Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-02T13:43:00Z No. of bitstreams: 1 Fernando Beretta Del Corona_.pdf: 4050624 bytes, checksum: 799d20c962674faef9e36c063091e725 (MD5) / Made available in DSpace on 2018-08-02T13:43:00Z (GMT). No. of bitstreams: 1 Fernando Beretta Del Corona_.pdf: 4050624 bytes, checksum: 799d20c962674faef9e36c063091e725 (MD5) Previous issue date: 2018-03-28 / Nenhuma / Esta pesquisa buscou compreender como se dá a construção do quadro cinematográfico dentro da obra da cineasta norte-americana Sofia Coppola a partir da análise de cinco de seus filmes: As virgens suicidas (1999), Encontros e desencontros (2003), Maria Antonieta (2006), Um lugar qualquer (2010) e Bling Ring: a gangue de Hollywood (2013). Para esse fim, se produziu um percurso histórico do cinema moderno na Europa e nos Estados Unidos no século XX, assim como do cinema independente norte-americano, contextualizando a obra da diretora dentro do movimento indie dos anos 1990. A fundamentação teórica estruturou-se a partir de conceitos e de ideias de Gilles Deleuze, Henri Bergson e André Bazin sobre a imagem. O processo da análise se baseou na metodologia da cartografia e dissecação audiovisual, de Deleuze, Félix Guattari e Walter Benjamin, trabalhando com as imagens nos filmes de Coppola, buscando entender como elas interagem entre si e o sentido que exprimem por meio dos elementos dentro do quadro. Através da análise se compreendeu como Coppola utiliza elementos como o corpo feminino, o olhar dos personagens, a vagueação e molduras secundárias para refletir sobre a sociedade contemporânea onde essas imagens são produzidas. / This research tried to understand how the construction of the cinematic frame works within the movies of north-American director Sofia Coppola, through the analysis of five of her films: The virgin suicides (1999), Lost in translation (2003), Marie Antoinette (2006), Somewhere (2010) and The Bling Ring (2013). To this end, the history of modern cinema in Europe and the United States in the 20th century was researched, as well as the history of independent cinema in America, contextualizing the director’s work within the indie movement of the 1990s. Theoretical foundation was based on concepts and ideas developed by authors Gilles Deleuze, Henri Bergson and André Bazin about images. The analysis process was based on the cartography and audiovisual dissection methodologies, by Deleuze, Félix Guattari and Walter Benjamin, working the images in Coppola’s movies, trying to understand how the interact with themselves and the meaning the express through the elements in the frame. Through the analysis it was understood how Coppola utilizes elements such as the feminine body, the character’s gaze, wanderings and secondary framing to reflect on the contemporary society where these images are produced.

