Texte remanié de: th. doct.--Mannheim--Universität, 1996. / Bibliogr. p. 157-166.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008. / Submitted by Thaíza da Silva Santos (thaiza28@hotmail.com) on 2011-02-10T19:20:25Z No. of bitstreams: 1 2008_MarlosGBrayner.pdf: 2542456 bytes, checksum: 2abeaee21ff9a7a069aeb6f2e9e43329 (MD5) / Approved for entry into archive by Daniel Ribeiro(daniel@bce.unb.br) on 2011-02-10T21:41:12Z (GMT) No. of bitstreams: 1 2008_MarlosGBrayner.pdf: 2542456 bytes, checksum: 2abeaee21ff9a7a069aeb6f2e9e43329 (MD5) / Made available in DSpace on 2011-02-10T21:41:12Z (GMT). No. of bitstreams: 1 2008_MarlosGBrayner.pdf: 2542456 bytes, checksum: 2abeaee21ff9a7a069aeb6f2e9e43329 (MD5) / Esta dissertação apresenta uma pesquisa sobre aspectos de teoria lingüística e cinematográfica na obra do intelectual italiano Pier Paolo Pasolini, especificamente a partir de seus textos teóricos de caráter ensaístico coligidos no livro Empirismo Hereje. A dissertação apresenta ainda, a análise de alguns poemas e filmes do autor. A pesquisa procura inicialmente investigar como Pasolini entende um sistema de representação semiótica e discute a noção de realidade na sua obra. Em um momento seguinte, procura-se analisar os fundamentos e implicações dos conceitos de realidade, representação e estilo na formação do cinema de poesia. A análise está baseada especialmente na articulação dos conceitos de teoria da linguagem desenvolvida nos ensaios estudados. _________________________________________________________________________________ ABSTRACT / This dissertation presents a research on linguistic and cinematic theories in the work of the Italian intellectual Pier Paolo Pasolini, specially in the theoretical texts compiled in the volume Heretical Empiricism. The dissertation still embraces analysis of some Pasolini´s poems and films. Initially, the research investigates how Pasolini conceives a semiotic representation system and dialogues with the notion of reality in his work. In the next moment, the research focus on the background information and implications associated with the concepts of reality, representation and style, in order to accomplish poetry cinema. The analysis is embodied with language theory concepts developed into the Heretical Empiricism texts.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / nÃo hà / A obra dos diretores Pier Paolo Pasolini e Glauber Rocha possuem muitas caracterÃsticas em comum no que diz respeito ao fazer cinematogrÃfico. Este estudo tem como objetivo investigar o processo de construÃÃo da experiÃncia mÃstica presente na obra dos dois diretores. Os textos Cinema de Poesia (1965), de Pasolini, e o manifesto Eztetyka do Sonho (1971), de Glauber Rocha foram selecionados como base para esta pesquisa. Na tentativa de compreender a dimensÃo do pensamento estÃtico dos diretores dentro de suas produÃÃes, a pesquisa foi a procura nas imagens dos filmes A ricota (1962) e Claro (1975) um fazer imagÃtico que remetesse a uma possÃvel experiÃncia mÃstica. Com a dificuldade de se definir essa experiÃncia incognoscÃvel, a pesquisa procurou a presenÃa do mÃstico nas imagens dos filmes desses diretores. Assim, ela nÃo aponta como se dà està experiÃncia, mas como podemos pensar a presenÃa do mÃstico a partir de seu primeiro predicativo apontada pelo filÃsofo das religiÃes Rudolf Otto, o mysterium. Com isto, este trabalho quer encontrar o que existe nÃo de revelado nas imagens dos diretores, mas o que nelas contÃm de algo mÃstico que se coloca no figurÃvel, na obscuridade da imagem, algo que nÃo està apresentado como tal. Assim, abordando a importÃncia de uma imagem que subverta a lÃgica imagÃtica hegemÃnica na contemporaneidade.

