Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-23T14:54:32Z No. of bitstreams: 1 TES_CAROLINE_VALADA_BECKER_COMPLETO.pdf: 2613695 bytes, checksum: b7c427a7ef079de143fb9bfe18064deb (MD5) / Made available in DSpace on 2017-06-23T14:54:32Z (GMT). No. of bitstreams: 1 TES_CAROLINE_VALADA_BECKER_COMPLETO.pdf: 2613695 bytes, checksum: b7c427a7ef079de143fb9bfe18064deb (MD5) Previous issue date: 2017-01-10 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / Utopia and dystopia go hand in hand, composing an interdisciplinary theoretical and artistic horizon that shares, first of all, the act of projecting a society, drawing it through imagination and fiction. Utopianism - from Plato, through Arcadia, to paradises on Earth and Cockaigne - creates positive images of tomorrow or idealizes a better place. The word utopia, associated with this positive projection (which uncovers human yearnings), was formalized by Thomas More in 1516 with the publication of the work Utopia. Since then, with the influence of Renaissance thought, utopia has come to mean "another idyllic place" (an island) and to represent a literary genre (or subgenre). In this way, a utopian tradition was formalized and we associated it with both artistic works and social projects and ways of thinking. Dystopia resignifies utopia by complementing it; The denial of the place (the "u" of utopia) becomes a negative description (the "dys" of dystopia), that is, the representation of a defective place, an environment of distortions. While utopianism and utopia come from a long tradition, dystopia is formalized only in the twentieth century (a historical moment marked by wars and social failures) and only in the literary sphere. Classical dystopias, created in the early decades of the twentieth century - with authors such as Zamyatin, Huxley, and Orwell - were responsible for stabilizing a negative imaginary through fiction. In view of this complex tradition, this thesis aims to study the specificities of dystopia as a genre (understood here as an artistic romanesque work that appropriates the imagery of nightmare), in view of its relations with the utopian tradition. Through an analytical perspective, anchored in a comparative perspective (thus always thinking about intertextual mechanisms), I propose a study of the contemporary Portuguese Novel - works published in the twenty-first century - whose plots, to some extent (and with different intensities), recover and reinterpret what we know as dystopias. To that end, ten works were selected ? Um homem: Klaus Klump (2003) and A m?quina de Joseph Walser (2004), by Gon?alo M. Tavares; O Dom (2007), by Jorge Reis-S?; Di?logos Para o Fim do Mundo (2010), by Joana B?rtholo; Por Este Mundo Acima (2011), by Patricia Reis; O Destino Tur?stico (2008) and A Instala??o do Medo (2012) by Rui Zink; Um Piano Para Cavalos Altos (2012), by Sandro William Junqueira; O ?ltimo Europeu - 2284 (2015), by Miguel Real; Os n?meros que Venceram os Nomes (2015), by Samuel Pimenta. As we shall see, fears (the key word for dystopias) incited by oppressive and totalitarian governments and the imminence (or presence) of apocalypses are the most expressive dystopian categories in the portuguese novel under study, to which other images relate, thus, a poetics of dystopia. / Utopia e distopia andam lado a lado, compondo um horizonte te?rico e art?stico interdisciplinar que compartilha, em primeiro lugar, o ato de projetar uma sociedade, desenhando-a por meio da imagina??o e da fic??o. O utopismo ? desde Plat?o, passando pela Arc?dia, pelos para?sos terrestres e pela Cocanha ? cria imagens positivas do amanh? ou idealiza um outro lugar melhor. A palavra utopia, associando-se a esse projetar positivo (o qual desvenda os anseios humanos), foi formalizada por Thomas More, em 1516, com a publica??o da obra Utopia. Desde ent?o, com a influ?ncia do pensamento renascentista, utopia passou a significar ?outro lugar id?lico? (uma ilha) e a representar um g?nero liter?rio (ou subg?nero). Dessa forma, uma tradi??o ut?pica formalizou-se e a ela associamos tanto obras art?sticas quanto projetos sociais e modos de pensar. A distopia ressignifica a utopia, complementando-a; a nega??o do lugar (o ?u? de utopia) transforma-se em descri??o negativa (o ?dis? de distopia), ou seja, a representa??o de um lugar defeituoso, um ambiente de distor??es. Enquanto utopismo e utopia v?m de uma longa tradi??o, a distopia formaliza-se apenas no s?culo XX (momento hist?rico marcado por guerras e fracassos sociais) e apenas em ?mbito liter?rio. As distopias cl?ssicas, criadas nas primeiras d?cadas do s?culo XX ? com autores como Zamyatin, Huxley e