SOFIA (Studies On FIssion with Aladin - Études de fission avec ALADIN) est un projet expérimental qui se propose de mesurer systématiquement les rendements isotopiques de fission, ainsi que l'énergie cinétique totale des fragments, pour une large gamme de noyaux fissionnants. Le travail de thèse présenté ici prend part au projet SOFIA, et a pour objet l'étude de la fission de noyaux dans la région des actinides : ²³⁴U, ²³⁵U, ²³⁷Np et ²³⁸Np.L'expérience SOFIA est menée au GSI, un accélérateur d'ions lourds situé à Darmstadt en Allemagne. Cette installation fournit un faisceau relativiste et intense d'uranium-238. Par une réaction de fragmentation de ce faisceau primaire, il est créé un faisceau secondaire contenant une large variété d'ions, dont, pour certains, la fission va être étudiée. Les ions de ce faisceau secondaire sont triés et identifiés dans le séparateur de fragments FRS, un spectromètre de recul de haute résolution qui est réglé pour sélectionner les ions d'intérêt.Ensuite, les ions fissiles sélectionnés continuent leur vol jusqu'à la Cave-C, une aire expérimentale où l'expérience de fission elle-même a lieu. À l'entrée de la cave, l'ion du faisceau secondaire est excité par interaction Coulombienne alors qu'il traverse une cible; les voies de dé-excitation possibles incluent la fission de basse énergie. Lors d'une fission, les deux fragments sont émis dans un cône étroit dans le référentiel du laboratoire, dû à l'impulsion relativiste qui leur est transmise par le système fissionnant. Un spectromètre de recul complet a été développé par la collaboration SOFIA autour du dipôle existant ALADIN. L'identification des fragments est réalisée par des mesures de perte d'énergie, de temps de vol et de déviation dans l'aimant. Les deux fragments de fission sont identifiés simultanément et complètement (en masse et en charge). Ce document présente l'analyse menée pour (1) l'identification du système fissionnant, (2) l'identification des deux fragments de fission - évènements par évènements -, et (3) l'extraction des observables de fission : rendements, énergie cinétique totale, multiplicité total en neutrons prompts. Ces résultats concernant les actinides sont discutés, et l'ensemble des données extraites est fourni. / SOFIA (Studies On FIssion with Aladin) is an experimental project which aims at systematically measuring the fission fragments' isotopic yields as well as their total kinetic energy, for a wide variety of fissioning nuclei. The PhD work presented in this dissertation takes part in the SOFIA project, and covers the fission of nuclei in the region of the actinides : ²³⁴U, ²³⁵U, ²³⁷Np and ²³⁸Np.The experiment is led at the heavy-ion accelerator GSI in Darmstadt, Germany. This facility provides intense relativistic primary beam of 238U. A fragmentation reaction of the primary beam permits to create a secondary beam of radioactive ions, some of which the fission is studied. The ions of the secondary beam are sorted and identified through the FR-S (FRagment Separator), a high resolution recoil spectrometer which is tuned to select the ions of interest.The selected - fissile - ions then fly further to Cave-C, an experimental area where the fission experiment itself takes place. At the entrance of the cave, the secondary beam is excited by Coulomb interaction when flying through an target; the de-excitation process involves low-energy fission. Both fission fragments fly forward in the laboratory frame, due to the relativistic boost inferred from the fissioning nucleus.A complete recoil spectrometer has been designed and built by the SOFIA collaboration in the path of the fission fragments, around the existing ALADIN magnet. The identification of the fragments is performed by means of energy loss, time of flight and deviation in the magnet measurements. Both fission fragments are fully (in mass and charge) and simultaneously identified.This document reports on the analysis performed for (1) the identification of the fissioning system, (2) the identification of both fission fragments, on an event-by-event basis, and (3) the extraction of fission observables: yields, TKE, total prompt neutron multiplicity. These results, concerning the actinides, are discussed, and the set of data extracted is provided.

Esta dissertação objetiva analisar a obra audiovisual Encontros e desencontros, dirigida pela cineasta norte-americana Sofia Coppola, filmada integralmente no Japão (nas cidades de Tóquio e Quioto), e lançada comercialmente no ano de 2003. A análise pretende relacionar a representação ficcional da cidade por uma diretora estrangeira, as imagens dos espaços urbanos de Tóquio (resultado das medidas de ocidentalização e modernização praticadas no país, a partir da era Meiji) mostrados através da película e sua narrativa. As imagens da capital japonesa criadas pela realizadora vagueiam através do contraste entre o moderno e o tradicional oferecidos pela cultura japonesa, além de apresentar situações e locais de cartão-postal visitados por turistas e outros frequentados por nativos. E, ao contrário de outras obras cinematográficas, as sequências de fotogramas do filme em questão, que mostram as ruas, avenidas, construções arquitetônicas e espaços internos, acabam exercendo papel ativo dentro da narrativa fílmica. / Universidade de São Paulo, São Paulo, 2010. This dissertation aims to analyze the audiovisual work Lost in translation, directed by American film maker Sofia Coppola, shot integrally in Japan (in Tokyo and Kyoto), and commercially released in 2003. The analysis intends to relate the fictional representation of the city depicted by a foreign director, the images of Tokyos urban spaces (resulted from measures of Westernization and modernization practiced in the country, since Meiji era) shown through the film and its narrative. The images of the Japanese capital created by the film maker wander through the contrast between modern and traditional offered by Japanese culture, besides presenting situations and post card sites visited by tourists and others frequented by natives. Unlike other films, the sequences of frames of the analyzed movie, which shows the streets, avenues, architectural constructions and interiors spaces exert an active role in the film narrative.

