A síndrome de Rubinstein-Taybi (RTS, OMIM 180849) é uma doença autossômica dominante caracterizada por dismorfismos craniofaciais típicos, polegares e háluces alargados, infecções respiratórias recidivantes, retardo mental e de crescimento. RTS está associada com mutação no gene CREBBP. Na avaliação da imunocompetência de 17 portadores de RTS, observaram-se algumas alterações na resposta imune inata e adaptativa: leucocitose persistente, neutrófilos com desgranulopoiese, elevada concentração sérica de IgM e IgG1, produção normal de anticorpos contra antígenos protéicos e anti-polissacarídeos, elevados valores absolutos de células B totais, B \"naive\", B de memória, subpopulação B1 e de linfócitos B com IgM de membrana, e elevado percentual de apoptose de linfócitos B. DTH negativo para três antígenos e baixa resposta linfoproliferativa para antígenos protéicos. Diante do exposto, concluímos que os pacientes RTS apresentam alterações em vários mecanismos da resposta imune e principalmente, na imunidade humoral. Portanto, com este trabalho foi possível identificar as principais alterações imunológicas destes pacientes, e com isso, caracterizar quais os defeitos da resposta imune que pode estar associada com gene CREBBP. / Rubinstein-Taybi syndrome (RTS, OMIM 180849) is a dominant Mendelian disorder characterized by craniofacial dysmorphisms, broad thumbs and toes, mental retardation and growth and recurrent respiratory infections. RTS is classically associated with CREBBP gene mutations, but recently, p300 gene mutations were reported in three individuals. In imunonocompetence investigation of a group of 17 patient of the RTS, we found that the patients really show alterations in more than one arm of the immune response. The main alterations were found in: a) innate immunity, patients have defects in the distribution of the granules citoplasmatic and partial absence of F-actin filament part of its polymorphonuclear cells. In addition, some patients had decreased phagocytic activity, b) humoral immunity: elevated serum IgM antibodies and IgG1 subclass, normal production of antibodies for protein antigens and antipolysaccharide, high absolute values of B cell total, B \"naive\", B memory, subpopulation B1 and B lymphocytes with the membrane IgM, and high percentage of apoptosis of B lymphocytes; c) cellular immunity: delayed hypersensitivity skin tests negative for three antigens and low lymphoproliferative response to protein antigens. Values reduced percentage of CD45RA+ , CD45RO+ T cells and high doublepositive CD45RA+/CD45RO +) T cell. Ahead of the severe recurrent respiratory infections that affect the patients with RTS, and of the evaluation of immunocompetence of these patients, we find that they have several alterations in mechanisms of immune response and mainly in humoral immunity. Therefore, with this study was to identify the major immunological alterations of these patients, and with this, which characterize the main defects of the immune response of the patients RTS that can is associated with gene CREBBP.

The transcriptions of Franz Liszt (1811-1886) and Anton Rubinstein (1829-1894) on Beethoven's "Marcia alla turca" serve as unique examples within the area of transcription since each of these important virtuosos transcribed the movement with drastically different results. Liszt's Capriccio alla turca (1846) is built on Beethoven's thematic materials although it is presented with a greatly embellished accompaniment providing countermelodies, expanded passages, and vigorous rhythmic features. In contrast, Rubinstein's Turkish March (1848) attempts to capture Beethoven's original (1811) as closely as possible adhering to the form and harmonies. Each composer's approach served to showcase new pianistic innovations capturing orchestral sonorities at the piano previously unimagined. This dissertation offers musical insight for two less well-known works from significant pianist-composers which should receive further attention. Additionally, this research provides greater documentation for the compositions of Rubinstein, supplementing the historical accounts of his abilities as a performer. Examination and comparative analysis of each transcription not only illuminates the creative approaches each composer employed in creating his transcription, but also serves pianists wishing to perform these neglected works.

