<p>Germ cells represent the immortal line: they are guardians of a totipotent genome and are essential for the genetic survival of an individual organism and ultimately a species. An error at any stage in development (specification, migration, colonization, differentiation, adult maintenance) can lead to one of two disastrous outcomes: (1) germ cell death or (2) unchecked growth and proliferation leading to tumorigenesis. The work in this dissertation utilizes a classic mouse model (<italic>Ter</italic>) resulting in both of these phenotypes to further explore the molecular mechanisms important for development of germ cells. </p> <p>A homozygous nonsense mutation (<italic>Ter</italic>) in murine <italic>Dnd1</italic> (<italic>Dnd1<super>Ter/Ter</super></italic>) results in a significant (but not complete) early loss of primordial germ cells (PGCs) prior to colonization of the gonad in both sexes and all genetic backgrounds tested. The same mutation also leads to testicular teratomas only on the 129/SvJ background. Male mutants on other genetic backgrounds ultimately lose all PGCs with no incidence of teratoma formation. It is not clear how these PGCs are lost, develop into teratomas, or what factors directly control the strain-specific phenotype variation. </p> <p>Work here demonstrates that <italic>Dnd1</italic> expression is restricted to germ cells and that the <italic>Ter</italic> mutant defect is cell autonomous. The early loss of germ cells is due in part to BAX&ndash;mediated apoptosis which also affects the incidence of tumorigenesis on a mixed genetic background. Moreover, tumor formation is-specific to the male developmental pathway and not dependent on sex chromosome composition of the germ cell (XX vs. XY). Despite normal initiation of the male somatic pathway, mutant germ cells fail to differentiate as pro&ndash;spermatogonia and instead prematurely enter meiosis.</p> <p>Results here also reveal that, on a 129/SvJ background, many mutant germ cells fail to commit to the male differentiation pathway, instead maintain expression of the pluripotency markers, NANOG, SOX2, and OCT4, and initiate teratoma formation at the stage when male germ cells normally enter mitotic arrest. RNA immunoprecipitation experiments reveal that mouse DND1 directly binds a group of transcripts that encode negative regulators of the cell cycle, including <italic>p27Kip1</italic>, which is not translated in <italic>Dnd1<super>Ter/Ter</super></italic> germ cells. Additionally, overexpression of DND1 in a teratocarcinoma cell line leads to significant alteration of pathways controlling the G1/S checkpoint and the RB tumor suppressor protein. This strongly suggests that DND1 regulates mitotic arrest in male germ cells through regulation of cell cycle genes, serving as a gatekeeper to prevent the activation of a pluripotent program leading to teratoma formation. Furthermore, strain&ndash;specific morphological and expression level differences possibly account for sensitivity to tumor development.</p> / Dissertation

This study covers the recycling of waste poly(ethylene terephthalate) (PET) bottles through melt blending with low density polyethylene (LDPE) and polypropylene (PP). In general, polymer blends are known to be immiscible and incompatible with poor mechanical properties. This problem is due to the low intermolecular forces between the components of the immiscible blends. In order to enhance the interaction and compatibility between these matrices, some reactive or non-reactive copolymers were used. In this work / PET was treated with silane coupling agent (SCA) (low molecular weight reactive additive) for compatilization of LDPE-PP-PET blends. LDPE-PP-PET blends were prepared in different compositions (by weight) with and without silane coupling agent at high temperatures by a single screw extrusion and injection molding. Mechanical properties of treated and non-treated blends were studied in terms of tensile strength, strain at break and impact strength. Melt flow properties of blends were investigated by melt flow index. The impact fractured surfaces and thermal behaviour of the blends were examined with Scanning Electron Microscope (SEM) and Differential Scanning Calorimeter (DSC), respectively. Through out the studies, good adhesion between PET and LDPE-PP matrix was successfully achieved by the surface treatment of PET particles. The adhesion was also observed in SEM studies. Also the variation in mechanical properties was found to be highly dependent on the number of extrusion.