Esta dissertação objetiva analisar a obra audiovisual Encontros e desencontros, dirigida pela cineasta norte-americana Sofia Coppola, filmada integralmente no Japão (nas cidades de Tóquio e Quioto), e lançada comercialmente no ano de 2003. A análise pretende relacionar a representação ficcional da cidade por uma diretora estrangeira, as imagens dos espaços urbanos de Tóquio (resultado das medidas de ocidentalização e modernização praticadas no país, a partir da era Meiji) mostrados através da película e sua narrativa. As imagens da capital japonesa criadas pela realizadora vagueiam através do contraste entre o moderno e o tradicional oferecidos pela cultura japonesa, além de apresentar situações e locais de cartão-postal visitados por turistas e outros frequentados por nativos. E, ao contrário de outras obras cinematográficas, as sequências de fotogramas do filme em questão, que mostram as ruas, avenidas, construções arquitetônicas e espaços internos, acabam exercendo papel ativo dentro da narrativa fílmica. / Universidade de São Paulo, São Paulo, 2010. This dissertation aims to analyze the audiovisual work Lost in translation, directed by American film maker Sofia Coppola, shot integrally in Japan (in Tokyo and Kyoto), and commercially released in 2003. The analysis intends to relate the fictional representation of the city depicted by a foreign director, the images of Tokyos urban spaces (resulted from measures of Westernization and modernization practiced in the country, since Meiji era) shown through the film and its narrative. The images of the Japanese capital created by the film maker wander through the contrast between modern and traditional offered by Japanese culture, besides presenting situations and post card sites visited by tourists and others frequented by natives. Unlike other films, the sequences of frames of the analyzed movie, which shows the streets, avenues, architectural constructions and interiors spaces exert an active role in the film narrative.

<p>The Emancipation of Celie: The Color Purple as a womanist Bildungsroman</p><p>The purpose of this essay is to study The Color Purple as a Bildungsroman, focusing on the development of the protagonist, Celie. The Color Purple is related to both the traditional Bildungsroman and to the female Bildungsroman, but the essay shows that it can also be seen as a womanist Bildungsroman. Initially, Celie believes that being a woman inescapably means that she has to serve and obey men and she is oppressed by patriarchy. She is eventually introduced to another way of living by the strong female characters of Sofia and Shug who embrace her in a kind of sisterhood, which is vital for Celie as she has nothing else to help her liberate herself from the patriarchal values that keep her down. In conclusion, this essay shows how Celie has developed from being a young girl, forced to act in an adult way, into a woman who displays signs of all the criteria for having achieved a womanist development: she is grown up (not just acting as though she is), she is in charge of a business, a house and, in short, her life. She is serious, she has a universalist perspective, and most importantly, she loves. Furthermore, the essay highlights which characteristics of her development can be linked to the traditional and the female Bildungsroman and which characteristics can be seen as typical of a womanist Bildungsroman.</p>