Este estudo da expressividade pesquisa a interpretação musical como uma construção dialógica, diálogo entre “duas consciências” próprias do dialogismo bakhtiniano. O expressivo em música como vivência dialógica considera o tempo, o espaço e o sentido de cada intérprete em uma posição cambiável de valor, expressão e vontade do autor pessoa ao autor criador como também autor contemplador da obra de arte. Este tempo/espaço, cronotopo, termo primeiramente usado por Bakhtin no estudo da obra de arte literária é aqui considerado como um cronotopo musical: tempo, espaço e sentido do intérprete em um diálogo com o Grande Tempo, a composição e seu contexto universal; demonstrando como o eu dialógico interage com o eu/eu e o eu/outro em uma atitude responsiva. Na composição Rudepoema está presente uma dialogia musical entre o compositor Villa-Lobos, “O Rabelais Brasileiro” e o pianista Arthur Rubinstein, a quem a obra foi dedicada. Os elementos musicais do Rudepoema foram analisados com títulos simbólicos como cronotopos Brasil, Carnaval, Arthur e da Teresa, com adjetivos sugestivos nos cronotopos da alegria, espontaneidade, virilidade e sensualidade; assim como as questões da colocação do pedal, inserção das fermatas, considerando-se ainda aspectos da recursão no processo da composição e suas implicações semânticas na expressividade da obra. / This study on expressiveness researches musical interpretation as a dialogic construction, as a dialogue between the two types of consciousness presented in Bakhtin’s dialogism. In music, the ‘expressive’ as a dialogical experience considers time, space and the meaning of each performer in a interchangeable position of value, expression and will from the author as a person to the author as a creator as well as the author as on observer of the work of art. This time / space, chronotope, a term first used by Bakhtin in the study of literary art pieces is considered here as a musical chronotope: time, space and meaning of the interpreter in a dialogue with the Great Time, the composition and its universal context; demonstrating how the dialogic “I” interacts with the I / I and I / others in a responsive attitude. In the ‘Rudepoema’ musical composition there is the presence of musical dialogism between the composer Villa-Lobos, "The Brazilian Rabelais" and pianist Arthur Rubinstein, to whom the work was dedicated. The musical elements of the ‘Rudepoema’ were analyzed with symbolic titles as chronotopes Brazil, Carnival, Arthur and Teresa, with suggestive adjectives in the chronotopes of joy, spontaneity, virility and sensuality; as well as issues concerning pedal placement and fermatas insertion, considering also aspects of the recursion in the processes of composition and their semantic implications in the expressiveness of the work of art.

Pricing options quickly and accurately is a well known problem in finance. Quantum computing is being researched with the hope that quantum computers will be able to price options more efficiently than classical computers. This research extends the quantum binomial option pricing model proposed by Zeqian Chen to European put options and to Barrier options and develops a quantum algorithm to price them. This research produced three key results. First, when Maxwell-Boltzmann statistics are assumed, the quantum binomial model option prices are equivalent to the classical binomial model. Second, options can be priced efficiently on a quantum computer after the circuit has been built. The time complexity is O((N − τ)log(N − τ)) and it is in the BQP quantum computational complexity class. Finally, challenges extending the quantum binomial model to American, Asian and Bermudan options exist as the quantum binomial model does not take early exercise into account. / May 2009

http://orcid.org/0000-0002-1641-5388 / Pricing options quickly and accurately is a well known problem in finance. Quantum computing is being researched with the hope that quantum computers will be able to price options more efficiently than classical computers. This research extends the quantum binomial option pricing model proposed by Zeqian Chen to European put options and to Barrier options and develops a quantum algorithm to price them. This research produced three key results. First, when Maxwell-Boltzmann statistics are assumed, the quantum binomial model option prices are equivalent to the classical binomial model. Second, options can be priced efficiently on a quantum computer after the circuit has been built. The time complexity is O((N − τ)log(N − τ)) and it is in the BQP quantum computational complexity class. Finally, challenges extending the quantum binomial model to American, Asian and Bermudan options exist as the quantum binomial model does not take early exercise into account. / May 2009

Pricing options quickly and accurately is a well known problem in finance. Quantum computing is being researched with the hope that quantum computers will be able to price options more efficiently than classical computers. This research extends the quantum binomial option pricing model proposed by Zeqian Chen to European put options and to Barrier options and develops a quantum algorithm to price them. This research produced three key results. First, when Maxwell-Boltzmann statistics are assumed, the quantum binomial model option prices are equivalent to the classical binomial model. Second, options can be priced efficiently on a quantum computer after the circuit has been built. The time complexity is O((N − τ)log(N − τ)) and it is in the BQP quantum computational complexity class. Finally, challenges extending the quantum binomial model to American, Asian and Bermudan options exist as the quantum binomial model does not take early exercise into account.

