Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-13T11:40:51Z No. of bitstreams: 1 Patricia Gipsztejn Jacobsohn.pdf: 1052909 bytes, checksum: f0653b758f54649c69f5a61c419eea19 (MD5) / Made available in DSpace on 2017-09-13T11:40:51Z (GMT). No. of bitstreams: 1 Patricia Gipsztejn Jacobsohn.pdf: 1052909 bytes, checksum: f0653b758f54649c69f5a61c419eea19 (MD5) Previous issue date: 2017-09-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP / This research aims at investigating aspects of the clinical practice of analysts who work with patients with anorexias and bulimias. It also aims at investigating the specificities and issues of particular relevance in the analyst's encounter with his/her patient; countertransference issues arising in the encounter of this analytical duo; checking if it is possible to correlate these countertransference aspects with the difficulty in attendance and bond with these patients; if there is a difficulty in these services, which mobilizes personally and which issues involved in the professional choice of these analysts to deal with this type of patient; raising personal questions of these analysts (such as history of eating disorder in their personal or family histories) and correlate this issue with professional choice; and also investigating whether the way the analyst deals with questions about his/her own body and how he conducts his/her food life influence his clinical practice. A theoretical research was carried out, with bibliographical revisions referring to the proposed theme and the concepts that are articulated to the work. Semi-open interviews were also carried out with 5 (five) female analysts who study and work with patients with anorexias and bulimias / Esta pesquisa busca investigar aspectos da prática clínica de analistas que trabalham com pacientes com anorexias e bulimias. Tem por objetivo investigar as especificidades e questões de pertinência particular no encontro do analista com seu paciente; levantar aspectos contratransferenciais surgidos no encontro desta dupla analítica; verificar se é possível correlacionar esses aspectos contratransferenciais à dificuldade no atendimento e vínculo com esses pacientes; verificar se existe uma dificuldade nesses atendimentos, o que mobiliza pessoalmente e quais as questões envolvidas na escolha profissional desses analistas em lidar com esse tipo de paciente; levantar dados pessoais desses analistas (como histórico de transtorno alimentar em suas histórias pessoais ou familiares) e correlacioná-los à escolha profissional; e, ainda, investigar se a forma com que a o analista lida com questões relativas ao seu próprio corpo e como conduz sua vida alimentar influenciam sua prática clínica. Foi feita uma pesquisa teórica, com revisões bibliográficas referente à temática proposta e aos conceitos que se articulam ao trabalho, e também foram realizadas entrevistas semi-abertas com 5 (cinco) analistas mulheres que estudam e trabalham com pacientes com anorexias e bulimias