Sediment material around the base of a bridge pier is moved by the flow velocity and associated turbulence. This phenomenon is generally termed as local scour and can lead to undermining the structure and increase its possibility of failure. Numerous factors can affect bridge pier scour and they have been investigated for decades. Debris jams, one of these factors, could significantly contribute to bridge failure as some field examples and experimental investigations pointed out. Woody debris accumulation on the front of either single or multiple bridge piers can result in deeper pier scour and extra load exerted on the pier. Several studies have already investigated the influence of woody debris on pier scour in terms of static woody debris. In addition, HEC-18 (2012) also proposed a design code to estimate scour depth in the presence of woody debris jam. However, in these studies, the woody debris jam was considered to be static, whereas a woody debris jam accumulates piece by piece, growing to a debris jam with a shape most akin to a half-cone, and then may even eventually break up and be carried in pieces downstream. Therefore, this research investigated the evolution of the loading onto and scouring around a bridge pier in the presence of dynamic debris jams. In this study, the temporal evolution of the bridge pier scours was monitored during the development of dynamic debris jams. Experimental modeling was conducted to explore the influence of dynamic debris jam on bridge pier scour using a scale of 30 by employing both dowels and seedling trees. It was found that the dynamic debris jam of dowels could last 10-20 minutes and reach a critical size, then fail and subsequently reform. In addition, the first debris jam had an obvious influence on scour depth which correlated to the blockage generated by the debris jam; however, the influence of the subsequent debris jam depended on its size compared to the previously formed one. For the dynamic debris jam using seedling trees, the debris jam lasted for a longer time once it formed, and it could lead to twice the maximum scour depth compared to that generated in the absence of the debris jam, which is the same with dowels debris jam. In addition, the hydraulic head induced by the debris jam was correlated to the blockage of the debris jam and the flow Froude number irrespective of whether the dynamic debris jam was made of dowels or seedling trees. Additionally, blank control tests in the absence of a debris jam were used along with previous data gleaned from the literature to develop and test new multigene genetic programming (MGGP) models for the temporal evolution of scour. The MGGP model, using the non-dimensional variables from the empirical equations, can reach a better accuracy than the empirical equations, which indicates the ability of the model to optimize the empirical equations. The temporal evolution of load exerted onto the bridge pier with a dynamic debris jam was also measured. Experimental tests were performed to investigate the additional debris jam drag force exerted onto the bridge pier using both dowels and seedling trees in the presence of a fixed flume bed. Likewise, the dynamic debris jam of dowels lasted for about 10-20 mins, while those formed by the seedling trees, once formed, could last over 50 mins. The investigation demonstrated that the drag coefficient of the seedling trees jam was higher than that of the dowels jam. More importantly, a spike in the drag force was also observed irrespective of whether the jams were formed by dowels or seedling trees. Detailed investigation of the flow field around the debris jam and pier provided insight into the mechanics of debris jams. Three half-cone-shaped debris jams of the same dimensions were designed and built. The three jams were fabricated using: a) 20 cm long dowels, b) 30 cm long dowels, or c) a 3D printer. For each jam, four sections were measured using an Acoustic Doppler Velocimeter (ADV). The results indicated that the flow fields around the 20 cm length dowel jam and the 30 cm length dowel jam were similar. In addition, the section behind the pier and debris jam showed divided zones termed herein as the accelerated high-velocity zone, the high shear transition zone, and the wake dead zone. As for the drag coefficient, the 20 cm length dowels jam and 30 cm length dowels jam shared a very close magnitude of 1.7, but the drag coefficient of the 3D printer debris jam was only 0.88 which indicated the debris jam built by individual pieces behaved differently than the block jam.

No description available.

The 2010-2011 Canterbury, New Zealand, Earthquake Sequence (CES) resulted in 185 fatalities and approximately $NZ40 billion in damage, much of which was due to liquefaction and related phenomena. As a result, an extensive soil improvement field testing program was initiated and Rammed Aggregate Piers� (RAP) were shown to be a feasible method to mitigate the risk from liquefaction during future events. To better design and more fully assess the efficacy of reinforcement techniques against liquefaction, pre- and post-treatment in-situ test data are compiled, to include results from cone penetration tests (CPT), direct-push crosshole tests, and vibroseis (T-Rex) shaking tests. The data are used to evaluate the capabilities of numerical tools to predict the liquefaction response of unimproved and improved sites. A finite difference (FD) numerical model is developed in a FLAC platform and a coupled analysis using the Finn model with Byrne (1991) formulation is conducted. The FD model calibrated for top-down shakings similar to the vibroseis tests succeeded in qualitatively reproducing the general observed behavior without quantitatively matching the in-situ values for shear strains and excess pore pressure ratios. The introduction of the RAP elements to the FD model reduced the shear strain, but slightly overestimated that reduction. Considering more advanced constitutive models that better simulate the complexity of the soil behavior under dynamic loading would likely increase the accuracy of the predicted response. / MS / During earthquakes, a significant loss of strength in soil can occur. This phenomenon, known as liquefaction, can have a devastating impact on the area affected. The 2010-2011 Canterbury, New Zealand, Earthquake Sequence (CES) resulted in 185 fatalities and approximately $NZ40 billion in damage, much of which was due to liquefaction and related phenomena. Consequently, the New Zealand Earthquake Commission implemented a field testing program in order to investigate the efficiency of ground improvement techniques in reducing soil liquefaction potential. One of the tested techniques was Rammed Aggregate Piers™ (RAP) and was shown to be a feasible method in mitigating the risk from liquefaction during future events. The focus of this study is to develop a numerical model capable of predicting the liquefaction response of unimproved and RAP-improved sites. Pre- and post-treatment test data are therefore compiled and used to calibrate the model. The numerical model calibrated for shakings similar to the on-site tests succeeded in qualitatively, but not quantitatively, reproducing the behavior observed in the field. The introduction of the RAP elements to the model revealed an improvement against liquefaction hazard; however, the improvement was overestimated compared to the field results. Considering more advanced numerical features that better simulate the complexity of the soil behavior under dynamic loading would likely increase the accuracy of the predicted response.