Este estudo da expressividade pesquisa a interpretação musical como uma construção dialógica, diálogo entre “duas consciências” próprias do dialogismo bakhtiniano. O expressivo em música como vivência dialógica considera o tempo, o espaço e o sentido de cada intérprete em uma posição cambiável de valor, expressão e vontade do autor pessoa ao autor criador como também autor contemplador da obra de arte. Este tempo/espaço, cronotopo, termo primeiramente usado por Bakhtin no estudo da obra de arte literária é aqui considerado como um cronotopo musical: tempo, espaço e sentido do intérprete em um diálogo com o Grande Tempo, a composição e seu contexto universal; demonstrando como o eu dialógico interage com o eu/eu e o eu/outro em uma atitude responsiva. Na composição Rudepoema está presente uma dialogia musical entre o compositor Villa-Lobos, “O Rabelais Brasileiro” e o pianista Arthur Rubinstein, a quem a obra foi dedicada. Os elementos musicais do Rudepoema foram analisados com títulos simbólicos como cronotopos Brasil, Carnaval, Arthur e da Teresa, com adjetivos sugestivos nos cronotopos da alegria, espontaneidade, virilidade e sensualidade; assim como as questões da colocação do pedal, inserção das fermatas, considerando-se ainda aspectos da recursão no processo da composição e suas implicações semânticas na expressividade da obra. / This study on expressiveness researches musical interpretation as a dialogic construction, as a dialogue between the two types of consciousness presented in Bakhtin’s dialogism. In music, the ‘expressive’ as a dialogical experience considers time, space and the meaning of each performer in a interchangeable position of value, expression and will from the author as a person to the author as a creator as well as the author as on observer of the work of art. This time / space, chronotope, a term first used by Bakhtin in the study of literary art pieces is considered here as a musical chronotope: time, space and meaning of the interpreter in a dialogue with the Great Time, the composition and its universal context; demonstrating how the dialogic “I” interacts with the I / I and I / others in a responsive attitude. In the ‘Rudepoema’ musical composition there is the presence of musical dialogism between the composer Villa-Lobos, "The Brazilian Rabelais" and pianist Arthur Rubinstein, to whom the work was dedicated. The musical elements of the ‘Rudepoema’ were analyzed with symbolic titles as chronotopes Brazil, Carnival, Arthur and Teresa, with suggestive adjectives in the chronotopes of joy, spontaneity, virility and sensuality; as well as issues concerning pedal placement and fermatas insertion, considering also aspects of the recursion in the processes of composition and their semantic implications in the expressiveness of the work of art.

Este estudo da expressividade pesquisa a interpretação musical como uma construção dialógica, diálogo entre “duas consciências” próprias do dialogismo bakhtiniano. O expressivo em música como vivência dialógica considera o tempo, o espaço e o sentido de cada intérprete em uma posição cambiável de valor, expressão e vontade do autor pessoa ao autor criador como também autor contemplador da obra de arte. Este tempo/espaço, cronotopo, termo primeiramente usado por Bakhtin no estudo da obra de arte literária é aqui considerado como um cronotopo musical: tempo, espaço e sentido do intérprete em um diálogo com o Grande Tempo, a composição e seu contexto universal; demonstrando como o eu dialógico interage com o eu/eu e o eu/outro em uma atitude responsiva. Na composição Rudepoema está presente uma dialogia musical entre o compositor Villa-Lobos, “O Rabelais Brasileiro” e o pianista Arthur Rubinstein, a quem a obra foi dedicada. Os elementos musicais do Rudepoema foram analisados com títulos simbólicos como cronotopos Brasil, Carnaval, Arthur e da Teresa, com adjetivos sugestivos nos cronotopos da alegria, espontaneidade, virilidade e sensualidade; assim como as questões da colocação do pedal, inserção das fermatas, considerando-se ainda aspectos da recursão no processo da composição e suas implicações semânticas na expressividade da obra. / This study on expressiveness researches musical interpretation as a dialogic construction, as a dialogue between the two types of consciousness presented in Bakhtin’s dialogism. In music, the ‘expressive’ as a dialogical experience considers time, space and the meaning of each performer in a interchangeable position of value, expression and will from the author as a person to the author as a creator as well as the author as on observer of the work of art. This time / space, chronotope, a term first used by Bakhtin in the study of literary art pieces is considered here as a musical chronotope: time, space and meaning of the interpreter in a dialogue with the Great Time, the composition and its universal context; demonstrating how the dialogic “I” interacts with the I / I and I / others in a responsive attitude. In the ‘Rudepoema’ musical composition there is the presence of musical dialogism between the composer Villa-Lobos, "The Brazilian Rabelais" and pianist Arthur Rubinstein, to whom the work was dedicated. The musical elements of the ‘Rudepoema’ were analyzed with symbolic titles as chronotopes Brazil, Carnival, Arthur and Teresa, with suggestive adjectives in the chronotopes of joy, spontaneity, virility and sensuality; as well as issues concerning pedal placement and fermatas insertion, considering also aspects of the recursion in the processes of composition and their semantic implications in the expressiveness of the work of art.