Orwell ?, foram respons?veis por estabilizar um imagin?rio negativo por meio da fic??o. Diante dessa complexa tradi??o, esta tese objetiva estudar as especificidades do g?nero distopia (compreendido, aqui, como um fazer art?stico romanesco que se apropria do imagin?rio do pesadelo), tendo em vista suas rela??es com a tradi??o ut?pica. Por meio de um olhar anal?tico, ancorado em uma perspectiva comparatista (portanto, sempre pensando os mecanismos intertextuais), proponho um estudo do romance portugu?s contempor?neo ? obras publicadas no s?culo XXI ? cujos enredos, em alguma medida (e com diferentes intensidades), dialogam, recuperam e reinterpretam o que conhecemos como distopias. Para tanto, dez obras foram selecionadas ? Um homem: Klaus Klump (2003) e A M?quina de Joseph Walser (2004), de Gon?alo M. Tavares; O Dom (2007), de Jorge Reis-S?; Di?logos Para o Fim do Mundo (2010), de Joana B?rtholo; Por Este Mundo Acima (2011), de Patr?cia Reis; O Destino Tur?stico (2008) e A Instala??o de Medo (2012) de Rui Zink; Um Piano Para Cavalos Altos (2012), de Sandro William Junqueira; O ?ltimo Europeu ? 2284 (2015), de Miguel Real; Os n?meros que Venceram os Nomes (2015), de Samuel Pimenta. Como veremos, os medos (palavra-chave para as distopias) incitados por governos opressores e totalit?rios e pela imin?ncia (ou presen?a) de apocalipses s?o as categoriais dist?picas mais expressivas no romance portugu?s em estudo, ?s quais outras imagens relacionam-se, definindo, assim, uma po?tica da distopia.

Submitted by PPG Letras (letraspg@pucrs.br) on 2018-05-02T18:39:27Z No. of bitstreams: 1 Disserta??o_Michel M. Flores_Definitiva.pdf: 1308030 bytes, checksum: f7501df370aa6b8e51b35b076642bef5 (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-05-11T14:47:53Z (GMT) No. of bitstreams: 1 Disserta??o_Michel M. Flores_Definitiva.pdf: 1308030 bytes, checksum: f7501df370aa6b8e51b35b076642bef5 (MD5) / Made available in DSpace on 2018-05-11T15:02:45Z (GMT). No. of bitstreams: 1 Disserta??o_Michel M. Flores_Definitiva.pdf: 1308030 bytes, checksum: f7501df370aa6b8e51b35b076642bef5 (MD5) Previous issue date: 2018-02-28 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This dissertation proposes a reading about Opisanie ?wiata, a book by the Brazilian writer Veronica Stigger, using theories of art and literature. In its first part, I deal with the displacement of words and images from other forms and sources into the interior of a fictional narrative. In this part, the displacement is seen as an operation of artistic and literary creation, capable of overcoming these and other barriers. For this, I use texts of the author herself and critics that elucidate this gesture in the works of Marcel Duchamp, Kurt Schwitters and Veronica Stigger. Then, in the second part of this work, I turn to a story from the narrative, derived from the thought of Walter Benjamin, to think of it from the various forms of narration that are experimented by Stigger in her prose. In this way, it worthy nothing that all the displacements observed in this narrative and the different forms of narration experienced by the writer are seen, in the company of works by other narrators, as pieces assembled in a collage. Finally, the last chapter presents a conversation with the author in which I look for information that deals with her work as a whole and that corroborates the discussion presented in the previous chapters. / Esta disserta??o prop?e uma leitura acerca de Opisanie ?wiata, livro da escritora brasileira Veronica Stigger, recorrendo a teorias da arte e da literatura. Em sua primeira parte, trato do deslocamento de palavras e imagens oriundas de outras formas e fontes para o interior de uma narrativa ficcional. Nessa parte, o deslocamento ? visto como uma opera??o de cria??o art?stica e liter?ria, capaz de ultrapassar essas e outras barreiras. Para isso, me valho de textos da pr?pria autora e de cr?ticos que elucidam esse gesto nas obras de Marcel Duchamp, Kurt Schwitters e Veronica Stigger. Ap?s, na segunda parte deste trabalho, recorro a uma hist?ria da narrativa, oriunda do pensamento de Walter Benjamin, para pens?-la a partir das diversas formas de narrar que s?o experimentadas por Stigger em sua prosa. Dessa forma, ? poss?vel notar que todos os deslocamentos observados nessa narrativa e as diferentes formas de narrar experimentadas pela escritora s?o vistas, na companhia de obras de outros narradores, como cacos reunidos em uma colagem. Por fim, o ?ltimo cap?tulo apresenta uma conversa com a autora na qual busco informa??es que tratem do trabalho dela como um todo e que corroborem para a discuss?o apresentada nos cap?tulos anteriores.

