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Made available in DSpace on 2014-06-12T18:04:25Z (GMT). No. of bitstreams: 2 arquivo3923_1.pdf: 7672485 bytes, checksum: e558a60e63cdcf8f7048c9c8a9063e0f (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Novos dados quimioestratigráficos para duas unidades Mesoproterozoicas e uma Neoproterozóica do Terreno Nico Perez somam-se a coluna estratigráfica do Uruguai. O Grupo Carapé integrado pelas Formações: (1) Marco Los Reyes composta de calcário puro, BIFS, arenito, mármores e anfibolito. Rochas carbonáticas desta Formação apresentam valores máximos de δ13C de +5 e duas excursões negativas (-3,2 e - 2,3 ) e 86Sr/87Sr com valores entre 0.707 e 0.710 , sugerindo idade Neoproterozóica, entre 600 e 680 Ma; (2) Mataojo composta de dolomitos calcíticos, meta-arenitos, micaxistos, anfibolitos e gneisses. Apresentam valores de δ13C próximos a 0 , característica de rochas carbonáticas do Mesoproterozico. O Grupo Parque UTE (GPU), uma seqüência metavolcano-sedimentar, é constituído da base para o topo pelas Formações (1) Cañada Espinillo com rochas vulcânicas básicas; (2) Mina Valencia com dolomitos brancos e puros, intercalados com dolomitos cinza e níveis de calcarenitos e calciruditos (tempestitos); (3) Cerro del Mastilcom folhelhos negros carbonáticos, intercalados com rochas calcárias cinza e piroclásticas ácidas. Os valores de δ13C apresentam um plateu positivo entre 1 e 1,5 e duas excursões negativas (-1 e -3 ) que sugerem idade Mesoproterozica, e que é coerente com dados radiométricos de U-Pb em zircão de 1422 ± 21Ma dos riolitos do topo e idades de 1492 ± 21 Ma em gabros da base. Este estudo confirma a importância do conhecimento da geologia do craton do Rio de La Plata para a compreensão da evolução do Gondwna durante este intervalo de tempo da história geológica da Terra

This paper is a study of the major influence of the German philosophy, Krausism, in the writings of Benito Perez Galdds. The study is an analysis of the effects of this ideology on Spain and her people, as illustrated in the works of the most representative writer of the nineteenth century in that country. Also included is a discussion of historical incidents of the period which is necessary to place the acceptance of both this philosophy and the works of Perez Galdos in its proper perspective.