Oxide ceramics have been increasingly researched for high temperature thermoelectric (TE) applications. SrTiO3 based materials are promising candidates due to its chemical and thermal stability. In this study, oxide ceramics of composition (1-x)SrTiO3-(x)La1/3NbO3 (0 smaller or equal to x smaller or equal to 0.3) were prepared by single-step solid state sintering in Ar/5%H2 at 1700 K. The density of all the samples prepared was above 90%. All the samples were predominantly single-phase compositions crystallised with a cubic structure in Pm ̅3m space group. The impact of oxygen deficiency, A-site vacancies and mixed oxidation states of Ti3+/Nb4+ on electrical and thermal transport properties was assessed. Optimum TE properties were obtained for x=0.2 (Sr0.8La0.067Ti0.8Nb0.2O(3-delta) = L2), which has 13.4% A-site vacancies. The ZT values improved from 0.2 to 0.27 at 1000 K, with an increase in sintering time from 8 hours to 48 hours, due to increased carrier concentration. Complex interplay of oxygen vacancies and excess donor substitution on A/B-sites of L2 (substituting 5-10% Sr/Ti with La/Nb) exhibited 35% improvement in ZT values, whilst maintaining the A-site vacancies and core-shell structures within grains, which reduced the thermal conductivity by ~50% compared to undoped SrTiO3 samples, due to strong phonon scattering. A facile method to incorporate metallic inclusions (2.5 wt% Fe/Cu) at grain boundaries in L2 ceramics is demonstrated. The modified compositions displayed a maximum ZT of ~0.37 at 1000 K for L2 samples containing metallic inclusions due to increased carrier concentration (5.5 x 10^21 carriers/cm^3) and carrier mobility (2.4 cm^2/(V.s).The addition of graphene/Graphene Oxide (GO) flakes in L2 ceramics has been investigated to improve the electrical conductivity of L2 composites without significantly increasing the thermal conductivity. Spark plasma sintering (SPS) of the composite powders at 1473 K and 50 MPa produced dense samples (>95% relative density) with a homogeneous dispersion of graphene/GO flakes, for loadings smaller or equal to 1.0 wt%. The effect of interaction and distribution of graphene/GO flakes within the ceramics on TE properties is investigated. The composite samples demonstrate anisotropic ZT values, with 20% improvement in the direction normal to the orientation of graphene flakes. A novel sintering method has been proposed which has strong industrial potential. The L2 based composites were sintered in Air at 1700 K (ramp rate: ±300 K/min), whilst samples were covered uniformly. Strong reducing conditions and evolution of secondary phases in the microstructure helped achieve, the very low electrical resistivity of ~3.0 x 10^(-6) ohm.m at room temperature. Secondary phases, sub-micron voids in the grains and A-site vacancies reduced the lattice thermal conductivity (~2.0 W/m.K), comparable to the lowest lattice thermal conductivity achievable (~1.5 W/m.K) at 1000 K and obtain a maximum ZT of 0.4 at 1000 K for L210G-Air/C composites.

Orientador: Milton Terumitsu Sogabe / Banca: José Leonardo do Nascimento / Banca: José Paiani Spaniol / Banca: Jorge Sidney Coli Júnior / Banca: Sérgio Niculitcheff / Resumo: O corpo humano no Ocidente é, sem dúvida alguma, desde as primeiras manifestações expressivas da humanidade, o tema mais recorrente na história das representações, inclusive no campo privilegiado das artes visuais, no lapso que vai da Grécia no século VI a.C. até a Arte Contemporânea, período abordado de modo sincrônico no presente estudo. Nosso objetivo principal foi a analise das relações que se estabelecem entre o corpo da obra (sempre tomada como representação) e o corpo do observador no momento da fruição estética. Essa relação, inerente ao fenômeno artístico, altera-se a cada contexto em função de uma complexa rede de significações, as quais não se restringem às especificidades das linguagens expressivas. Por isso, foi determinante considerar o fato de que o espaço entre o corpo da obra e o corpo do observador - assim como o espaço que separa o leitor (observador) e o presente texto (obra) nesse momento - também é preenchido virtualmente por suas experiências pessoais e pelas diversas representações que se fazem do corpo no complexo cenário sociocultural. Em outras palavras, além das representações específicas ao campo das artes visuais, foi necessário considerar e abordar algumas das múltiplas dimensões da cultura expressas nas representação sociais, políticas, religiosas, jurídicas, médicas, científicas e sexuais do corpo. Essa decisão se deve ao fato de considerarmos que entre o observador e qualquer obra há um espaço virtual povoado por suas experiências pessoais e pelas demais representações produzidas no universo da cultura. O corpo através de seus sentidos, a obra em sua autonomia e esse espaço carregado de significações deslizantes formam uma orgânica e complexa rede, como se estivéssemos no centro de uma cidade onde interações locais podem levar a uma ordem global mais complexa / Abstract: Since the first expressive demonstrations of humanity, the human body is certainly the most recurrent subject in the history of representations in the West, from the 6th century B.C in Greece to Contemporary Art, period approached of synchronous mode in this study. Our main objective was to analyze the relations established between the body of the work (always taken as a representation) and the body of the observer at the time of the aesthetic fruition. This relationship inherent to the artistic phenomenon, changes in each context, depending of a complex network of meanings, which are not restricted to the specificities of expressive languages. Therefore, it was important to consider the fact that the space between the body of the work and the body of the observer - as well as the space that separate the reader (observer) and this text (work) at the moment - is also virtually filled by their personal experiences and the several representations, which make the body in the complex sociocultural setting. In other words, more than specific representations of visual arts field, it was necessary to consider and to approach some of the multiple dimensions of culture, expressed in social, political, religious, legal, medical, scientific and sexual representation of the body. This decision is due to our consideration that there is a virtual space inhabited by their personal experiences and by other representations produced in the cultural universe between the observer and any work. The body through its feelings, the work on its autonomy and the space, full of sliding meaning, form an organic and complex network, as if we were the center of a city where local interactions can lead to a more complex global order / Doutor