Submitted by PPG Letras (letraspg@pucrs.br) on 2018-05-24T17:31:56Z No. of bitstreams: 1 Disserta??o_Luci?le Bernardi de Souza.pdf: 984978 bytes, checksum: ed3104c7b0669182e23618ef2860bf94 (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-06-04T14:28:31Z (GMT) No. of bitstreams: 1 Disserta??o_Luci?le Bernardi de Souza.pdf: 984978 bytes, checksum: ed3104c7b0669182e23618ef2860bf94 (MD5) / Made available in DSpace on 2018-06-04T14:37:24Z (GMT). No. of bitstreams: 1 Disserta??o_Luci?le Bernardi de Souza.pdf: 984978 bytes, checksum: ed3104c7b0669182e23618ef2860bf94 (MD5) Previous issue date: 2018-01-11 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Through a fabuloustic tour in search of the realities present in Daniel Pellizzari's O livro das cousas que acontecem (2003), I find out the grotesque. Always present, but not always visible, the grotesque is materialized in the fictional reality, but also in the actions and habits of the contemporary subject. We walk together for three chapters, in which there are reflections on Realism, fable and parody, to know how are constructed the grotesque aesthetics of the solid grottos that hide the realities of the work. Stating the recurrent presence of this aesthetics, not only in the literature, but in the cinema and the plastic arts, this reflection becomes essential on days where the "grotesque" is used for arguing for censorship of art. Furthermore, thinking about sensations, actions and feelings that comes to light through such aesthetic manifestation and its multiple unfoldings is also a way of knowing ourselves and the other. / Atrav?s de um passeio fabul?stico em busca das realidades presentes na obra O livro das cousas que acontecem, de Daniel Pellizzari (2003), descubro o grotesco. Sempre presente, mas nem sempre vis?vel, o grotesco ? materializado na realidade ficcional, mas tamb?m nas a??es e h?bitos do sujeito contempor?neo. Caminhamos juntos por tr?s cap?tulos, nos quais h? reflex?es sobre o Realismo, a f?bula e a par?dia, para conhecer de que maneira ? constru?da a est?tica grotesca das s?lidas grutas que escondem as realidades da/na obra. Pela constata??o da recorrente presen?a desta est?tica, n?o s? na literatura, mas no cinema e nas artes pl?sticas, esta reflex?o torna-se essencial em dias nos quais o ?grotesco? ? usado para argumentar em prol da censura da arte. Al?m disso, pensar sobre sensa??es, a??es e sentimentos que vem ? tona via tal manifesta??o est?tica e seus desdobramentos m?ltiplos, tamb?m ? uma forma de conhecermos a n?s mesmos e ao outro.

Made available in DSpace on 2015-04-14T13:35:58Z (GMT). No. of bitstreams: 1 458574.pdf: 1042465 bytes, checksum: a18a5566a2871bef1b665750abadef8e (MD5) Previous issue date: 2014-02-24 / OBJECTIVE: To evaluate blood pressure (BP), heart rate (HR), albuminuria (AL), and glomerular filtration rate (GFR) of patients undergoing ovarian stimulation to in vitro fertilization (IVF). METHODS: From March to September 2013 this quasi-experimental design analyzed the variation of baseline and after BP levels, HR, AL, and GFR from 75 subjects, before embryo transfer. Blood pressure was measured after a five minutes at rest. Glomerular filtration was estimated by CKD-EPI (Chronic Kidney Disease Epidemiology Collaboration) equation. Follicular growth was assessed using serial ultrasound scans. RESULTS: Median patient age was 36,89 years. Thirty-three (44%) women got pregnant, and 9 (12%) cycles were complicated by ovarian hyperstimulation. No statistically significant associations were found between systolic BP levels (P=0,945), diastolic BP levels (P=0,802), and GFR (P=0,301) before and after ovarian stimulation. However, this study found a statistically significant correlation of HR (P=0,012) and AL (P=0,002) with ovarian stimulation. There was no statistically significant difference in the modification of variables before and after stimulation between patients who got pregnant from those who did not pregnant, as well as the group who developed ovarian hyperstimulation compared with group that developed the expected number of follicles. Three patients developed acute kidney injury. CONCLUSION: Ovarian stimulation to IVF does not change the BP levels, and GFR of patients undergoing it. There is statistically significant increasing of HR and AL, but without clinical relevance. Pregnancy and ovarian hyperstimulation does not alter the pattern of the study variables. / OBJETIVO: Avaliar press?o arterial, frequ?ncia card?aca, albumin?ria e filtra??o glomerular estimada de pacientes submetidas ? estimula??o ovariana para fertiliza??o in vitro. MATERIAIS E M?TODO: De mar?o a setembro de 2013, este quase experimento intra-grupos analisou a varia??o da press?o arterial (PA), frequ?ncia card?aca (FC), albumin?ria (AL) e filtra??o glomerular estimada (FGE) basais e ap?s estimula??o ovariana de 75 pacientes para fertiliza??o in vitro (FIV), ainda antes da transfer?ncia embrion?ria. A PA foi verificada ap?s repouso de cinco minutos, em duas medidas, sendo registrada a segunda. A filtra??o glomerular foi estimada pela f?rmula CKD-EPI (Chronic Kidney Disease Epidemiology Collaboration). O crescimento folicular foi avaliado por ecografias transvaginais seriadas. RESULTADOS: a m?dia de idade foi 36,89 anos. Trinta e tr?s mulheres (44%) gestaram e 9 (12%) desenvolveram hiperestimula??o ovariana. N?o foi identificada diferen?a estatisticamente significativa entre os n?veis de PA sist?lica (P=0,945) e diast?lica (P=0,802) e da FGE (P=0,301) antes e ap?s a estimula??o, por?m houve diferen?a estat?stica no que concerne ? FC (P=0,012) e ? AL(P=0,002). N?o houve diferen?a estatisticamente significativa na modifica??o das vari?veis antes e ap?s a estimula??o entre gestantes e n?o gestantes, bem como em rela??o ao grupo que desenvolveu hiperestimula??o ovariana em rela??o ao grupo com estimula??o normal. Tr?s pacientes desenvolveram perda aguda de fun??o renal. CONCLUS?ES: Estimula??o ovariana n?o altera significativamente press?o arterial e FGE das pacientes submetidas ? fertiliza??o in vitro. A signific?ncia estat?stica do aumento no que concerne ? FC e ? AL n?o apresentou significado cl?nico. Gesta??o e hiperestimula??o ovariana n?o alteraram o padr?o das vari?veis do estudo.

Made available in DSpace on 2015-04-14T13:36:07Z (GMT). No. of bitstreams: 1 395365.pdf: 1650433 bytes, checksum: 314debda01604f166f617cfc3552807d (MD5) Previous issue date: 2005-06-15 / Introdu??o: A efic?cia do cloridrato de sertralina para prevenir Hipotens?o Arterial Intradial?tica (HID) n?o est? estabelecida. M?todos: Foi realizado um estudo duplo cego cruzado, randomizado, controlado com placebo em 18 pacientes, que apresentaram mais de 15 epis?dios de hipotens?o nas ?ltimas 25 sess?es de hemodi?lise. Um grupo recebeu oito semanas de sertralina 50mg/dia seguido de oito semanas de placebo. Outro grupo recebeu placebo seguido de sertralina. Apenas os dados das quatro semanas finais de cada per?odo foram considerados. As seguintes vari?veis foram avaliadas: peso, ultrafiltra??o, press?o arterial, epis?dios de hipotens?o, interven??es de enfermagem, dados laboratoriais e escore depressivo (Invent?rio de Depress?o de Beck). Os dados foram analisados usando o m?todo estat?stico usual e modelo que identifica a interfer?ncia do efeito de per?odo, e do efeito de intera??o entre per?odo e tratamento. Resultados: Antes do estudo, o n?mero de epis?dios de hipotens?o por sess?o foi de 0,8 ? 0,1 [mediana 0,7 (0,6 0,9], significativamente maior que 0,5 ? 0,4 [0,33 (0,08 0,83)] usando sertralina (p = 0,027) e que 0,3 ? 0,2 [0,21 (0,17 0,42)] usando placebo (p = 0,001). O n?mero de epis?dios de hipotens?o e de interven??es de enfermagem foi similar durante o per?odo de uso de placebo ou sertralina. Efeito de intera??o entre per?odo e tratamento foi observado para escore depressivo e sucesso de ultrafiltra??o. Efeito de per?odo foi observado para as vari?veis de peso pr? e p?s-di?lise e sucesso de ultrafiltra??o. Efeito de tratamento foi observado para as vari?veis de ganho de peso interdial?tico e ultrafiltra??o, que foram maiores no grupo em uso de placebo e para n?mero de epis?dios de hipotens?o/sess?o, que foi menor nesse grupo. Conclus?es: O uso de sertralina n?o foi efetivo em prevenir os epis?dios de hipotens?o intradial?tica no presente estudo.