Every architecure is being with life-force such as a plant who lives on the photosynthesis that need carbon dioxide + water + light energy, and provide oxygen in day time. On the contrary, Plants need oxygen and release carbon dioxide while they can not carry out the photosunthesis in night time. But both chemical reactions occurring on the same plant in different time in a day. People normally spend one-third of their for working in an office or studying in school, and their home is empty during the day time. People use the rest of their time on a dinner in restaurant outside, other activities or events; back to home to rest and nobody occupies commercial area in night time. Why can we not do all of life's events in the same building or place whenever we wish? / Master of Architecture

The response of an aggregate pier foundation system during seismic loading was investigated. The factors and phenomena governing the performance of the aggregate pier and the improved ground were identified and clarified. The key factors affecting the performance of the aggregate pier include soil density, stiffness modulus, and drainage capacity. The improved ground is influenced by soil stratification, soil properties, pore pressure dissipation, and earthquake time history. Comprehensive numerical modeling using FLAC were performed. The focus of the study in this research was divided into three parts: the studies of the ground acceleration, the excess pore water pressure ratio and the shear stress in soil matrix generated during seismic loading. Two earthquake time histories scaled to different peak acceleration were used in the numerical modeling: the 1989 Loma Prieta earthquake (pga = 0.45g) and the 1988 Saguenay earthquake (pga = 0.05g). The main results of the simulation showed the following effects of aggregate pier on liquefiable soil deposits: 1) The aggregate pier amplifies the peak horizontal acceleration on the ground surface (amax), 2) The aggregate pier reduces the liquefaction potential up to depth where it is installed, 3) Pore pressures are generally lower for soils reinforced with aggregate pier than unreinforced soils except for very strong earthquake, 4) The maximum shear stresses in soil are much smaller for reinforced soils than unreinforced soils. The excess pore water pressure ratio and the shear stress in the soil matrix calculated by FLAC were generally lower than those predicted by available procedures. / Master of Science

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese tem por objeto textos que se voltam para o homem: o cinema trágico- poético de Pier Paolo Pasolini e as tragédias gregas clássicas. Este autor de cinema se debruçou sobre os textos trágicos, pois via neles um fundamento político, ou seja, a superação pela razão de um passado arcaico do homem, que gerava sua incerteza existencial. Primeiramente, tendo traduzido a Oréstia, de Ésquilo, o diretor italiano identificou nesse texto aquilo que ele, como humanista que era, desejava fosse alcançado pelo homem moderno: a superação do medo causado pelo irracional que sempre habitou a mente humana. Esta interpretação da Oréstia, aliada às convicções previamente firmadas pelo diretor e poeta a capacidade dos ingênuos de formar uma nova ideologia e a persistência no homem moderno de certa irracionalidade domada pela razão levou à realização do filme Appunti per unOrestiade africana (1967), um filme otimista quanto ao triunfo da razão. Tendo feito esses apontamentos, Pasolini jamais rodaria seu filme sobre a Oréstia, passando a uma perspectiva pessimista, com a filmagem de Medeia (1969), cuja frase final da personagem- título Nada mais é possível doravante aponta para Salò, o último filme que ele realizou, marcado pela desesperança, pouco antes de morrer assassinado. Édipo Rei (1967) foi o primeiro dos filmes trágicos e o mais mítico deles. Neste último ainda persistem as convicções de Pasolini apontadas acima, o que o identifica com Accattone (1961), conforme declarou o próprio diretor, e indica também a linha da análise crítica realizada nesta tese. Com base na crítica especializada (Canevacci e Fusillo) foi possível demonstrar a peculiar adaptação do trágico ancestral ao cinema de poesia pasoliniano, através de uma filmografia ideologicamente infensa a concessões à indústria cultural / The objects of the present work are texts about Man: the tragic-poetic cinema of Pier Paolo Pasolini and the classical Greek tragedies. That cinema author dedicated much attention to tragic texts, in which he saw a political foundation: the overcoming, by reason, of mans archaic past, which caused his existential uncertainty. After having translated Aeschyluss Oresteia, the Italian director identified in this text what he, as a humanist, hoped that modern man would achieve: the overcoming of the fear caused by the irrational that has always dwelt in the human mind. This interpretation of the Oresteia, coupled with other convictions held by the poet/director that the naïve could form a new ideology, and the persistency, in modern man, of rationally-tamed irrationality led him to film Appunti per unOrestiade africana (1967), an optimistic film as concerns the triumph of reason. After having taken down the notes, Pasolini would never come to make the Oresteia film, but moved on towards a pessimistic perspective my filming Medea (1969), the last sentence of which, said by the protagonist Nothing is possible any longer points towards Salò, his last film, as he was murdered shortly afterwards. Oedipus Rex (1967) was the first of his tragic films, and the most mythical of all. In it, some of Pasolinis early convictions mentioned above can be seen to persist, so that, in a sense, Oedipus Rex is evocative of Accattone (1961), as, in fact, has been confirmed by the director himself. The critical approach taken in the present work has been inspired on this. By resorting to specialized criticism (Canevacci, Fusillo) it was possible to demonstrate the peculiar adaptation of the ancestral tragic that takes place in Pasolinis poetry cinema by means of a filmography that remained ideologically contrary to concessions to the culture industry

