O presente trabalho tem por objetivo fornecer o embasamento teórico para o projeto de um amplificador de baixo ruído (LNA – Low Noise Amplifier) em tecnologia CMOS que opere em mais de uma faixa de frequência, de modo a permitir seu uso em receptores multibanda e de banda larga. A base teórica que este trabalho abrange desde a revisão bibliográfica do assunto em questão, passando pela análise dos modelos de transistores para alta-frequência, pelo estudo das especificações deste bloco e das métricas utilizadas em projetos de circuitos integrados de RF, bem como pela revisão de topologias clássicas existentes. Com os conhecimentos acima adquiridos, foi possível realizar o projeto de um LNA diferencial de banda larga utilizando tecnologia CMOS IBM 130nm, o qual pode ser aplicado ao padrão IEEE 802.22 para rádios cognitivos (CR). O projeto é baseado na técnica de cancelamento de ruído, sendo validado após apresentar efetiva redução de figura de ruído para banda de frequência desejada, com moderado consumo de potência e utilização moderada de área de silício, devido a solução sem o uso de indutores. O LNA banda larga opera em frequências de 50Mhz a 1GHz e apresenta uma figura de ruído abaixo de 4dB, em 90% da faixa, um ganho acima de 12dB, e perda de retorno na entrada e na saída maiores que 12dB. O IIP3 e a frequência de ocorrência de compressão a 1dB com a entrada em 580MHz estão acima de 0dBm e -10dBm respectivamente. Possui consumo de 46,5mWpara fonte de 1,5V e ocupa uma área ativa de apenas 0,28mm x 0,2mm. / This work presents the theoretical basis for the design of a low noise amplifier (LNA) in CMOS technology that operates in more than one frequency band, which enables its use in multi-band and wideband receivers. The theoretical basis that this work will address extends from the literature review on the subject, through the analysis of models of MOS transistors for high frequencies, study of specifications of this block and the metrics used in RF integrated circuit design, as well as the review of existing classical LNA topologies. Based on the knowledge acquired above, the design of a differential wideband LNA is developed using IBM 130nm RF CMOS process, which can be used in IEEE 802.22 Cognitive Radio (CR) applications. The design is based on the noise-canceling technique, with an indutctorless solution, showing that this technique effectively reduces the noise figure over the desired frequency range with moderate power consumption and a moderate utilization of silicon die area. The wideband LNA covers the frequency range from 50 MHz to 1 GHz, achieving a noise figure below 4dB in over 90% of the band of interest, a gain of 11dB to 12dB, and an input/output return loss higher than -12 dB. The input IIP3 and input P1dB at 580MHz are above 0dB and -10dB, respectively. It consumes 46.5mW from a 1.5V supply and occupies an active area of only 0.056mm2 (0.28mm x 0.2mm).

Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T19:38:18Z (GMT). No. of bitstreams: 1 Capua_MariaClaraBuffode_M.pdf: 3272244 bytes, checksum: 716340fde092f4b4db4bce590f16001d (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa encontra-se no campo do trabalho criativo do ator. Através de um estudo teórico e prático, ela busca potencializar a utilização da imagem, mais precisamente da pintura de Francis Bacon, como um suporte para a sua criação e reflexão. Tendo por base um estudo sobre a obra e o processo criativo de Bacon, pretende-se a construção de uma "Figura" cênica autônoma, cujo foco não repouse na imitação direta da imagem. Para tanto, são utilizados como principais referências bibliográficas: a abordagem de Gilles Deleuze sobre a pintura baconiana e as entrevistas que o pintor concedeu a David Sylvester a respeito de sua produção artística. Por meio desse material, pretende-se o mapeamento tanto de uma estrutura de transposição da imagem, quanto de diretrizes metodológicas de criação ao ator. A partir dessa prática, propõe-se uma nova discussão que amplie as possibilidades de interação entre as artes cênicas e as artes plásticas, tendo como apoio teórico determinados escritos de Antonin Artaud, Josette Feral e Hans-Thies Lehmann. Finalmente, conclui-se a possibilidade de uma constante re-significação da imagem como material de trabalho ao ator, que passa a apropriar-se dela de uma maneira indireta, apreendendo-a não apenas como sugestão de cena, mas principalmente como sugestão de processo criativo: procedimentos e reflexões / Abstract: This research is related to the creative work of the actor. Through a theoretical and practical study, it purposes to potentiate the use of the image, most precisely of Francis Bacon's paintings, as a support for the actor's creation and reflection. Based on a study over Bacon's works of art and creative process, it is intended to construct an autonomous scenic "Figure", whose focus does not rest in the imitation of the image. In order to do that, there are used as primary references: the approach of Gilles Deleuze on Bacon' paintings as well as the interviews the painter has given to David Sylvester about his artistic production. Through this material, it is intended to map both a structure of transposition of the image and a methodological guideline of creation for the actor. From that practice, it is proposed a new discussion in order to extend the possibilities of interaction between the performing arts and the visual arts, through the support of certain theoretical writings of Antonin Artaud, Josette Feral and Hans-Thies Lehmann. Finally, the conclusion is the possibility of a constant re-meaning of the image as a working material for the actor, who passes to uses it indirectly, by apprehending it not only as a scene suggestion, but mainly as a suggestion of creative process: procedures and reflections / Mestrado / Mestre em Artes

