Documento confidencial. Não pode ser disponibilizado para consulta / Tese de mestrado integrado. Engenharia Electrotécnica e de Computadores. Faculdade de Engenharia. Universiade do Porto. 2010

During operation of nuclear power reactors reactivity initiated accidents (RIA) can occur, such as a control rod drop. If this occurs, the reactivity increase dramatically and leads to an increase in power, fuel enthalpy and fuel temperature. The fuel and reactor can be damaged. A methodology to simulate these accidents has been developed for Forsmark Nuclear Power Plant in cooperation with Westinghouse, referred to as the POLCA7 methodology. The POLCA7 methodology results in a limit for fuel failure regarding reactivity of the control rod that dropped in pcm/control rod percent. The limit is estimated from simulations in POLCA7, a static and deterministic code and POLCA-T, a dynamic code. The aim of this thesis is to evaluate the methodology and investigate what happens in a reactor if a control rod drops during hot zero power. Hot zero power is a phase during start-up, where the power is low (~2% of installed power) and the reactor have operation pressure and temperature. The POLCA7 methodology was applied on historic cycles in Forsmark. To evaluate the POLCA7 methodology the control rod drop was simulated in S3K, a dynamic software. The results from these cycles indicate that the limit for fuel failure set in the POLCA7 methodology in pcm/control rod percent is very conservative for fuel with low and medium burnup. Even though the limit is exceeded, the dynamic simulation in S3K shows that the fuel is far from failure regarding SSM limits in fuel enthalpy and cladding temperature. In this thesis new limits in POLCA7 has been generated, which is remarkably higher than the original limit from the POLCA7 methodology. To challenge the methodology, an unrealistic fuel design was simulated with fuel with high burnup surrounded by high reactive fuel. With this fuel design, the enthalpy limit from SSM was exceeded for the fuel with high burnup. The limit from the POLCA7 methodology was exceeded which indicate that the POLCA7 methodology meets the goal of detecting severe RIAs. Fuel with high burnup seems to be the most important fuel to investigate at a RIA simulation. Another discovery is that POLCA7 gives the most severe accident at 2% power, but in S3K it is given by 3-4% power. This is a problem with the POLCA7 methodology. Suggestions are made on how to lower the calculation time and improve the methodology. A control rod sequence that gives an even power distribution and a core with the fuel with high burnup in the periphery and only a few fresh fuels is preferred to avoid damage at a RIA. A control rod sequence was designed for the new cycle in Forsmark 1, in order to try to create a cycle without problems due to RIA. The new sequence was a success with no control rods exceeding the limit of 82 pcm/control rod percent, and it shows that conclusions about the impact of the sequence are correct. Conclusion is made that the methodology should be further investigated and there are good chances to develop a good and time efficient analysis in the future. One presented suggestion is to have a dynamic simulation of the incident instead of the axial simulation. The evaluation with SSM’s limits would then be direct.

During the past decade, web applications have evolved substantially. Taking advantage of new technologies, Rich Internet Applications (RIAs) make heavy use of client side code to present content. Web crawlers, however, face new challenges in crawling RIAs, such as how to explore and identify different client states. The problem of crawling RIAs has been a focus for researchers during recent years, and solutions have been proposed based on constructing a state-transition model with DOMs as states and JavaScript events as transitions. When faced with real-life RIAs, however, a major problem prevalent in current solutions is state space explosion caused by the complexity of the RIAs. This problem prevents the automated crawlers from being usable on complex RIAs as they fail to produce useful results in a timely fashion. This research addresses the challenge of efficiently crawling complex RIAs with two main ideas: component-based crawling and similarity detection. Our experimental results show that these ideas lead to a drastic reduction of the time required to produce results, enabling the crawler to explore RIAs previously too complex for automated crawl.