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese tem por objeto textos que se voltam para o homem: o cinema trágico- poético de Pier Paolo Pasolini e as tragédias gregas clássicas. Este autor de cinema se debruçou sobre os textos trágicos, pois via neles um fundamento político, ou seja, a superação pela razão de um passado arcaico do homem, que gerava sua incerteza existencial. Primeiramente, tendo traduzido a Oréstia, de Ésquilo, o diretor italiano identificou nesse texto aquilo que ele, como humanista que era, desejava fosse alcançado pelo homem moderno: a superação do medo causado pelo irracional que sempre habitou a mente humana. Esta interpretação da Oréstia, aliada às convicções previamente firmadas pelo diretor e poeta a capacidade dos ingênuos de formar uma nova ideologia e a persistência no homem moderno de certa irracionalidade domada pela razão levou à realização do filme Appunti per unOrestiade africana (1967), um filme otimista quanto ao triunfo da razão. Tendo feito esses apontamentos, Pasolini jamais rodaria seu filme sobre a Oréstia, passando a uma perspectiva pessimista, com a filmagem de Medeia (1969), cuja frase final da personagem- título Nada mais é possível doravante aponta para Salò, o último filme que ele realizou, marcado pela desesperança, pouco antes de morrer assassinado. Édipo Rei (1967) foi o primeiro dos filmes trágicos e o mais mítico deles. Neste último ainda persistem as convicções de Pasolini apontadas acima, o que o identifica com Accattone (1961), conforme declarou o próprio diretor, e indica também a linha da análise crítica realizada nesta tese. Com base na crítica especializada (Canevacci e Fusillo) foi possível demonstrar a peculiar adaptação do trágico ancestral ao cinema de poesia pasoliniano, através de uma filmografia ideologicamente infensa a concessões à indústria cultural / The objects of the present work are texts about Man: the tragic-poetic cinema of Pier Paolo Pasolini and the classical Greek tragedies. That cinema author dedicated much attention to tragic texts, in which he saw a political foundation: the overcoming, by reason, of mans archaic past, which caused his existential uncertainty. After having translated Aeschyluss Oresteia, the Italian director identified in this text what he, as a humanist, hoped that modern man would achieve: the overcoming of the fear caused by the irrational that has always dwelt in the human mind. This interpretation of the Oresteia, coupled with other convictions held by the poet/director that the naïve could form a new ideology, and the persistency, in modern man, of rationally-tamed irrationality led him to film Appunti per unOrestiade africana (1967), an optimistic film as concerns the triumph of reason. After having taken down the notes, Pasolini would never come to make the Oresteia film, but moved on towards a pessimistic perspective my filming Medea (1969), the last sentence of which, said by the protagonist Nothing is possible any longer points towards Salò, his last film, as he was murdered shortly afterwards. Oedipus Rex (1967) was the first of his tragic films, and the most mythical of all. In it, some of Pasolinis early convictions mentioned above can be seen to persist, so that, in a sense, Oedipus Rex is evocative of Accattone (1961), as, in fact, has been confirmed by the director himself. The critical approach taken in the present work has been inspired on this. By resorting to specialized criticism (Canevacci, Fusillo) it was possible to demonstrate the peculiar adaptation of the ancestral tragic that takes place in Pasolinis poetry cinema by means of a filmography that remained ideologically contrary to concessions to the culture industry