Made available in DSpace on 2015-04-14T13:38:31Z (GMT). No. of bitstreams: 1 436287 - Anexo A.pdf: 15904692 bytes, checksum: 6dfb5d1033e2ec5c78c6f2d478cea870 (MD5) Previous issue date: 2011-01-05 / This work addresses issues relating to the creative process in producing a poetic and artistic writing, in its verbal and physical aspects in the composition of a book-object. Consisting of an essay followed by the original typewritten piece of literary work, here are exposed some of the heuristic processes of creation today, as well as an analysis on the current status of strictly editorial matters. The work also accompanies extensive documentation regarding the different stages of writing, as well as an audio recording featuring selected passages from the work read in the author's own voice. / Este trabalho aborda quest?es relativas ao processo criativo na produ??o de um texto po?tico e art?stico, tanto acerca de sua escrita verbal, quanto aos aspectos f?sicos na composi??o de um objeto-livro. Composto de um ensaio seguido dos originais datiloscritos de uma obra liter?ria, encontram-se aqui expostos alguns dos processos heur?sticos da cria??o hodierna, bem como uma an?lise do atual estatuto das quest?es propriamente editoriais. Acompanha tamb?m extensa documenta??o, em imagens, das etapas de sua escritura, assim como o registro, em ?udio, de passagens selecionadas da obra na voz do pr?prio autor.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-06-06T17:50:40Z No. of bitstreams: 1 DIS_CAROLINE_WEIBERG_COMPLETO.pdf: 5420054 bytes, checksum: 5f799064c4b46c0ec183f8b1178c0f09 (MD5) / Made available in DSpace on 2016-06-06T17:50:40Z (GMT). No. of bitstreams: 1 DIS_CAROLINE_WEIBERG_COMPLETO.pdf: 5420054 bytes, checksum: 5f799064c4b46c0ec183f8b1178c0f09 (MD5) Previous issue date: 2016-02-25 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This dissertation has the objective of finding relations between experiences with contemporary art and openings to alterity. For that, it explores the aspects of the interpretative openness of contemporary art, connected to its lack of canons and to the loosening of rules, as it ties the experience with contemporary art to possible openings to the other. Brings, as an element to help think the articulations between experiences with contemporary art and openings to alterity, references to previous professional experiences and specifically to the empirical field of this research, accomplished with students of a second year of elementary school, of the public network of the Porto Alegre municipality, in the year 2015. With this class, during a period of four months, was worked the language of drawing, with greater focus to a kind of drawing that furthers itself from the drawing understood as standard in the school culture: the representative drawing, faithful to the model and, because of it, pretty. We analyzed, above all, the experimentations with drawings, activities that associate the drawing to the trace, to the course, giving it status of process and not final work. Explore other ways of drawing, proposing other possibilities of comprehending the drawing and, consequently, other possibilities of understanding itself and the world, was the way found to, who knows, provide openings to alterity. Takes as theoretical horizon the hermeneutics philosophy of Hans-Georg Gadamer, which does not applies as method, but as a theory of the understanding that explores the reflexive dynamic between the strange and the familiar, shifting the interpretative horizons of the subjects as it produces experiences. Goes along the path of understanding the art class as a laboratory of negotiation, providing situations that make possible for the subjects to operate from a work of art (or work made in class) and produce meaning over it. As the meaning of things are not given, but attributed in distinctive ways by each subject, the negotiated attitude comes to amplify the possibilities of connection between subjects and artworks. The negotiation is comprehended as encounters between artwork(s) and subject(s) which lead the subjects to review their positions, provoking a new thinking about what was taken as given, establishing new possibilities to what could already be fixed. / Esta disserta??o tem como objetivo buscar rela??es entre experi?ncias com arte contempor?nea e aberturas ? alteridade. Para isso, explora os aspectos de abertura interpretativa da arte contempor?nea, ligados ? sua falta de c?nones e ao afrouxamento de regras, assim como vincula a experi?ncia com arte contempor?nea ? poss?veis aberturas ao outro. Traz, como elemento para ajudar a pensar as articula??es entre experi?ncias com arte contempor?nea e aberturas ? alteridade, refer?ncias ? experi?ncias profissionais anteriores e especificamente ao campo emp?rico desta pesquisa, realizado com alunos de um segundo ano do ensino fundamental de uma escola da rede p?blica municipal de Porto Alegre no ano de 2015. Com esta turma, durante um per?odo de quatro meses, foi trabalhada a linguagem do desenho, com maior enfoque a um tipo de desenho que se afasta do desenho entendido como padr?o na cultura escolar: o desenho representativo, fiel ao modelo e, por isso mesmo, bonito. Analisamos, sobretudo, as experimenta??es com desenhos, atividades que associam o desenho ao rastro, ao percurso, dando a ele status de processo e n?o de trabalho final. Explorar outras maneiras de desenhar, propondo outras possibilidades de compreender o desenho e, por consequ?ncia, outras possibilidades de compreender a si e ao mundo, foi a maneira encontrada para, quem sabe, proporcionar aberturas ? alteridade. Toma-se como horizonte te?rico a hermen?utica filos?fica de Hans-Georg Gadamer, que n?o se aplica enquanto m?todo, mas como teoria da compreens?o que explora a din?mica reflexiva entre o estranho e o familiar, deslocando os horizontes interpretativos dos sujeitos ao passo que produz experi?ncias. Vai no caminho de entendimento da aula de arte como sendo um laborat?rio de negocia??o, propiciando situa??es que possibilitem que os sujeitos operem a partir de uma obra de arte (ou trabalho realizado em aula) e produzam sentido sobre ela. Como os sentidos das coisas n?o s?o dados, e sim atribu?dos de maneiras distintas por cada sujeito, a atitude negociadora surge para ampliar as possibilidades de rela??o entre sujeitos e obras. A negocia??o ? entendida como encontros entre obra(s) e sujeito(s) que levem os sujeitos a reverem seus posicionamentos, provocando um novo pensar sobre o que era tido como dado, estabelecendo nossas possibilidades para o que poderia j? estar fixado.