Submitted by Luanna Matias (lua_matias@yahoo.com.br) on 2015-02-06T10:08:46Z No. of bitstreams: 2 Dissertação - Eny Arruda Barbosa - 2014.pdf: 11214817 bytes, checksum: 68598ac75439704ea76da799c70a6cbd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-02-19T12:36:26Z (GMT) No. of bitstreams: 2 Dissertação - Eny Arruda Barbosa - 2014.pdf: 11214817 bytes, checksum: 68598ac75439704ea76da799c70a6cbd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-02-19T12:36:26Z (GMT). No. of bitstreams: 2 Dissertação - Eny Arruda Barbosa - 2014.pdf: 11214817 bytes, checksum: 68598ac75439704ea76da799c70a6cbd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-08-27 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This dissertation is the result of an investigation about the Walmir Alexandre’s work from the series "Girls from Minas". Its main goal is to identify the elements of inspiration and themes that motivated the montesclarense artist to make his sculptures, as well as representative features of the work. To achieve the expected results, the study was divided into three chapters: the first, I present a brief history of the artist Walmir Alexandre’s life and work, showing his techniques work, artistic trends and material used for the preparation of his works art, seeking to understand how his work is developed and its relationship to the works as a creator; in the second chapter, I wonder about the Walmir Alexandre’s works from the emergence of gender representations, making an analogy between some ceramic works, with emphasis on the sacred and on the profane elements of these representations that escape this discourse; the third chapter, I make a reflection and analysis of the "Girls from Minas" series, contextualizing the topic in question with other authors and artists who used the female figure and her sensuality as inspiration for the creation of their works. Are also highlighted in the work of visuality marked Walmir Alexandre and the presence of potters that use this technique nowadays. The allegorical way of giving a new format is a natural tendency of the artist. The peculiar look about the riches of the land of Minas, its people, roots, is resignified by the delicacy of poetic information of figures. / Esta dissertação de mestrado é o resultado de uma investigação sobre a obra do artista Walmir Alexandre a partir da série “Meninas de Minas”. Tendo como objetivo principal, identificar os elementos de inspiração e temas que motivaram o artista montesclarense na confecção de suas esculturas, bem como os aspectos representativos da obra. Para alcançar os resultados esperados, o estudo foi dividido em três capítulos: no primeiro, apresento um breve histórico sobre a vida e a obra do artista Walmir Alexandre, mostrando suas técnicas de trabalho, tendências artísticas e material utilizado para a elaboração de suas obras de arte, buscando compreender como é desenvolvido o seu trabalho e a sua relação com as obras enquanto criador; no segundo capítulo, discorro sobre as obras de Walmir Alexandre a partir do surgimento das representações de gênero, fazendo uma analogia entre algumas obras em cerâmica, com ênfase no sacro, no profano e nos elementos dessas representações que escapam desse discurso; no terceiro capítulo, faço uma reflexão e análise sobre a série “Meninas de Minas”, contextualizando o tema em questão com outros autores e artistas que utilizaram a figura feminina e sua sensualidade como inspiração para a criação de suas obras. São destacadas, também, a visualidade marcada na obra de Walmir Alexandre e a presença de ceramistas que utilizam essa técnica na contemporaneidade. A maneira alegórica de dar um novo formato é uma tendência natural do artista. O olhar peculiar acerca das riquezas das terras de Minas, de sua gente, suas raízes, é resignificada pela delicadeza das informações poéticas das figuras.