A presente dissertação tem por objetivo refletir sobre os modos de operar em sala de aula atrelados a uma ética da escuta, verificando os movimentos de instauração das vozes nas inter-relações entre professores, alunos e pesquisadores participantes do Projeto Civitas, que está vinculado ao Laboratório de Estudos em Linguagem e Cognição (LELIC) e ao PPGEdu/UFRGS, pertencendo à Linha de Pesquisa Educação: Arte, Linguagem e Tecnologia. Considerando que o movimento de escuta empática pode dar potência às relações dialógicas no grupo de formação, constituindo-o como lugar dialógico. São componentes centrais à escuta, aspectos como emoção, empatia, responsividade em relação à alteridade. Na ótica bakhtiniana, relação dialógica produtiva se instaura sempre que dois enunciados entram em relação específica de sentido quando confrontados entre si - produção no mundo real onde uma expressão toma forma, sendo enunciada. É pela interação dialógica que a escuta é tensionada, abrindo-se à inscrição polifônica de pontos de vista. Então, pergunta-se: será possível criar condições de interação tais que escuta e polifonia se constituam mutuamente, potencializando processos expressivos em sala de aula instituindo possibilidades de aprendizagem criativa? Como acompanhar tais movimentos, dando-lhes visibilidade? A Metodologia insere-se na modalidade de pesquisa-formação, em que os termos são mutuamente consti tuintes, num processo de circular, um não se fazendo sem o outro. A partir do grupo de formação docente, de seus estudos e enunciações, considera-se viabilidade de acompanhamento da sala de aula, seja pela via de filmagens pela própria professora (em situação de formação continuada), ou por alunos (ou até pela pesquisadora); seja pelas visitas da pesquisadora à sala de aula fazendo registros em seu diário de bordo; seja, ainda, pela via de narrativasrelatos de professoras no grupo de estudos. Análises pressupõem a centralidade dos enunciados com foco nas inter)venções relacionais no contexto situacional (enunciativo) da sala de aula. Entende-se in(ter)venção, segundo o que, o aspecto estático, ou de posse ou permanência, se dilui em tensão com o aspecto processual, singular, histórico, potencializando a inscrição polifônica das vozes. Achados apontam para uma escuta empática como potência para os processos de expressão polifônica, produzindo ressonâncias, ou seja, convergência nas relações de convivência e de aprendizagens criativas na escola. / The present dissertation study aims at reflecting on ways to operate in the classroom that are interwoven by an ethics of listening while checking the establishment of the voices movements in the interplay between teachers, students and researchers who participate in the Civitas project. It is affiliated to the Laboratory for Studies in Language, Interaction and Cognition (LELIC) and the Graduate Programem in Education (PPGEdu), at the Federal University of Rio Grande do Sul (UFRGS), and it belongs to the research area of Education: Art, Language and Technology. It is considered that the movement of empathic listening can give power to the dialogic relations in the focused group in a unique dialogic place. The central components of the listening are aspects such as emotion, empathy, responsiveness in relation to the alterity. In the Bakhtinian perspective, one productive dialogical relationship is established when two statements are in confrontation with each other whi le in a specific meaning production relation - produced in the real world - when a new statement takes form. It is in the dialogic interaction that the listening is tensioned op - enning up to the registration of polyphonic points of view. It is inquired in this study: (i) Is it possible to establish conditions to the listening of the polyphony constituted by each other's interaction, enhancing the expressive processes in the classroom while establishing opportunities for creative learning? (ii) How to monitor such movements, giving them visibility? The methodology is part of the research work in which the terms are mutually constituent, in a complex process of circularity, when one does not happen without the other. The utterances captured from the study group of teacher education are considered from the monitoring of the classroom, either via film footage taken by the teacher herself (in a situation of continuing education) or via students or even via the researcher's visits to the classroom and the records posted in the diary, and also by means of the teacher's narrative-stories. The analysis assumes the centrality of the statements in focusing on (have) the situational context in relational interventions (statements) of the classroom. It is understood in(ter)vention as the static or tenure or permanence, which is diluted in tension with the procedural aspect, natural, historical, increasing the enrollment of polyphonic voices. Findings point to an empathic listening as a power for the processes of polyphonic expression, producing resonances in the relations of coexistence and creative learning in school.