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2016-10-10T17:18:18Z No. of bitstreams: 1 2011 - Talita de Santana Matos.pdf: 652723 bytes, checksum: 16c30eb83b6db70231ab44534e188e6c (MD5) / Made available in DSpace on 2016-10-10T17:18:18Z (GMT). No. of bitstreams: 1 2011 - Talita de Santana Matos.pdf: 652723 bytes, checksum: 16c30eb83b6db70231ab44534e188e6c (MD5) Previous issue date: 2011-10-31 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / A study was conducted to evaluate the agronomic efficiency of nitrogen fertilizer with slow-release urea, measuring their losses by volatilization of NH3-N, N2O emission and recovery of fertilizer nitrogen applied as top dressing compared with commercioal urea to corn crop. All experiments were conducted at Embrapa Agrobiology. Firstly, the experiments were performed under controlled conditions in a greenhouse using soil layer of 0-10 cm of a haplic planosol. In the first experiment, the plastic trays were used as experimental units for evaluation of losses due to volatilization chambers with the aid of semi-open static free (SALE). Commercial urea was applied (UC), urea + KCl (UK), humic acid + urea (UH), urea + zeolitic sandstone (UZ) and urea + gypsum (UG) in two conditions of pH (5.4 and 6,5). Secondly, the other experiment was conducted using plastic pots containing the same soil samples as experimental units where they were planted three plants of Brachiaria decumbens. In this case, fertilizers were enriched with 15N, in two pH conditions too (pH 5,4 and 6,5). Treatments UZ and UK were more efficient in retaining N in the soil than the UC, with smaller losses through volatilization of NH3-N, and 20,2 and 15,8% on condition of lime and 22 and 17,2% when Liming did not occur, respectively. The UK fertilizer and UG showed overall increase of about 149 and 146% on dry biomass production at the end of the cycle on condition of pH 5,4. At pH 6,5 UG fertilizer showed yield increases of 149,3%. The accumulation of N in the plant and was 279,2 and 270,3 mg N.vaso-1 when no lime was applied to the UK and UG treatments, respectively, and the limed, 207.4 and 200,6 mg N. vaso-1 for the treatments UG and UH, respectively. Treatments UZ and UK had the highest recovery of applied N by plants, with values of 65,5 and 61,9% without lime, 60,2 and 45,7% with lime, respectively. Thirdly, other experiment was conducted at the experimental field at Embrapa Agrobiology in order to quantify the PNV, N2O emissions and efficiency of nitrogen fertilizer use (NFUE) slow-release by a corn crop on N balance Treatments consisted of field application of nitrogen fertilizers in coverage along the rows and a control treatment. Emissions of N2O were evaluated using static chambers closed. Was used fertilizers enriched with 15N in little plots for the assessment of NFUE. The treatments UZ and UK reduced the losses of N-NH3 by volatilization in approximately 18 and 14%, respectively. These losses corresponded to 32,3 and 35,7% of total N applied to soil. For N2O emissions the UK treatment showed the largest emission of N2O losses reaching values of 2.02 kgN.ha-1. The highest yield of grain were obtained by treatments that UG and UZ had a better response of grain production reaching values of 9666 and 9940 kg ha-1 respectively. To NFUE treatment UZ showed the highest