During the past decade, web applications have evolved substantially. Taking advantage of new technologies, Rich Internet Applications (RIAs) make heavy use of client side code to present content. Web crawlers, however, face new challenges in crawling RIAs, such as how to explore and identify different client states. The problem of crawling RIAs has been a focus for researchers during recent years, and solutions have been proposed based on constructing a state-transition model with DOMs as states and JavaScript events as transitions. When faced with real-life RIAs, however, a major problem prevalent in current solutions is state space explosion caused by the complexity of the RIAs. This problem prevents the automated crawlers from being usable on complex RIAs as they fail to produce useful results in a timely fashion. This research addresses the challenge of efficiently crawling complex RIAs with two main ideas: component-based crawling and similarity detection. Our experimental results show that these ideas lead to a drastic reduction of the time required to produce results, enabling the crawler to explore RIAs previously too complex for automated crawl.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2015. / Made available in DSpace on 2016-05-24T17:37:51Z (GMT). No. of bitstreams: 1 339030.pdf: 2710534 bytes, checksum: 3afbb950c358aabf6732cafcb3fed3d0 (MD5) Previous issue date: 2015 / Neste trabalho, analiso a emergência do sujeito travesti em Fortaleza (CE), seu surgimento como nova personagem público-midiatizada e estigmatizada, na passagem do tempo das perucas para o tempo dos hormônios, este último, chamado de tempo farmacopornográfico (virada da década de 1970 para 1980). Problematizo esse processo de subjetivação farmacopornográfico a partir de uma análise foucaultiana e de gênero-queer das fontes históricas (jornais, revistas, obras literárias, antropológicas e narrativas orais de travestis). Se, no tempo das perucas, o termo travesti designava uma prática eventual, restrita aos espaços privado e/ou público-temporário, no tempo farmacopornográfico, a palavra também passou a nominar um novo sujeito sexual, que ganhou inteligibilidade heteronormativa, em grande parte, graças aos meios de comunicação, como um "tipo" de homossexual marcado pela ambiguidade. Tal emergência foi acompanhada por discursos e práticas de excitação-fascínio e de controle-estigma. Nessa trama-tempo marcada por embates, as travestis produziram contra-discursos que contribuíram para rearranjar as normas de gênero, sexualidade, corpo e do público-privado em Fortaleza.<br> / Abstract : In this paper I analyze the emergence of the subject transvestite in Fortaleza (Ceará State), its appearance as a new public-mediatized and stigmatized character in the passage of the wigs times to the hormones-pharmacopornographic times (in the turn of the 1970s to 1980s). I problematize this process of pharmacopornographic subjectivity from a Foucault's analysis of gender-queer of historical sources (newspapers, magazines, literary, anthropological and oral narratives of transvestites). If, at the wigs times, the term transvestite designated an eventual practice, confined to private spaces and/or public-temporary ones, at the pharmacopornographic times the word also came to nominate a new sexual individual who got heteronormative intelligibility, largely by the media, as a "type" of homosexual marked by ambiguity. Such emergence was accompanied by speeches and practices of excitation-fascination and control-stigma. At this plot-time marked by clashes, transvestites produced counter-speeches that contributed to rearrange gender norms, sexuality, body, and public-private in Fortaleza.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2015. / Made available in DSpace on 2016-05-24T17:52:45Z (GMT). No. of bitstreams: 1 338134.pdf: 4406280 bytes, checksum: c1bbd7a5e98162746f821f2f32a30d4e (MD5) Previous issue date: 2015 / Cinema, literaturas, obras plásticas... quadrinhos. Quais os caminhos para falar da imanência histórica das artes, das imagens? Como falar da própria operação do historiador ao escrever sobre elas, ao questionar suas temporalidades, sobrevivências e formas? Este trabalho propõe pensar algumas das produções artísticas que projetam futuros distópicos como meio para falar de pathos, de valores e pensamentos de uma época em que ressonam outros tempos. Em outras palavras, pensar historicamente os sintomas do século XX presentes nas formas artísticas; seus projetos e aflições, angústias e sentidos expressos sob forma, traço, cor e movimento, iniciando um debate sobre a relação entre representações arquitetônicas e cenários destes futuros distópicos e os debates modernos sobre liberdade x autoritarismo, progresso, soberania e racionalidade x sensibilidades, religiosidades, e arte x ciência. Com as artes enquanto meio para pensar esse ?recorte sensível? (RANCIà RE, 