and collection of prints and reproductions. An investigation into de Chirico’s interpretation of originality, 'originarietà', copying, imitation, appropriation, and repetition not only reveals the influence they exerted on his great master choices but, when examined 'vis à vis' definitions favoured by Carrà, the Surrealists (Breton), Return to Order sympathisers and select Postmodernists, his place in art history is adjusted. Given the profundity of this rapport, this thesis contests criticism directed at his late ‘egocentric kitsch’ great master-inspired work (1940s-50s), alternatively categorising it as ‘bad painting but good art’. By acknowledging the pioneering aspect of this corpus (1908-76), this New Old Master demonstrates that art can, indeed, advance by going backwards.

Includes bibliographical references (leaves 151-163). Investigates the behaviour of the intensity noise in a multimode Nd:YAG laser. The collective modes of oscillation are excited by broadband ambient noise. Because the phase of the excitation is unknown, a cross spectral technique to measure the antiphase dynamics directly and form a picture of the intensity noise interference for two to five mode operation is developed. For three mode operation, the contributions of the longitudinal modes to collective modes is measured.