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-07T16:26:48Z No. of bitstreams: 1 Ivan Correa.pdf: 2490866 bytes, checksum: dea60c11bc4095d5a1af775a6659b8d8 (MD5) / Made available in DSpace on 2016-11-07T16:26:49Z (GMT). No. of bitstreams: 1 Ivan Correa.pdf: 2490866 bytes, checksum: dea60c11bc4095d5a1af775a6659b8d8 (MD5) Previous issue date: 2016-09-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pontifícia Universidade Católica de São Paulo / This dissertation takes the objective of presenting a critical systematization of symbolic amplifications made by C. G. Jung regarding archetypal images of the Judeo-Christian mythic field related to the Ageless Wisdom. Thus, it seeks to establish possible linkages of meaning among scattered remarks made by Jung concerning the images of the Jewish Sapientia Dei, the Christian Sanctus Spiritus and the Gnostic Sophia Achamoth. From different writings of Jung, it highlights and systematizes the moments in which the author alluded the images of the Eternal Wisdom while symbolically reflected about themselves or different themes and mythological sections, in order to foment clarification about the modes of action of each of the listed archetypal images / Esta dissertação tem como objetivo a apresentação de uma sistematização crítica das amplificações simbólicas feitas por C. G. Jung acerca de imagens arquetípicas do campo mítico judaico-cristão relacionadas à Eterna Sabedoria. Dessa maneira, procura estabelecer possíveis nexos de sentidos nas considerações dispersas feitas por Jung a respeito das imagens da judaica Sapientia Dei, do cristão Sanctus Spiritus e da gnóstica Sophia Achamoth. A partir dos diferentes escritos de Jung, evidencia-se e sistematiza-se os momentos nos quais o autor fez alusão às imagens da Eterna Sabedoria enquanto refletia simbolicamente a respeito delas mesmas ou de diferentes temas e recortes mitológicos, de modo a fomentar esclarecimento acerca do modo de atuação de cada uma das imagens arquetípicas elencadas

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / A case study conducted in a Chicago Catholic parish exploring adult participation in the Catechesis of the Good Shepherd. Vita. Includes abstract. Includes bibliographical references (leaves 209-213).

Ce document présente la mesure de rendements isotopiques issus de la fission de l'U238 obtenus suite à l'expérience SOFIA réalisée au GSI à Darmstadt (août 2012). Cette expérience novatrice utilise la technique de la cinématique inverse relativiste, qui présente plusieurs avantages : les fragments de fissions sont focalisés vers l'avant dans un cône de faible ouverture angulaire (grande efficacité géométrique), et possèdent un état de charge nul ce qui facilite considérablement la mesure des rendements élémentaires. Le dispositif SOFIA se compose tout d'abord d'une cible active, dans laquelle a lieu la fission par excitation coulombienne et d'une chambre d'ionisation qui permet à la fois la mesure de la charge nucléaire et de l'angle horizontal des deux fragments en coïncidence. La mesure des masses est faite en déterminant le rayon de courbure des fragments, déviés par un puissant aimant (ALADIN), grâce à deux détecteurs de positions (MWPC), et par une mesure de temps de vol, qui nécessite une résolution extrême d'environ 40 ps FWHM pour que la séparation des isotopes lourds voisins soit acceptable. L'analyse des données montre que les objectifs initiaux ont étés remplis, puisque la séparation isotopique est atteinte sur toute la gamme des fragments de fission. Un effet pair-impair significatif est observé dans les rendements en charge, dont le spectre présente, comme attendu, une valeur moyenne pour la charge lourde très proche de Z = 54. L'effet pair-impair neutron présente, étonnamment, une amplitude et une forme très similaire à celle mesurée sur des fissions en neutrons thermiques. Le rapport pic/vallée des distributions en masses indiquent que l'énergie d'excitation est proche des 14 MeV attendus. Enfin, nos mesures sont très souvent comparées au code GEF qui donne des résultats toujours très proches des nôtres.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / A case study conducted in a Chicago Catholic parish exploring adult participation in the Catechesis of the Good Shepherd. Vita. Includes abstract. Includes bibliographical references (leaves 209-213).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / A case study conducted in a Chicago Catholic parish exploring adult participation in the Catechesis of the Good Shepherd. Vita. Includes abstract. Includes bibliographical references (leaves 209-213).