1995), essas formas expressivas pathológicas (LACERDA, 2013), tento envolver a história e a arte para falar de temporalidades das imagens e de fantasmas (WARBURG, 1929), e para falar das artes como forma de pensamento, que pensam e fazem pensar o contemporâneo (SAMAIN, 2002; AGAMBEN, 2015). Trazendo discussões de autores como Giorgio Agamben, Lou-Andreas Salomé, Walter Benjamin, Maurice Blanchot, Jacques Rancière, Didi-Huberman, Emmanuel Alloa, e principalmente as questões levantadas e a ?ciência sem nome? de Aby Warburg, esse trabalho tenta iniciar um debate, e não concluir. Entre suas proposições estão a cartografia de imagens sintomáticas, de formas que expressam as relações entre as próprias formas artísticas, entre elas e diferentes tempos, entre elas e sua imanência histórica. Dentre as obras que aqui serão trabalhadas estão as histórias em quadrinhos ?Terminal City?, ?V for Vendetta?, ?Watchmen?, ?Slash: Guerreiro do apocalipse? e ?Visões de 2020?. Estão também filmes como ?Metrópolis?, ?Mad Max?, ?1984? e outros. Por fim, este trabalho anseia por propor uma história com imagens, uma história por imagens visuais, onde pressupõe a impossibilidade de falar sobre uma especificidade artística isolada de outras formas de arte. Os capítulos encontram-se divididos da seguinte maneira: no primeiro, apresenta o que se chama de ?imagens distópicas? (em histórias em quadrinhos, filmes e literaturas) somando-se ao debate sobre o conceito de distopia e utopia; no segundo capítulo, apresenta as questões referentes aos ?fantasmas da modernidade?, os sintomas do século XX sob a forma de imagens artísticas, para então, no terceiro capítulodecompor a perspectiva teórica e sua herança intelectual, demonstrando o modo pelo qual as imagens artísticas se transformam em fontes por um viés warburguiano - de uma perspectiva antropológica para pensar as imagens em uma ?história psicológica ilustrada do espaço intermediário entre ímpeto e a ação? (WARBURG, 2014).<br> / Abstract : Cinema, literature, paintings... comics. What are the ways to speak of historical immanence of the visual arts, of the images? How to speak of the proper operation of the historian to write about them, to question their temporality, their survivals (DIDI-HUBERMAN, 2013) and forms? This work analyzes some of the artistic productions that take place in dystopian futures as a means to speak of pathos, values and thoughts of a time and its inherent temporalities. In others words, this work trys to think historically the symptoms of the twentieth century presents in the artistic forms; its projects and afflictions, anguish and senses expressed in form, dash, color and movement, initiating a debate about the relationship between architectural representations and the scenarios of these dystopians futures; modern debates about freedom x authoritarianism; progress, sovereignty and rationality x sensitivities and religiosities; art x science. The arts here are a way to think about the "sensitive crop" of the society, (Rancière, 1995), about expressive pathological forms (Lacerda, 2013) and to try to involve the history and art to talk about the temporality of images and ghosts (WARBURG, 1929), but also to speak of the arts as a way of thinking, as a subject, and a way to think the contemporary (SAMAIN, 2002; AGAMBEN, 2015). Bringing Authors as Giorgio Agamben, Lou-Andreas Salomé, Walter Benjamin, Maurice Blanchot, Jacques Rancière, Emmanuel Alloa, Hans Belting, Didi-Huberman and especially the issues raised and the "science unnamed" (AGAMBEN, 2015) of Aby Warburg, this work try to start a debate, and not finish. Among, his proposals are mapping symptomatic pictures, and forms that Express the relationship between their own artistic forms, between them and different times, and between them and their historical immanence. Among the works that will be worked here are comic books such as "Terminal City" V for Vendetta, "" Watchmen, "" Slash: Apocalypse Warrior "and" Visions 2020 ". Are also movies like "Metropolis," "Mad Max", "1984" and others. Finally, this paper longs to propose a story with pictures, a story by visual images, which implies the impossibility to talk about an artistic specificity isolated from other art forms. The chapters are divided as follows: the first, presents what is called "dystopian images" (in comic books, movies and literature) adding to the debate about the concept of dystopia and utopia; the second chapter presents the issues related to the "ghosts of modernity", the symptoms of the twentieth century in the form of artistic images, and then, in the third chapter decompose the theoretical perspective and intellectual heritage,demonstrating the way in which artistic images are turn into sources for a warburguiano bias - an anthropological perspective to think about the images in a "psychological illustrated history of the space between impulse and action" (WARBURG, 2014).