La présente thèse procède à une analyse archéologique des discours sur le « romantisme politique » sous la République de Weimar pour mettre en évidence que ce paradigme constitue un idéologème fondamental de l’univers intellectuel et politique de l’époque. Par le recours à une conception de la « réception » qui met entre parenthèses la fonction « auteur » il s’agit d’analyser les stratégies discursives qui se structurent autour du paradigme « romantique » entre 1918 et 1933. A partir de l’étude d’un corpus d’auteurs pour qui la référence romantique est centrale (Sigmund Rubinstein, Carl Schmitt, Hans Freyer, Othmar Spann, Karl Mannheim, Wilhelm von Schramm, Paul Tillich) ainsi que des réseaux sociaux qui s’organisent autour d’eux, il est possible d’affirmer l’existence d’une sensibilité « romantique » centrale au monde weimarien, qui transcende les oppositions politiques traditionnellement conçues comme imperméables (gauche/droite, conservateur/progressiste, nationaliste/universaliste, etc.) et qui se construit dans l’opposition fondamentale à l’individualisme matérialiste du libéralisme capitaliste. / This PhD thesis offers an archeological analysis of the discourses on « political romanticism » in the Weimar Republic. It shall endeavour to analyze the discursive patterns which revolved around the « romantic » paradigm between 1918 and 1933 by resorting to a concept of « reception » which minimizes the importance of the « author ». By studying the works of thinkers who explicitly refer to « political romanticism » (Sigmund Rubinstein, Carl Schmitt, Hans Freyer, Othmar Spann, Karl Mannheim, Wilhelm von Schramm, Paul Tillich) and the social networks they belong to one may assert the existence of a romantic « sensibility » which is at the core of the intellectual universe of the Weimar Republic, transcends political differences traditionally considered as essential (left/right, conservative/progressive, nationalist/universalist etc.) and is fundamentally opposed to the materialist individualism of capitalist liberalism.

>Magister Scientiae - MSc / This dissertation studies the computation methods of pricing of Asian options. Asian options are options in which the underlying variable is the average price over a period of time. Because of this, Asian options have a lower volatility and this render them cheaper relative to their European counterparts. Asian options belong to the so-called path-dependent derivatives; they are among the most difficult to price and hedge both analytically and numerically. In practice, it is only discrete Asian options that are traded, however continuous Asian options are used for studying purposes. Several approaches have been proposed in the literature, including Monte Carlo simulations, tree-based methods, Taylor’s expansion, partial differential equations, and analytical ap- proximations among others. When using partial differential equations for pricing of continuous time Asian options, the high dimensionality is problematic. In this dissertation we focus on the discrete time methods. We start off by explaining the binomial tree method, and our last chapter presents the very exciting and relatively simple method of Tsao and Huang, using Taylor approximations. The main papers that are used in this dissertation are articles by Jan Vecer (2001); LCG Rogers (1995); Eric Benhamou (2001); Gianluca Fusai (2007); Kamizono, Kariya and Nakatsuma (2006) and Tsao and Huang (2007). The author has provided computations, including graphs and tables dispersed over the different chapters, to demonstrate the utility of the methods. We observe various parameters of influence such as correlation, volatility, strike, etc. A further contribution by the author of this dissertation is, in particular, in Chapter 5, in the presentation of the work of Tsao et al. Here we have provided slightly more detailed explanations and again some further computational tables.