Made available in DSpace on 2016-03-15T19:45:19Z (GMT). No. of bitstreams: 1 Maria de Lourdes Lima Nunes.pdf: 937157 bytes, checksum: 10663b3a56ad690597c8da94a1bea8f5 (MD5) Previous issue date: 2011-08-09 / Many studies have been undertaken in order to develop theories in the field of text analysis. For the diversity of study methods and the great variety of meanings that may result from such studies, it is necessary to apply these procedures to assess its effectiveness in practice. This work is studied, based on theories of discourse analysis and text linguistics, the effect of a sense of figurative language in the translated text in three versions that aim to reach different audiences. The text chosen is The Sermon on the Mount, in the Bible, the passage of the Gospel of Matthew, chapters 5-7. The examination of the text include the identification of the terms of the figurative meaning and its relation to other elements of phrasal construction, followed by application of the theories of the discursive possibilities for finding meaning and purpose as a form of rhetoric. / Muitos estudos têm sido empreendidos com objetivo de desenvolver teorias no campo da análise de textos. Pela diversidade de métodos de estudos e pela grande variedade de sentidos que podem resultar de tais estudos, torna-se necessária a aplicação desses procedimentos para avaliação de sua eficácia na prática. Neste trabalho é estudado, com base em teorias da Análise do Discurso e da Linguística Textual, o efeito de sentido da linguagem figurativa em texto traduzido em três versões que pretendem alcançar diferentes destinatários. O texto escolhido é O Sermão do Monte, descrito na Bíblia, no trecho do evangelho de Mateus, capítulos 5 a 7. O exame do texto compreende a identificação dos termos de sentido figurativo e sua relação com os demais elementos da construção frasal, seguido da aplicação das teorias discursivas para constatação das possibilidades de sentido e seu efeito como figura de retórica.

Made available in DSpace on 2016-03-15T19:46:53Z (GMT). No. of bitstreams: 1 Eunicea de Oliveira Souto Candido.pdf: 603632 bytes, checksum: f0faacf3fc01409030f8f054b9e221b1 (MD5) Previous issue date: 2009-08-14 / Fundo Mackenzie de Pesquisa / Representing a reality is not simply to report facts or actions, but also to consider how they are narrated. It can be perceived by the narrator´s voice and in other voices that are part of the speech social, cultural and ideological marks which express a world view. From this thought on, this study intends to observe the used strategies of building the sense, in tales by Lygia Fagundes Telles, for the representation of the female figure. In order to do that, we will go through Lygia´s work in a very succinct way trying to identify how she works the woman´s thematic, as well as its work´s own characteristics. Later on we will analyze the following tales Leontina´s confession , Mr Director and the Mass of the Rooster which main characters have a troubled relationship with their own interiority. In the analysis of the tales we will use as a theoretical basis Bakhtin´s idea about dialogism and cronotopo. / Representar uma realidade não é simplesmente relatar acontecimentos ou ações, mas também considerar a forma como são narrados. Percebe-se na voz do narrador e em outras vozes que também compõem o discurso marcas sociais, culturais e ideológicas, que expressam uma visão de mundo. Partindo desse pensamento, este estudo pretende observar as estratégias de construção do sentido utilizadas, em contos de Lygia Fagundes Telles, para a representação da figura feminina. Para tal, percorremos, de forma sucinta, a obra de Lygia procurando identificar a maneira como trabalha a temática da mulher, bem como as características próprias de sua obra. Em seguida, analisamos os contos A confissão de Leontina , Senhor Diretor e Missa do Galo , cujas protagonistas têm uma relaçao conturbada com sua interioridade. Na análise dos contos utilizamos como base teórica as idéias de Bakhtin sobre dialogismo e cronotopo.