O trabalho apresenta algumas das iniciativas para a retomada da máscara no teatro moderno. No amplo quadro da primeira metade do século XX, escolhemos quatro principais artistas que abordaram esse objeto: Gordon Craig, Meyerhold, Jacques Copeau e Jacques Lecoq. Nestes a máscara não é apenas mais um elemento colocado em cena, mas também um princípio organizador da teatralidade que almejam. Através de seus trabalhos analisamos algumas características da máscara que podem ser reelaboradas no teatro contemporâneo. Em Gordon Craig, abordamos as primeiras proposições dentro do teatro simbolista, além do panorama da máscara no início do século XX; através de Meyerhold, pudemos traçar os elementos grotescos contidos na máscara; com Jacques Copeau, questionamos os conceitos de caráter e de tipo e, através da pedagogia de Jacques Lecoq, pudemos analisar o trabalho da máscara como signo representativo. A partir dos elementos abordados, apontamos uma proposição de trabalho com a máscara que procura aproximá-la do conceito de figura. / This study presents some of the initiatives to reinstate the mask in modern theatre. In the vast spectrum of the first half of the Twentieth Century, I chose four key artists who elaborated this object: Gordon Craig, Meyerhold, Jacques Copeau and Jacques Lecoq. In the work of these artists, the mask is not one scenic element among others, but becomes the organizing keystone for the theatricality that they seek. Through their creations we can analyze some of the mask´s features that are being reelaborated in contemporary theatre. In Gordon Craig, we examine initial propositions within the symbolist theatre, placing this in a panorama of the mask at the beginning of the Twentieth Century; with Meyerhold, one can trace the grotesque elements contained in the mask; in Jacques Copeau, the focus moves to the concepts of character and type, and finally, in Jacques Lecoqs pedagogy, one can probe the mask as representational sign. From the foregoing elements, we outline an operational proposal which aims to approximate the mask to the concept of figure.

Na presente Dissertação investigamos como a configuração do narrador em Abdias formaliza, literariamente, a figura do intelectual brasileiro mediano dos anos 1930. Desse modo, propomos a leitura analítica do romance de Cyro dos Anjos numa chave que leve em conta a relação entre a matéria ficcional e os elementos sociais e culturais que ali estão representados. / This dissertation investigates how the configuration of the narrator of Abdias formalaises, literarily, the figure of the brazilian middle-class intelectual of the 1930\'s. In this sense, it proposes an analytical analyses of Cyro dos Anjos\' novel in a perspective that takes into consideration the relation between the fiction and the social and cultural elements that are there represented.

O corpo no cinema está associado a uma ausência. A imagem apresenta um ser humano filmado em outro espaço, outro tempo. O contraste evidente é com o teatro, a dança e a performance, artes nas quais o espectador geralmente está diante de um corpo físico. Surge, então, um questionamento: seria possível, e em que termos, falar de uma materialidade da figura humana cinematográfica? A tese esboça uma resposta ao investigar os modos de presença do corpo, com ênfase em sua forma plástica, seu desejo e sua dimensão coletiva. O debate tem como eixo filmes de Philippe Grandrieux, Tsai Ming-liang, João Pedro Rodrigues, Claire Denis e Pedro Costa. A obra destes realizadores é discutida em cotejo com um heterogêneo repertório iconográfico, sobretudo fílmico e pictórico. A hipótese defendida é a de que a gênese, o significado e a pregnância da figura humana são dependentes de um tipo de circularidade manifesta na imagem cinematográfica, seja por sua natureza plástica, seja pela rede de interação entre corpos, seres inanimados e espaços. / The body in cinema refers to an absence. The image presents a human being filmed in another time, another place. The difference is remarkable in the face of theater, dance and performance, arts in which the spectator is usually in the presence of a physical body. The question that arises is: how it would be possible to speak of a materiality of the cinematographic human figure? In order to answer this question, the thesis investigates modes of body\'s presence, highlighting its plastic shape, desires and collective dimension. The debate is made from films of Philippe Grandrieux, Tsai Ming-liang, João Pedro Rodrigues, Claire Denis and Pedro Costa. The work of these directors is discussed in comparison with an iconographic repertory, especially film and pictorial. The hypothesis defended is that the genesis, meaning and impregnation of the human figure are dependent on a kind of circularity manifest in the cinematographic image by the plasticity or by the interaction between bodies, inanimate beings and spaces.