La présente thèse est une étude écocritique où l’on analyse l’environnement dans les romans: Globalia (2004), écrit par l’écrivain français Jean-Christophe Rufin et Amor en la Línea Vieja (Amour sur l’Ancienne Ligne) (2007), écrit par le Costaricien Walter Rojas Pérez. Cette investigation examine l’expression de la conscience écologique, représentée à partir de l’optique de chaque romancier non seulement dans des périodes différentes (2004/2007), mais aussi dans des endroits distincts. Ici sont analysées les visions singulières de l’Homme en relation avec la campagne et la ville, accompagnées d’une structure politique corrompue où l’on observe l’inégalité de correspondances qui influence le déséquilibre écologique, affectant les systèmes naturels , anthropiques et l’être humain. Les romans étudiés ne reflètent pas l’image de la nature vue comme «enfer vert», au contraire, le naturel traduit le portrait d’une Mère qui fournit tout le nécessaire pour la survie des êtres vivants. C’est pour cela que les postulats de dénonciation critiquent l’abus que l’être humain fait contre l’environnement, le déboisement de la forêt, la contamination des bassins hydrographiques, l’utilisation indistincte des produits agrochimiques, la pollution de l’air et de la terre avec des résidus industriels tirés comme décharges à ciel ouvert, tout en se transformant en éléments destructifs qui raccourcissent la vie des êtres vivants sur la Planète Verte. Dans les deux romans les auteurs accusent l’exploitation insoutenable des ressources naturelles par l’homme conquérant de la nature qui sert aux buts globalisateurs de l’industrialisation. Les textes enregistrent une séries de scène qui critiquent la pratique du développement non-durable et où le paupérisé dévaste la nature et se soumet au pouvoir économique par la nécessité de survivre, pour se transformer finalement en «des-gens», vivre comme les ordures recyclées et se nourrir des déchets de l’industrialisation. La pauvreté globale est telle que les «trois quarts de la population mondiale vivent dans le Tiers Monde, ce qui représente plus de deux tiers du secteur de la surface de la terre» (Stokke 19). La Terre incarne l’être vivant qui appartient à un écosystème universel et, pour se maintenir robuste, elle a besoin de son espace soutenable, dans un milieu écologique sain. La stabilité de la planète est d’importance suprême pour le reste des espèces qui la cohabitent. Voici le discours écocritique que les romanciers Rufin et Rojas Pérez souhaitent transmettre dans le but de perpétuer la viabilité terrestre, de sorte que toute espèce prenne plaisir au nectar qui la maintient vigoureuse. La dénonciation des romanciers cherche à éveiller la conscience pour maintenir l’équilibre écologique sur la Planète Verte. De la même manière, le discours environnementaliste-littéraire va au-delà de la frontière terrestre, tout en arrivant à des mondes cosmiques et universalisés de la Terre, comme celui qui apparaît dans le roman Globalia. L’analyse écocritique dans Amor en la Línea Vieja fait transparaître une réalité cosmologique définie depuis une dimension inextricable qui cherche à recréer la bonne interrelation entre toutes les espèces. Ce monde terrestre-universel offre l’occasion de coexister avec la société interplanétaire où les espèces maintiennent une racine commune. Tant Globalia comme Amor en la Línea Vieja donnent aux nouvelles générations le message écocritique suivant: elles sont dédiées à sauver l’habitat global. / The following study analyzes the environment in the novels: Globalia (2004), written by the French novelist Jean-Christophe Rufin and Amor en la Línea Vieja (Love at the Old Rail) (2007), written by the Costa Rican author Walter Rojas Pérez. This research examines the expression of ecological consciousness represented from the authors’ perspectives both in different periods of time (2004/2007) and distinctive places. Below are analyzed the peculiar visions of the Mankind in relationship with the country and the city, accompanied by a corrupt political structure where the inequality of connections influences the ecological unbalance, affecting the natural, anthropic, and human beings’ ecosystems. The novels here studied do not reflect the image of nature viewed as «a green hell»; nonetheless, the natural aspects depict the portrait of a Mother furnishing all the necessary for the humankind’s survival. Thus, the denunciation premises criticize the abuse committed by mankind against the environment, the deforestation of woods, the contamination of hydrographic basins, the indistinct use of agrochemical products, air and land pollution with industrial residue dumped outside as garbage; most likely destructive elements which shorten humankind’s life on the Blue Planet. Both novels accuse the unsustainable exploitation of natural resources by the human conqueror of nature and who serves the globalization goals of the industrialization. This unsustainable development favors the ecological imbalance which leads to the disappearance of uncountable species dying without having ever been studied, taking away the opportunity to the future generations to have even known them. The texts register how the economically poor human beings devastate the nature and give into the economic power for the need to survive, and to finally become “un-people”. Global poverty is such that “three quarters of the world population live in the Third World, which stands for more than two thirds of the earth’s surface” (Stokke 19). The lucky ones, supported by certain people in power, manipulate the citizens by means of transnational companies, and –using the excuse of modernization- they steal nature’s resources. Therefore, when these living beings stop serving the petty interests of the rich, they are laid off without any benefits, directly affecting their human ecology and that of their families; consequently, the underprivileged have no other alternative but to join certain at-risk settlements, live as recycled garbage, and eat from the industrialization’s waste. The Earth embodies a living being that pertains to a universal ecosystem and which requires its own sustainable space, within a healthy ecological environment. The planet’s stability is of supreme importance to the rest of the species that live together on it. This is the ecocritical discourse that the novelists Rufin and Rojas Pérez desire to transmit, hoping to perpetuate the terrestrial viability that all species could enjoy the nectar which maintains it strong. The novelists’ denunciation awakens the consciousness for preserving the Blue Planet’s ecological balance. Moreover, the environmental-literary discourse goes beyond the terrestrial frontiers, getting to the Earth’s cosmic and universal worlds, as the one that appears in the novel Globalia. A defined cosmological reality surges in Amorn en la Línea Vieja, when –from an inextricable point of vegetation on Earth- one may go through a tunnel onto another dimension where friendly beings interact with each other. On that terrestrial-universal world, the vegetation resembles the one known on Earth, and where the characters Ion and Elena welcome Nuria as member of their family, thus giving Nuria the opportunity to coexist with an interplanetary society of common root species. Both Globalia and Amor en la Línea Vieja pass on to the new generations a clear ecocritical message: they are dedicated to save the global habitat.