Submitted by Adriana Afonsina Silva De Oliveira null (drioliveiraletras@hotmail.com) on 2017-07-03T11:24:27Z No. of bitstreams: 1 DISSERTAÇÃO FINAL_ADRIANA AFONSINA SILVA DE OLIVEIRA.pdf: 1573100 bytes, checksum: be9c9832cb3c4dc32251b9d43cae1dee (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-04T17:52:15Z (GMT) No. of bitstreams: 1 oliveira_aas_me_arafcl.pdf: 1573100 bytes, checksum: be9c9832cb3c4dc32251b9d43cae1dee (MD5) / Made available in DSpace on 2017-07-04T17:52:15Z (GMT). No. of bitstreams: 1 oliveira_aas_me_arafcl.pdf: 1573100 bytes, checksum: be9c9832cb3c4dc32251b9d43cae1dee (MD5) Previous issue date: 2017-05-02 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Desde o latim clássico, os verbos ‘ter’ e ‘haver’ apresentam variação, participando de estruturas como verbos plenos, auxiliares, modais ou existenciais. Por isso, tendo como base teórica a sociolinguística, esta pesquisa analisou o comportamento desses verbos no Português do Brasil (PB) e no Português de Portugal (PP), demonstrando o funcionamento no português escrito contemporâneo nas estruturas supracitadas. Os dados que formam o corpus são cartas de leitoras da revista feminina portuguesa Ragazza, do período de 1994 a 2004, e da revista feminina brasileira Capricho, do período de 1994 a 2005. Essas cartas foram cedidas pelo Grupo de Estudos Variacionistas (GEVAR), grupo de pesquisa cadastrado na plataforma CNPq e ligado aos cursos de Letras da Universidade Federal do Triângulo Mineiro (UFTM) e da Universidade Federal de Uberlândia (UFU). No corpus do PB foram coletadas um total de 236 ocorrências e no do PP um total de 428 ocorrências. Esses dados foram transcritos em documento word e analisados, inicialmente, no programa computacional GoldVarb 2001, de acordo com o grupo de fatores: estruturas de uso, tempo verbal, animacidade e posição do objeto. Os dados apontam que, tanto no PB quanto no PP, há predominância do verbo ‘ter’ sobre ‘haver’, tendo em vista que, no corpus da revista Capricho, 91% das construções foram produzidas com a forma verbal ‘ter’ e no corpus da revista Ragazza foram 89% das ocorrências. Além desse predomínio, a análise permitiu demonstrar algumas diferenças e similitudes entre os usos dos verbos ‘ter’ e ‘haver’ no PB e no PP. / From the Classic Latin, the verbs ‘ter’ (‘to have’) and ‘haver’ (‘there to be’) show some variation, for being not only plain verbs, but also auxiliaries, modals or existential verbs. Thus, based on the theoretical framework of Sociolinguistic, this research analysed the behaviour of the verbs ‘ter’ and ‘haver’ in Brazilian Portuguese (BP) and Portugal Portuguese (PP), displaying the function of these verbs in the contemporary written Portuguese in the structures aforesaid. The corpus was composed by letters of female readers of the Portuguese magazine Ragazza, from 1994 to 2004, and of the Brazilian women’s magazine Capricho, from 1994, to 2005. These letters were granted by the Variationist Study Group (GEVAR), registered on CNPq platform and related to the undergraduate course in Languages at the Universidade Federal do Triângulo Mineiro (UFTM) and the Universidade Federal de Uberlândia (UFU). In the BP corpus, a total of 236 occurrences were collected and in the PP corpus a total of 428 occurrences were collected. This data was transcripted in a Word file and analysed, firstly, using the software GoldVarb 2001, according to these group factors: structures of use, verb tense, verb animacy and the object position. It was detected that, in both BP and PP, there is the predominance of the verb ‘ter’ over ‘haver’, since, in the data taken from Capricho, 91% of the constructions were produced using the verb ‘ter’ and, in Ragazza, there were 89% of occurrences. Besides this predominance, the analysis allowed to demonstrate some differences and similarities between the uses of the verbs 'to have' and 'to have' in PB and PP.