Les premiers peintres des vases à figures rouges ont été classés par A.D. Trendall entre 1938 et 1989. Ses recherches, associées à ceux des historiens et archéologues, constituent un remarquable outil d’analyse pour les historiens de l’art. Elles permettent d’appréhender d’un seul coup d’œil le corpus de vases italiotes collectés auprès des collections privées ou des musées. A la manière de J. BEAZLEY pour les vases attiques, A.D. TRENDALL s’est attaché à attribuer des vases anonymes et sans provenance à des peintres qu’il a lui–même nommé. Néanmoins, depuis plusieurs années, ses classements sont revus à la lumière de nouvelles découvertes et réattributions de chercheurs.Ce travail propose de revenir sur la création et le développement de ces premiers artisans en Italie du Sud entre la deuxième moitié du Ve s. et le premier quart du IVe s. av. J.-C.Le travail de réattribution des vases constitue un élément important de notre réflexion puisqu'il met à jour et affine le travail d'A.D. Trendall : il permet de comprendre dans quel contexte artistique sont apparus ces ateliers de production.Puis l'étude des lieux et contextes de découvertes permet d'apporter un éclairage supplémentaire, en observant les associations de peintres et d'ateliers dans les tombes. / Between 1938 and 1989, Trendall ranked the work of the first red figure painters of Southern Italy. His research, together with those of historians and archaeologists, is a remarkable analysis tool for scientists : it allows us to understand, in a glance, the italiote corpus from private collections and museum. Like Beazley on Attic vases before him, Trendall endeavored to assign anonymous vases and without provenances to painters he appointed. However, since years now, the ranking he created is reviewed in the light of new discoveries and reallocations of researchers.This work attempts to reconsider the beginning and development of these early craftsmen in Southern Italy between the second half of the 5th century and the first quarter of the fourth century BC.First we try to reassign vases which it is an important component of our reflexion, allowing to enhance A.D. Trendall's work. We will be able to understant the artistic's contexts in which the first workshops were developed.Then, the studies of places and archaeological contexts allow to highlight the way they produced, comparing associations between painters and workshops' vases in graves.

Apresento um conjunto de figuras - construídas através do desenho, fotografia e gravura- que movem um imaginário de seres e lugares, em trânsito entre o olhar, a memória e o sonho. A forma é proposta em sua materialidade e em correspondência a seus referentes. O enfrentamento de questões técnicas e poéticas está presente necessariamente na realização de cada trabalho e no trânsito entre eles. Da necessidade de invenção das figuras operam o entendimento e as ações em sua construção. O estudo e experimentação dos meios empregados no trabalho constituem-se nesse escopo. Proponho que toda manifestação se singularize e abra-se ao cotejamento, no tempo, entre diversas manifestações. Nesse sentido, permeiam-se as figuras, os meios construtivos e seu imaginário. Imaginar e figurar como sentimento e ação em si e no mundo. / I present a body of artwork - build through drawing, photography and printmaking -that move an imagery of beings and places in transit between the perception, the memory and the dream. The form is proposed in its materiality and in correlation to its referents. The confrontation between technical and poetic matters is necessarily present in the making of each work and the movement among them. It is from the need for the invention of each piece of work that the understanding and the actions through the construction work. The study and experimentation with the media applied in the process are within the scope of this work. I propose that each manifestation is singled out and then cross analyzed, in time, with the other manifestations. This way each work permeates imagination and media. Imagining and figuring as feeling and action in itself and the world.

This thesis explores our existence through the confinement of the human body. The exhibition of “A House Not of Our Choosing,” was presented at the Tipton Gallery, 126 Spring Street Johnson City, Tennessee, from March 1, 2013, to March 8, 2013. It will visually describe Cadell’s thoughts regarding the figure as a fragile vessel. The installation is designed to require the viewer to closely examine the work from multiple perspectives. The exhibition consists of sculpted paper, etched, painted, manipulated glass slides, and projection. Research discusses the work produced over a three-year period. Exploration and reflection in the areas of religion, history, philosophy and psychology contributed to the knowledge which inspired the exhibit.

This thesis supports the Master of Arts exhibition entitled "Figurative Sculpture and Social Commentary" at the Slocumb Gallery located on the campus of East Tennessee State University in Johnson City, Tennessee, from April 10 - April 14, 2006. This is an exploration of human form in sculpture and the use of representational human form to make comments about society.