In a country that has been characterized by its high level of violence and historically strong repression of social movements and mobilizations, people demonstrated peacefully during twenty weeks in Guatemala City 2015. The mobilizations started after the revelation of a corruption network described as The Line, which involved both the Guatemalan Government and the Guatemalan Superintendence of Tax Administration. Each Saturday from April – August, Guatemalans gathered at the main square in the Capital City, to protest against corruption and to demand the resignation of President Otto Pérez Molina and Vice President Roxana Baldetti. After intensive demonstrations calling for the Vice-Presidents resignation, Baldetti resigned on May 8. The President resigned on September 2, four days before the general elections and both Baldetti and Pérez Molina were sentenced to prison because of their involvement in the corruption network. This essay aims to give answer to why people mobilized during several weeks and to create a greater understanding for why the mobilizations occurred. The Political Process Model has been used to analyze the character of the protests. This qualitative study is based on 16 semi-structured interviews conducted in Guatemala during the period of October – December 2015. A targeted selection and a snowball sampling method were used to identify persons to interview. The research showed that people identified the situation in Guatemala as a political crisis, which encouraged a broad participation in the protests. The traditional dynamic of challengers and members changed during the weeks of demonstrations. Since traditional polity members turned into challengers, the mobilizations had a high political leverage which made state led repression less likely. Therefore the demonstrations were interpreted as safe and consequently the participation increased. Traditional movements put their specific demands aside in order to be part of the collective demands against corruption. In other words, persons participated rather as individuals than as representatives from their movements.

In "Contestatory Subjects: Performance and the Politics of Recognition in Don Quijote," I analyze the performative strategies used by several well-known characters in Cervantes' 1605 Don Quijote to counter their initial displacement and to constitute an alternative yet acceptable subject position for themselves within the socio-historic structure of the text. Throughout the study, I posit that successful subjectivity requires more than the character who performs any given subject position; it requires a response, an on-going dialogue between self and other - and most importantly - it requires an ethical commitment to the process on the part of the witness, be that witness intra- or extra-textual. My analysis of Dorotea, Ruy Pérez, and Zoraida shows that their individual performances are really communal or dialogic processes played out in conjunction with other characters. My project therefore counters the tendency to study each character's story as an isolated performance or as a self-contained intercalated tale in Don Quijote. Rather, I offer a more holistic or integrated examination of a trajectory of contestatory performances throughout Part I of the Quijote. With each performance, the 1605 novel increasingly expands the normative limits of social inclusivity in Early Modern Spain, ultimately arguing in the last chapters for the accommodation of a mora cristiana within the limits of the recognizable. In viewing these characters not as isolated, self-fashioning individuals but rather as a community of performers and ethical witnesses, my analysis points toward a didactic project on Cervantes's part in the 1605 novel, in which he uses these characters to model and tutor the reader in empathetic reading strategies that forestall the inquisitorial hermeneutic imposed by the State and the Church in Habsburg Spain. My analysis of Cervantes's contestatory performances and their receptions draws primarily on critical theories of gender and performance studies in combination with the cultural materialist studies of early modern Spain (e.g., Cruz, Fuchs, Hernández-Pecoraro, Johnson, Maravall, Mariscal, Presberg, Sieber). Of particular importance are Judith Butler's work on gender performativity and Kelly Oliver's work on witnessing, which nuances Butler's notion of performativity by addressing the ethical responsibilities on the part of the witness/spectator. Each chapter links the performance in question back to the material conditions and available discourses vying to produce acceptable subjects in early modern Spain. In terms of normative discourses, the most obvious institutions involved in the formation and reformation of the seventeenth-century Spanish subject are the Church and the Absolutist state, quite effectively combined in the Holy Office of the Inquisition. Therefore, this study features a number of theological, economic, and social treatises that were written in an effort to constitute the ideal Spanish subject in terms of gender, religion, race/ethnicity and class/estado. Around these normative subject positions we observe the subsequent formation of resistant or contestatory discourses, which also feature prominently in each chapter of the study. By combining the work of Butler and Oliver, and insisting on an analysis of both the performer and the spectator in various scenes of Don Quijote, Part I, this project fills gaps in the scholarship on Cervantes and performance studies, which have tended to privilege the performance of the self-fashioning individual while overlooking the dialogic nature of performativity. I show that there is more at stake than opening space for projects of private perfection, which is no doubt a necessary goal. Also at stake are ethical relationships with others and shared projects of social reform and restoration. In all of the performances I analyze here, Cervantes creates characters who self-fashion by reiterating and manipulating contrary, traditionally binary discourses around gender, class, race/ethnicity, religion, and nationality. In turn, his fictional witness-listeners model the ethical posture necessary to maintain a productive openness to the characters' difference. Together, their performances induce us to accept the contestatory virtues of faith, good works, and caritas over the normative determinants of blood (purity) and lineage (old-order occupations; ejercicios), which the novel shows to be tired categories that are encouraging costly foreign wars, emigration to the New World, declining fertility rates, and unproductive economic investments.