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-01-23T14:47:08Z No. of bitstreams: 1 ArtemilsonAlvesDeLima_TESE.pdf: 13298718 bytes, checksum: 5a2088f1ed0bb39c2b92533e566bf9ce (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-01-25T13:54:37Z (GMT) No. of bitstreams: 1 ArtemilsonAlvesDeLima_TESE.pdf: 13298718 bytes, checksum: 5a2088f1ed0bb39c2b92533e566bf9ce (MD5) / Made available in DSpace on 2018-01-25T13:54:37Z (GMT). No. of bitstreams: 1 ArtemilsonAlvesDeLima_TESE.pdf: 13298718 bytes, checksum: 5a2088f1ed0bb39c2b92533e566bf9ce (MD5) Previous issue date: 2017-11-06 / A contracultura ? conhecida como um fen?meno da segunda metade do s?culo XX. Suas origens remontam ao final da d?cada de 1940, com os ?uivos? da gera??o beat, cuja visibilidade come?a na d?cada de 1950. Todavia, o que se considera como sendo o estouro desse fen?meno acontece, de fato, durante os anos de 1960, tendo, como principal vitrine, o Maio de 1968 na Fran?a, com desdobramentos na segunda metade da d?cada de 1960 e durante a d?cada de 1970, em alguns pa?ses da Europa e nos EUA, com a explos?o do rock?in roll e do movimento hippie, influenciando gera??es de jovens no mundo inteiro. No Brasil, alcan?a seu auge na d?cada de 1970, com repercuss?es na d?cada de 1980. Em ambos os contextos, a contracultura valeu-se da arte e da literatura, nas quais encontrou o ambiente mais f?rtil de express?o. Esta tese versa sobre alguns aspectos do ativismo intelectual e art?stico em Natal, na d?cada de 1980, como um fen?meno que se insere no contexto da express?o contracultural. Na constru??o de seu arcabou?o te?rico, toma-se como principal refer?ncia o conceito de contracultura em Roszack (1972), para quem a contracultura foi uma forma de contestar a racionaliza??o da sociedade tecnocrata que se consolida depois da Segunda Guerra Mundial, apresentando como tra?o mais marcante a excessiva racionalidade das rela??es econ?micas e socioculturais, em todos os ?mbitos da vida, nas Sociedades Ocidentais. Tamb?m se ancora, teoricamente, nos postulados de Goffman e Joy (2007), que reconhecem o per?odo acima referenciado como o mais significativo, embora optem por analisar a contracultura como um fen?meno pr?prio da cultura, independentemente do tempo e do espa?o e deem prefer?ncia ao uso do termo ?contraculturas? para designar as in?meras experi?ncias de contesta??o e de nega??o ?s estruturas do establishment, em diversas experi?ncias hist?ricas, chegando mesmo a consider?-las como uma tradi??o de ruptura. A narrativa das express?es contraculturais na cidade de Natal, na d?cada de 1980, procura trazer ? luz algumas manifesta??es da contracultura, quem eram os sujeitos que as protagonizaram, como estes se expressavam e interagiam, enfim quais os grupos de artistas que fizeram parte dessas manifesta??es na cidade de Natal durante a d?cada de 1980. Para isso, recorreu-se ? pesquisa ivestigativa, fazendo ancoragem em parte significativa da produ??o art?stica e liter?ria de alguns desses sujeitos, tanto aqueles de representa??o individual quanto aqueles que compunham/representavam um coletivo, situados, todos eles, no circuito contracultural da cidade, no per?odo em destaque. Numa complementa??o necess?ria, ainda se apoia na concep??o moriniana de acontecimento-de-car?ter-modificador (MORIN, 2005), para narrar como essa experi?ncia da contracultura constituiu-se em um fen?meno que incorpora a busca de express?o de uma cultura-revolta (KRISTEVA, 2000). Al?m do mais, tamb?m adota, como centralidade te?rica, a no??o sloterdjikiana da antropot?cnica, a partir da met?fora da escalada do monte improv?vel da cultura pelo estabelecimento das tens?es verticais (SLOTERDJIK, 2013). Tomando-se, em particular, a narrativa da experi?ncia contracultural natalense, no per?odo focalizado, conclui-se, em car?ter provis?rio, que tal experi?ncia pode, com legitimidade, ser