values of N recovered reaching 67% of the total N applied system soil plant. / O trabalho objetivou avaliar a efici?ncia agron?mica de fertilizantes nitrogenados de libera??o lenta baseados no uso da ureia, quantificando suas perdas por volatiliza??o de NNH3 (PNV), emiss?o de N2O e a recupera??o do N-fertilizante aplicado em cobertura em compara??o com a ureia comercial na cultura de milho. Todos os esperimentos foram conduzidos na Embrapa Agrobiologia. Os primeiros experimentos foram realizados em condi??es controladas em casa de vegeta??o, utilizando solo da camada de 0-10 cm de um Planossolo H?plico. No primeiro experimento foram usadas bandejas pl?sticas como unidades experimentais para avalia??o das perdas por volatiliza??o com aux?lio de c?maras semi-aberta livre est?tica (SALE). Aplicou-se ureia comercial (UC), ureia + KCl (UK), ureia + ?cido h?mico (UH), ureia +arenito zeol?tico (UZ) e ureia +gesso agr?cola (UG) em duas condi??es de pH (5,4 e 6,5). O outro experimento utilizou vasos pl?sticos contendo amostras do mesmo solo como unidades experimentais onde foram plantados 3 plantas de Brachiaria decumbens. Neste caso os fertilizantes foram enriquecidos com 15N, tamb?m em duas condi??es de pH (pH 5,4 e 6,5). Os tratamentos UZ e UK foram mais eficientes na reten??o do N no solo do que a UC, apresentando menores perdas por volatiliza??o de N-NH3 de 20,2 e 15,8% sob condi??o de calagem e 22 e 17,2% quando sem calagem, respectivamente. Os fertilizantes UK e UG apresentaram aumento total de aproximadamente 149 e 146% na produ??o de biomassa seca ao final do ciclo da cultura em condi??o de pH 5,4. Em pH 6,5 o fertilizante UG apresentou aumento de rendimento de 149,3%. O ac?mulo de N na planta foi de 279,2 e 270,3 mg N.vaso-1 quando n?o foi aplicado calagem para os tratamentos UK e UG, respectivamente e quando com calagem, 207,4 e 200,6 mg N.vaso-1 para os tratamentos UG e UH, respectivamente. Os tratamentos UZ e UK apresentaram maior recupera??o pelas plantas do N aplicado, com valores de 65,5 e 61,9% sem calagem e 60,2 e 45,7% com calagem, respectivamente. O outro experimento foi realizado no campo na ?rea experimental da Embrapa Agrobiologia com objetivo de quantificar as perdas por volatilza??o de am?nio, as emiss?es de N2O e a efici?ncia do uso de fertilizantes nitrogenados (EUFN) de libera??o lenta pela cultura de milho, no balan?o de N. Os tratamentos consistiram da aplica??o no campo em cobertura dos fertilizantes nitrogenados ao lado da linha de plantio e um tratamento controle. As emiss?es de N2O foram avaliadas utilizando-se c?maras est?ticas fechadas. Foi utilizado fertilizantes enriquecidos com 15N em microparcelas para a avalia??o da EUFN. Os tratamentos UZ e UK reduziram as perdas de N-NH3 por volatiliza??o em aproximadamente 18 e 14%, respectivamente. Estas perdas corresponderam a 32,3 e 35,7% do total de N aplicado no solo. Para as emiss?es de N2O o tratamento UK foi o que apresentou maiores perdas por emiss?o de N2O atingindo valores de 2,02 kg N.ha-1. As maiores produtividades de gr?o foram obtidas pelos tratamentos UG e UZ que apresentaram melhor resposta de produ??o de gr?os atingindo valores de 9.666 e 9.940 kg.ha-1, respectivamente. Para EUFN o tratamento UZ apresentou o maior valor de N recuperado chegando a 67% do total do N aplicado no sistema solo-planta.