Se estudia en este trabajo la labor científica, docente y cultural de Antonio Pedro Rodríguez Pérez (1912-1964), como uno de los últimos representantes de la Escuela Neurohistológica Española (ENE) continuadora de la obra del Premio Nobel de la Medicina Santiago Ramón y Cajal. En cantidad son 141 trabajos publicados, de los cuales 89 son trabajos de investigación, algunos en colaboración con maestros y compañeros discípulos de Tello. De ellos 46 son morfológicos y 2 morfo-fisiológicos; 39 artículos de revisión fundamentalmente sobre la sinapsis; 14 publicaciones entre libros de texto, educativos, ensayos literarios y biografías de maestros y compañeros. En cualidad son relevantes en histología sus estudios sobre la sinapsis, tanto de las células gliales como de los componentes químicos; sobre los receptores sensitivos de la piel y de los Glomus aórtico y carotídeo; en anatomía patológica los trabajos en colaboración con Gay Prieto, sobre el cultivo del bacilo de Hansen / In this thesis, the scientific, educational and cultural work of Antonio Pedro Rodríguez Pérez (1912-1964) is studied, as one of the last representatives of the Neurohistological Spanish School. That school continued the works of the Medicine Nobel awarded, Santiago Ramón y Cajal. There are 141 published works. 89 of them are research reports, some of which were done with the collaboration of lecturers and classmate disciples of Tello. 46 of them are morphologic and 2 morpho-physiological; 39 were checking reports, mainly about synapse; another 14 are other type of publications, including textbooks, educational books, literary rehearsal and biographies. Synapse reports on glial cells and also on chemical components, on sensory recipients of skin and on aortic and carotid glomus are qualitatively significant, as well as the works about the culture of Hansen bacillus in pathological anatomy.

Commonly known as nueva canciόn in Puerto Rico or nueva trova in Cuba, “new song” is a 60-year-old genre, a musical form resonant with political overtones. This thesis examines the life and music of Lourdes Pérez, a Puerto Rican singer working in the nueva canciόn tradition. Pérez, who has lived in the U.S. for 20 years, is dedicated through her compositions to create a “newer song,” a form of socially engaged music based on artists of the past but addressing contemporary issues. Through the creation of a diverse community for such music, and collaborations with other Latin American musicians and artists, Pérez has taken the genre in new directions. I examine the various sociopolitical messages conveyed in Pérez’s music through an analysis of the extramusical context of performance. I raise questions about the ways in which globalization affects her work, and about the present-day relevance of the nueva canción song form itself. Since little research has been conducted on nueva canciόn I hope this paper will encourage future work. / text

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