considerada como uma manifesta??o contracultural e, n?o obstante ? como tantas outras em diferentes lugares ?, faz parte de um movimento de transforma??o da cultura, que se pode situar nos marcos das teses defendidas pelos autores, isto ?, como acontecimento-de-car?ter-modificador, vez que constitui parte de uma cultura-revolta que pode ser compreendida ? luz do processo de ressubjetiva??o dos sujeitos em seu exerc?cio de ascese individual, que acaba por determinar as transforma??es na cultura. / The counterculture is known as a phenomenon of the second half of the twentieth century. Its origins date back to the late 1940s, with the "howls" of the beat generation, whose visibility began in the 1950s. But what is considered to be the overflow of this phenomenon, which takes place during the 1960s, the main showcase, the May 1968 in France, unfolding in the second half of the 1960s in the 1970s in some countries of Europe and the USA, with the explosion of rock'in roll and hippie movement, influencing generations of young people In the whole world. In Brazil, the counterculture had its culmination in the 1970s, with repercussions in the 1980s. In both contexts, the counterculture made use of art and literature, where it found the most fertile environment of expression. This thesis deals with some aspects of intellectual and artistic activism in Natal, in the 1980s, as a phenomenon that is inserted in the context of countercultural expression. I took as a main reference the concept of counterculture in Roszack (1972), for whom the counterculture was the form of contestation to the rationalization of the technocratic society that consolidates after the Second World War, whose main feature is the excessive rationality of economic and socio-cultural relations in all spheres of life in Western societies, and also in Goffman and Joy (2007), who recognize the period referred to above as the most significant; However, they choose to analyze counterculture as a culture-specific phenomenon, regardless of time and space, and use the term "countercultures" to denote the innumerable experiences of contestation and denial of establishment structures in various historical experiences. consider it a tradition of rupture. The narrative of countercultural expressions in the city of Natal in the 1980s seeks to bring to light some manifestations of the counterculture, who were the subjects, as expressed and interacted with the groups of artists who were part of the counterculture in the city of Natal during the decade 1980. To this end, research is used, making an anchorage in a significant part of the artistic and literary production of some subjects represented by the individual, as well as by the collective, located in the countercultural circuit of the city in the period in focus. It is based on Morin's conception of a character-event-modifier (Morin, 2005), to narrate how this experience of the counterculture constitutes a phenomenon that incorporates the search for expression of a culture-revolt (KRISTEVA, 2000). Also adopts as theoretical centrality the sloterdjikian notion of anthropotechnician, from the metaphor of improbable mountain climbing of the culture by the establishment of vertical tensions Sloterdjik (2013). As a narrative of the countercultural experience in the Focal Period, he tentatively concludes that such an experience can legitimately be regarded as a counter-cultural manifestation, and yet, like so many others in different places, it is part of a movement of transformation of culture, which we can situate within the framework of the theses defended by the authors, that is, as a character-event-modifier, is part of a culture-revolt that can be understood in the light of the resubjectivation process of the subjects in their exercise of individual asceticism, which ultimately determines the transformations in culture.