The thesis describes disadvantages of JavaScript in the context of big web applications and presents how they can be eliminated by compilation from a different language to JavaScript. With Scala as the source language, the thesis shows what it takes to implement such a compiler and how to solve issues that arise with the compilation process (interoperability, library distribution). On top of the compiler with a simple runtime a remote metod invocation (RPC) infrastructue is built. It also involves a dynamic client side script loader and an object graph (de)serializer. Finally the work compares the implemented toolkit to similar projects and proposes several interesting directions the toolkit can evolve into. Powered by TCPDF (www.tcpdf.org)

Made available in DSpace on 2015-04-14T13:47:35Z (GMT). No. of bitstreams: 1 433585.pdf: 2387309 bytes, checksum: cc121b5d0a572be4a23f82d75fed8a1b (MD5) Previous issue date: 2011-08-30 / O presente trabalho trata sobre o processo de americaniza??o na sociedade brasileira e na sociedade alem? entre os anos de 1947 e 1952. O processo de americaniza??o ? compreendido como o estudo da influ?ncia dos Estados Unidos nas pr?ticas pol?ticas, econ?micas e culturais em outras sociedades. Dentro dessa perspectiva, o olhar atento a um grupo de indiv?duos, reunido nos bastidores de dois peri?dicos, um brasileiro (O Cruzeiro) e outro alem?o (Der Spiegel), proporcionou o caminho te?rico-metodol?gico, que se revelou por meio do estudo dos grupos de press?o. Por meio do m?todo comparativo, procurou-se compreender posicionamentos similares entre grupos distantes, desvendando-se o que levou os grupos de press?o de O Cruzeiro e Der Spiegel a se americanizarem.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-05-03T16:58:55Z No. of bitstreams: 1 TES_MAITE_PEIXOTO_COMPLETO.pdf: 39761390 bytes, checksum: b88bacb9696540e55f1eb7e2443bea2d (MD5) / Made available in DSpace on 2016-05-03T16:58:55Z (GMT). No. of bitstreams: 1 TES_MAITE_PEIXOTO_COMPLETO.pdf: 39761390 bytes, checksum: b88bacb9696540e55f1eb7e2443bea2d (MD5) Previous issue date: 2016-03-21 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / Cette ?tude propose une analyse des fa?ons dont la visualit? critique a ?t? ins?r?e dans le mouvement ouvrier br?silien ? travers la presse ouvri?re et syndicale au d?but du XX?me si?cle, agissant comme un espace de partage sensible. L'objectif principal est de prouver que le projet de constitution d'une identit? de classe au Br?sil, s?est ?galement assis sur une culture visuelle diversifi?e d?tentrice d?une historicit? particuli?re, en m?me temps qu?elle a traduit un effort pour cr?er des liens non seulement entre sujets politiques impliqu?s dans le mouvement, mais aussi avec une tradition figurative, dont les origines remontent ? l'exp?rience fran?aise moderne de production et de reproduction de dessins politiques de profil contestataire. L'exp?rience visuelle produite par le contact entre le dessin ou la caricature et le spectateur est entendu comme un intervalle de temps dans lequel ont ?t? pr?par?es les conceptions particuli?res et collectives appartenant ? la classe ouvri?re. En ce sens, nous avons examin? un total de six publications nationales produites dans l'axe Rio de Janeiro - S?o Paulo entre les ann?es 1910 et 1935, deux d?entre elles de contenu libertaire et anticl?rical (A Lanterna et A Plebe), deux produites par un organisme syndical (O Cosmopolita et Voz Cosmopolita) et deux li?s au Partido Communista do Brazil (A Classe Oper?ria et A Na??o). M?thodologiquement, nous avons d?cid? de travailler avec le classement th?matique des gravures parce que nous pensons que cette approche est celle qui couvre le mieux le volume g?n?reux d'images en notre possession et qui nous a permis d'?tablir des axes th?matiques capables de mieux r?pondre ? nos questions en profondeur, sans, simultan?ment, perdre de vue l'attention aux sp?cificit?s de ces images. ? travers des recherches d?velopp?es sur les archives fran?aises, nous avons pu construire une analyse crois?e avec des images produites par les publications fran?aises de critique sociale de la fin du XIX?me si?cle et d?but du XX?me si?cle, ce qui nous a permis de poursuivre l'enqu?te concernant les nouvelles significations incorpor?es dans les dessins br?siliens. En outre, ce croisement a aussi fourni l'occasion de dresser une g?n?alogie de ces manifestations symboliques qui apparaissent ici comme un outil pour comprendre les nouvelles et multiples significations et m?me les migrations symboliques articul?es par ces images par rapport aux gravures v?hicul?es dans les journaux br?siliens. Cependant, ce que nous cherchons avec cette analyse est d'?tudier la conformation du ? se faire reconna?tre ? et ? de se reconnaitre soim?me ? dans une collectivit? politique qui avait le but de la repr?sentativit?, en prenant l'exp?rience visuelle comme un ballast important pour ce projet identitaire. / O presente estudo prop?e uma an?lise acerca das formas com as quais a visualidade cr?tica foi inserida no movimento oper?rio brasileiro atrav?s da imprensa oper?ria e sindical durante o in?cio do s?culo XX, atuando como um espa?o de partilha do sens?vel. O objetivo central consiste em comprovar que o projeto de constitui??o de uma identidade classista no Brasil, esteve assentado tamb?m numa cultura visual diversificada detentora de uma historicidade que lhe ? particular ao mesmo tempo em que traduziu um esfor?o no sentido de criar v?nculos n?o apenas entre os sujeitos pol?ticos envolvidos com o movimento, mas tamb?m com uma tradi??o figurativa, cujas origens remontam ? experi?ncia francesa moderna de produ??o e reprodu??o de desenhos pol?ticos de perfil contestat?rio. A experi?ncia visual produzida a partir do contato entre o desenho ou a caricatura e o expectador ? entendida enquanto um intervalo de tempo no qual foram elaboradas concep??es particulares e coletivas acerca do que consistia pertencer ? classe oper?ria. Nesse sentido foram examinadas um total de seis publica??es nacionais produzidas no eixo Rio de Janeiro ? S?o Paulo entre os anos de 1910 e 1935, duas de conte?do libert?rio e anticlerical (A Lanterna e A Plebe), duas produzidas por um ?rg?o sindical (O Cosmopolita e Voz Cosmopolita) e duas vinculadas ao Partido Communista do Brazil (A Classe Oper?ria e A Na??o). Metodologicamente optamos por trabalhar com a seria??o tem?tica das gravuras por entendermos que esta abordagem ? a que melhor contempla o volume generoso de imagens que dispomos e que torna poss?vel que estabele?amos eixos tem?ticos capazes de responder aos nossos questionamentos em profundidade, sem perder de vista as especificidades dessas imagens. Em pesquisa desenvolvida junto aos arquivos franceses pudemos construir uma an?lise cruzada com imagens produzidas por publica??es francesas de cr?tica social do final do s?culo XIX e in?cio do XX o que nos possibilitou uma investiga??o mais profunda concernente ?s ressignifica??es incorporadas aos desenhos brasileiros. Al?m disso, esse cruzamento tamb?m nos deu a oportunidade de tra?ar uma genealogia dessas manifesta??es simb?licas que se inserem aqui tamb?m como ferramenta para compreens?o da m?ltiplas ressignifica??es e das pr?prias migra??es simb?licas articuladas por essas imagens em rela??o ?s gravuras veiculadas nos peri?dicos brasileiros. Contudo, o que buscamos com esta tese ? estudar a conforma??o do fazer-se reconhecer e do reconhecer-se dentro de um coletivo pol?tico com fins de representatividade, tomando a experi?ncia visual como um importante lastro desse projeto identit?rio.

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