Les météoroïdes, les astéroïdes et les comètes ont été en interaction permanente avec la Terre pendant son existence. Lorsqu'un objet, tel qu'une comète ou un astéroïde, tourne autour du Soleil, il peut laisser des fragments de matière derrière lui. Il y a une relation implicite entre les fragments et leurs corps parents. Le champ gravitationnel de la Terre capte les fragments et quelques fois le matériel extraterrestre est retrouvé au sol sous la forme des météorites. L'étude de ces objets et le lien entre eux peuvent aider à comprendre les conditions de formation et d'évolution du Système solaire, les conditions de développement de la vie sur Terre, les processus chaotiques dans le Système solaire, la sécurité de la Terre et peut-être, l'industrie spatiale.Tous les objets dans le Système solaire sont caractérisés par leurs orbites et les flux de météoroïdes ont des orbites similaires avec les objets qui les produisent. Pour cette raison, la méthode la plus courante d'identification du corps parental est basée sur les similarités des orbites, également appelées critères de discrimination ou critères-D. Dans mon travail, j'ai utilisé trois critères D-Criteria pour l'association des corps parents. Je définis un seuil pour chaque mesure en utilisant une nouvelle méthode de sélection de seuil. En outre, j'ai étudié les objets associés stabilité orbitale, dans le sens du temps de Lyapunov et leurs propriétés physiques. En raison des similitudes entre les flux de météorites et leurs corps parents, il est nécessaire que les associations appartiennent à la population d'astéroïdes géocroiseurs. L'observation de cette population d'objets est cependant difficile. La géométrie favorable pour les observations d'un géocroiseur est limité a trois ou cinq fois par siècle. Pour cette raison j'ai créé un programme d'observation, qui vise à obtenir des données physiques pour les objets associés qui n'ont pas de données physiques. Lors de mes recherches, j'ai pu associer 296 géocroiseurs à 28 pluies de météores; parmi eux, 73 astéroïdes satisfaisants les trois critères utilisés. Du point de vue dynamique, mon échantillon contient 82 % d'astéroïdes de type Apollo et 7 % sont classés comme potentiellement dangereux, 15,3 % sont sur des orbites cométaires et 84,3 % sur des orbites d'astéroïdes. Du point de vue des données physiques, j'ai trouvé deux astéroïdes qui sont des rotateurs rapides, donc ils ne peuvent pas générer de météores. D'un autre côté, j'ai également trouvé un astéroïde binaire associé et un astéroïde tumbling, des objets avec une forte probabilité d'être des corps parents. J'ai également réussi à trouver des similitudes entre 5 météorites et 5 astéroïdes associés avec des données physiques et j'ai obtenu des données d'observation pour trois astéroïdes associés. / Meteoroids, asteroids, and comets have been permanently interacting with Earthduring its existence. When an object, such as a comet or an asteroid, revolve around the Sun it may leave fragments of matter behind it and if this object is in Earth’s proximity, those fragments are gathered by the planet gravity. The study of these objects and the link between them can help in the understanding of the formation and evolution conditions of the Solar System, the conditions of developing the life on Earth, the chaotic processes in the Solar System, Earth security and maybe, in future, space industry.All objects within the Solar System are characterized by their orbits andthe meteoroid streams have similar orbits with the objects that produce them. For that reason the most common method of parent body identification is based onorbits similarities, also known as discrimination criteria or D-Criteria. In my work I used three D-Criteria metrics for parent body association. I set a threshold for each metric by using a new threshold selection method. Moreover, I investigated the associated objects orbital stability, in the Lyapunov time sense and their physical properties.Due to the similarities between meteoroid streams and their parent bodies,it is required for the associations to belong to Near Earth Asteroids population. But for this population is difficult to obtain data. The favorable geometry for these objects observations occurs five times per century. For this reason was created an observational program, that aims to obtain physical data for the associated objects that do not have physical data.My results consist from 296 asteroids that were associated with 28 meteorshowers, from which 73 asteroids satisfied all the criteria used. From the dynamical perspective, my sample contains 82% of Apollo asteroids and 7% are classified as potential hazardous, 15.3% are on cometary orbits and 84.3% are on asteroidal orbits. From the physical data perspective, I found two asteroids that are fast-rotators, therefore they can not generate meteors. On the other hand, I also found associated one binary asteroid and one tumbling asteroid, objects with a high probability of being parent bodies.I also managed to find similarities between 5 meteorites and 5 associatedasteroids with physical data and I obtained observational data for three associated asteroids.

It has been ingrained into the American consciousness that our public schools are failing and our students are underachieving. This is something we all know. What is less clear is why American schools are failing. Time and time again, we come back to teachers, who have been identified as the single greatest factor in determining the success of the student. Teachers can make the difference in the lives of students and help secure our economic future. Teachers unions speak for these teachers, thus, in our search for a scapegoat, teachers unions often rank at the top. Right or wrong, it is a serious accusation to say that teachers unions are responsible for the failure of the American education system. Teachers, and consequently teachers unions, have the power to greatly impact education reform. After assessing the state of education in the United States and establishing teachers unions’ role in the bigger picture of education, I will first explore the source of teachers unions political power: their large membership and their money. Teachers unions are among the largest unions in the country and the NEA (National Education Association), specifically, is the highest political contributor of all public sector unions. To assess their political influence, I will show where and how they use their money with the intention of evaluating whether or not they overstep their boundaries as a typical labor union. The next important variable to consider when evaluating the impact of teachers unions is their classification as a public sector union. Private and public sector unions operate under different sets of laws and thus have different rules and strategies for collective bargaining. I will examine how their public sector status impacts their influence on hotly contested education reform issues, such as teacher performance pay, teacher evaluations based on student achievement, school vouchers, and charter schools. What makes teachers unions different from other labor unions? And do these differences give teachers unions a detrimental amount of control over education reform?