A presente dissertação tem por objetivo refletir sobre os modos de operar em sala de aula atrelados a uma ética da escuta, verificando os movimentos de instauração das vozes nas inter-relações entre professores, alunos e pesquisadores participantes do Projeto Civitas, que está vinculado ao Laboratório de Estudos em Linguagem e Cognição (LELIC) e ao PPGEdu/UFRGS, pertencendo à Linha de Pesquisa Educação: Arte, Linguagem e Tecnologia. Considerando que o movimento de escuta empática pode dar potência às relações dialógicas no grupo de formação, constituindo-o como lugar dialógico. São componentes centrais à escuta, aspectos como emoção, empatia, responsividade em relação à alteridade. Na ótica bakhtiniana, relação dialógica produtiva se instaura sempre que dois enunciados entram em relação específica de sentido quando confrontados entre si - produção no mundo real onde uma expressão toma forma, sendo enunciada. É pela interação dialógica que a escuta é tensionada, abrindo-se à inscrição polifônica de pontos de vista. Então, pergunta-se: será possível criar condições de interação tais que escuta e polifonia se constituam mutuamente, potencializando processos expressivos em sala de aula instituindo possibilidades de aprendizagem criativa? Como acompanhar tais movimentos, dando-lhes visibilidade? A Metodologia insere-se na modalidade de pesquisa-formação, em que os termos são mutuamente consti tuintes, num processo de circular, um não se fazendo sem o outro. A partir do grupo de formação docente, de seus estudos e enunciações, considera-se viabilidade de acompanhamento da sala de aula, seja pela via de filmagens pela própria professora (em situação de formação continuada), ou por alunos (ou até pela pesquisadora); seja pelas visitas da pesquisadora à sala de aula fazendo registros em seu diário de bordo; seja, ainda, pela via de narrativasrelatos de professoras no grupo de estudos. Análises pressupõem a centralidade dos enunciados com foco nas inter)venções relacionais no contexto situacional (enunciativo) da sala de aula. Entende-se in(ter)venção, segundo o que, o aspecto estático, ou de posse ou permanência, se dilui em tensão com o aspecto processual, singular, histórico, potencializando a inscrição polifônica das vozes. Achados apontam para uma escuta empática como potência para os processos de expressão polifônica, produzindo ressonâncias, ou seja, convergência nas relações de convivência e de aprendizagens criativas na escola. / The present dissertation study aims at reflecting on ways to operate in the classroom that are interwoven by an ethics of listening while checking the establishment of the voices movements in the interplay between teachers, students and researchers who participate in the Civitas project. It is affiliated to the Laboratory for Studies in Language, Interaction and Cognition (LELIC) and the Graduate Programem in Education (PPGEdu), at the Federal University of Rio Grande do Sul (UFRGS), and it belongs to the research area of Education: Art, Language and Technology. It is considered that the movement of empathic listening can give power to the dialogic relations in the focused group in a unique dialogic place. The central components of the listening are aspects such as emotion, empathy, responsiveness in relation to the alterity. In the Bakhtinian perspective, one productive dialogical relationship is established when two statements are in confrontation with each other whi le in a specific meaning production relation - produced in the real world - when a new statement takes form. It is in the dialogic interaction that the listening is tensioned op - enning up to the registration of polyphonic points of view. It is inquired in this study: (i) Is it possible to establish conditions to the listening of the polyphony constituted by each other's interaction, enhancing the expressive processes in the classroom while establishing opportunities for creative learning? (ii) How to monitor such movements, giving them visibility? The methodology is part of the research work in which the terms are mutually constituent, in a complex process of circularity, when one does not happen without the other. The utterances captured from the study group of teacher education are considered from the monitoring of the classroom, either via film footage taken by the teacher herself (in a situation of continuing education) or via students or even via the researcher's visits to the classroom and the records posted in the diary, and also by means of the teacher's narrative-stories. The analysis assumes the centrality of the statements in focusing on (have) the situational context in relational interventions (statements) of the classroom. It is understood in(ter)vention as the static or tenure or permanence, which is diluted in tension with the procedural aspect, natural, historical, increasing the enrollment of polyphonic voices. Findings point to an empathic listening as a power for the processes of polyphonic expression, producing resonances in the relations of coexistence and creative learning in school.

As reações de adição aldólica entre a cetimina 1 e aldeídos aromáticos foram inicialmente efetuadas à temperatura ambiente, em sistema bifásico constituído por uma fase aquosa básica (KOH 10% ou NaOH 5% m/v) e por uma fase orgânica (aldeído), na ausência de solventes e de catalisadores, observando-se baixa conversão em produto. Porém, quando se utilizou o catalisador aliquat®-336, foi possível reduzir a concentração da base (NaOH 1%), com conversão total da imina em produto que, na maioria dos casos, era uma mistura de duas oxazolidinas isoméricas de estereoquímica cis e trans. Esses compostos puderam ser isolados e purificados por recristalização de etanol ou metanol. Em todas as reações efetuadas com benzaldeído, m-clorobenzaldeído e p-nitrobenzaldeído, não se observou excesso diastereomérico significativo. No entanto, as reações com p-clorobenzaldeído mostraram-se diastereosseletivas, conduzindo, à temperatura ambiente, quase que exclusivamente à oxazolidina de estereoquímica cis. A comparação entre o resultado de reações efetuadas a curto e longo tempo de reação, ou em diferentes temperaturas, permitiu concluir que o aldol de estereoquímica anti é o produto cinético, o qual se transforma lentamente na oxazolidina cis. O produto termodinâmico (aldol syn) cicliza rapidamente, não sendo observado nos espectros de RMN de H dos produtos brutos de reação, mas sim seu produto ciclizado, a oxazolidina trans. Tentativas de obter os produtos de reação com excesso enantiomérico, pelo emprego de catalisadores de transferência de fase assimétricos, não foram bem sucedidas. / The aldol addition reactions of ketimine 1 with four aromatic aldehydes could be performed at room temperature, in the presence of an alkaline aqueous solution (KOH 10% or NaOH 5% m/v), and in the absence of organic solvents or catalysts. Under this conditions, conversion to product was often incomplete. However, when the reaction was performed in the presence of aliquat®-336, the base concentration could be reduced (1% m/v), and the ketimine was completely converted into a mixture of diastereomeric oxazolidines, that could be isolated and purified by crystallization from ethanol or methanol. Although no significative diastereomeric excess was observed for the reactions of 1 with benzaldehyde, m-chlorobenzaldehyde or p-nitrobenzaldehyde, for reactions with p-chlorobenzaldehyde the cis oxazolidine was almost exclusively formed. The comparison of diastereomeric ratio at shorter or longer reaction times seems to indicate that the aldol anti adduct is the kinetic product and that cyclization to the corresponding cis oxazolidine is slower than the retro-aldol reaction. On the other hand, in lieu of the thermodynamic product (aldol syn), only the corresponding cyclized product (oxazolidine trans) could be visualized in the H NMR spectra of the crude product, as a result of a fast cyclization step. Attempts to produce enantiomeric enriched oxazolidines by performing the aldol reactions in the presence of chiral catalysts were unsuccessful.

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Hendrick ter Brugghen (1588-1629), a Dutch Baroque painter, is known as one of the more prominent artists among the Utrecht Caravaggisti, so-named for the city in which he worked and as a follower of Caravaggio. The Caravaggesque style swept through Northern Europe during the cusp of the sixteenth and seventeenth centuries, and genre scenes of half-length figures could be found in every art fair and open market. The label of Utrecht Caravaggisti, however, is a limiting descriptor for ter Brugghen, who created works in response to the changing art market and tastes of a growing Dutch middle class, not motivated solely out of admiration for the Italian painter and his style. Hendrick ter Brugghen’s works featuring musicians at play are prime examples of how an artist in the competitive art market of the northern Netherlands engaged the viewer in a multitude of ways. With the rise of the middle-class merchants, professionals, and city officials, as well as the establishment of music and art academies, the subject of lower class musicians likely would have appealed to a range of buyers. Ter Brugghen’s use of half-length figures find their roots in earlier Dutch and Flemish artists, such as Hieronymus Bosch and Quentin Massys, who preceded Caravaggio in this type of composition by nearly a century, and certainly would have appealed to the market of a newly formed Dutch Republic seeking its own artistic lineage. Ter Brugghen employed allegorical themes and invoked a modern and vernacular variant of the pastoral mode in his string musicians, which would have been instantly recognizable to the learned buyer. In addition to engaging the viewer on a contemplative level, I shall argue that ter Brugghen’s musical compositions also enticed the viewer by activating his innate ideasthetic responses through visual cues and multisensory stimulation. By examining ter Brugghen’s musician paintings within the context and history of Dutch art production, we can more fully understand how his works engage the viewer so effectively and how they extend well beyond a dialogue with Caravaggio to assert his own inventiveness and modernity. / Art History

O escopo desse trabalho é identificar, na obra da filósofa Hannah Arendt, os conceitos a partir dos quais o pensamento político de nossa autora se estrutura e se relaciona com um possível pensamento arendtiano sobre o Direito. No percurso do texto, iniciaremos com contexto da compreensão do totalitarismo, passaremos a análise dos elementos desse fenômeno que conduziram a crise do Estado-Nação e do fracasso dos Direitos Humanos, estabelecidos a partir das Revoluções Americana e Francesa no século XVIII. Em seguida, faremos uma restruturação dos conceitos filosóficos apropriados por Arendt a partir do mundo pré-filosófico dos poetas e historiadores e da tríade de filósofos gregos Sócrates, Platão e Aristóteles para a construção de seu pensamento político em contraposição ao pensamento político da tradição que sofreu uma ruptura e não conseguiu fornecer um arcabouço teórico para o fenômeno sem precedentes - o totalitarismo. Nossa autora além de realizar sua crítica, também estabelece uma proposta de Direitos Humanos a partir do conceito direitos a ter direitos estritamente relacionada aos conceitos de sua teoria política e seu novo modo de pensar os assuntos humanos, como por exemplo, a pluralidade. No entanto, nossa autora não se restringe apenas a uma nova fundamentação dos Direitos Humanos, a partir crítica aos Tribunais de Nuremberg e Jerusalém, também se direciona a uma discussão de mecanismos internacionais que possam realmente fornecer eficácia a tais direitos Tribunais ad hoc ou de Exceção, Cortes Internacionais, princípios de jurisdição territorial, personalidade passiva e universal, tipificação dos crimes de genocídio e contra a humanidade. / The goal of this work is to identify, in the work of the philosopher Hannah Arendt, the concepts from which her political thinking is structured and related to a possible Arendtian thinking about the Law. In the text, we will begin a restructuring of Arendt\'s philosophical concepts from the pre-philosophical world of poets and historians and the triad of Greek philosophers - Socrates, Plato and Aristotle - to construct his political thought in opposition to political thought of the tradition that suffered a rupture and failed to provide a theoretical framework for the unprecedented phenomenon - totalitarianism. In the context of the understanding of totalitarianism, we will analyze the elements of this phenomenon that led us to the crisis of the Nation State and the failure of Human Rights, established from the American and French Revolutions in the eighteenth century. Our author, besides performing her critique, also establishes a proposal for Human Rights from the concept of \"rights to have rights\" strictly related to the concepts of her political theory and her new way of thinking about human affairs, such as plurality. However, our author is not restricted only to a new grounding of human rights, from criticism to the Nuremberg and Jerusalem Courts, it also addresses a discussion of international mechanisms that can really provide effectiveness to such rights - ad hoc or Exception, International Courts, principles of jurisdiction territorial, passive and universal personality, typification of crimes of genocide and against humanity.