Orientador: Sara Pereira Lopes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T01:08:52Z (GMT). No. of bitstreams: 1 Barros_MariadeFatimaEstelita_D.pdf: 2401916 bytes, checksum: 4b1e38a77667c06c4f3fd0c11fd573d7 (MD5) Previous issue date: 2012 / Resumo: Este trabalho busca refletir sobre a questão da percepção corporal na formação do cantor e na construção da expressividade na prática do canto. Apoia-se na ideia de que cada corpo carrega sua história e que o canto se faz na materialidade da voz moldada pelos movimentos desse corpo. Procurando resgatar a conexão entre corpo e emoção/pensamento/sentimento, num processo de ampliação da sensibilidade, da motilidade, da escuta do corpo, são associadas práticas em Educação Somática, em particular a Técnica Klauss Vianna, como possível metodologia para "dar um corpo" ao cantor. Busca-se ainda refletir sobre como essa associação pode contribuir para o desenvolvimento de aspectos específicos do trabalho do cantor, como a melhora da técnica, a saúde vocal e o desenvolvimento das capacidades expressivas adotando uma abordagem somática para o trabalho do cantor / Abstract: The objective of this work is to discuss the body awareness in the singer development and the expressivity building in singing. It is based on the idea that each body has its own history and that the act of singing is constructed in the voice materiality shaped by the movements of the body. Some practices in Somatic Education are combined, especially Klauss Vianna Technic, as a methodology to "give a body" to the singer. It aims to rescue the connection between the body and the emotion/thoughts/feelings, in a process that broads the sensibility, the motility and the "body hearing". Additionally, this thesis intends to discuss how this combination of some practices in Somatic Education can contribute to the development of specific aspects of the singer work, such as the improvement of the technic, vocal health and development of expressive capabilities / Doutorado / Artes Cenicas / Doutor em Artes

The story of Sarah and Hagar has been treated as one of the foundational stories for the nation of Israel. Yet, Paul, in one deft allegory, will attempt to overturn centuries of theological and historical interpretation. Against other interpretations, I argue that Paul’s untraditional uniting of Hagar, Sinai, and the present Jerusalem together was accomplished through the interpretive key provided in 4:23: the one who comes from a slave has been born because of the flesh, and the one who comes from a free woman has been born through the promise. Paul no longer reads the story of Sarah and Hagar through a lens of separation based on physical realities, but rather through the lens of promise and flesh, as helpfully stated in 4:23. Ishmael was not “cast out” because of his sinfulness or supposed ethnic deficiencies, but rather because he was born “κατὰ σάρκα” and not “δι᾽ ἐπαγγελίας.” These comparative realities are not introduced here in the allegory for the first time; rather, Paul has been building these comparisons as his primary argument since the foundational 2:15-21. This dissertation, therefore, not only interprets the allegory in consideration of the lens of 4:23, but seeks to set the argument within both the thematic and schematic content of Galatians. While the first chapter summarizes and categorizes the typical interpretations of the difficult Galatians 4:21-5:1, the second chapter seeks to critique these approaches to the allegory. The value of applying Paul’s interpretive lens (Gal 4:23) to the allegory is argued for in the third chapter. By using the hermeneutical lens of 4:23, many of the allegory’s difficulties are eased, and the meaning and import of the allegory is clarified. The fourth chapter seeks to set the allegory within the epistle, both thematically and schematically, centering the main propositio around Paul’s remarks to Peter in Galatians 2:15-21. Finally, the last chapter looks at some limited applications of the thesis to OT hermeneutics, specifically in literal and allegorical readings of the Sarah/Hagar incident.

The aim of this essay is to see how Alan Ayckbourn uses language inorder to depict his characters in his play MotherFigure from 1974. By using a pragmatic approach, including Gricean maxims,speech acts and politeness theories, I will examine how the three maincharacters communicate and what conclusions can be drawn from this. First, Itake a look at the language strategies given to each of the characters as theyenter the stage. After that I look at the interaction and the struggle forpower. The conclusion I made is that Lucy has many bald-on records, which makesher role very powerful. Rosemary, on the other hand, maintains her weak statusby using many politeness strategies and vague utterances. Terry, the thirdcharacter, is forced to surrender to the adult-child power struggle that Lucyhas been caught up in.

Silicon CMOS Technology is now the preferred process for low power wireless communication devices, although currently much noisier and slower than comparable processes such as SiGe Bipolar and GaAs technologies. However, due to ever-reducing gate sizes and correspondingly higher speeds, higher Ft CMOS processes are increasingly competitive, especially in low power wireless systems such as Bluetooth, Wireless USB, Wimax, Zigbee and W-CDMA transceivers. With the current 32 nm gate sized devices, speeds of 100 GHz and beyond are well within the horizon for CMOS technology, but at a reduced operational voltage, even with thicker gate oxides as compensation. This thesis investigates newer techniques, both from a systems point of view and at a circuit level, to implement an efficient transceiver design that will produce a more sensitive receiver, overcoming the noise disadvantage of using CMOS Silicon. As a starting point, the overall components and available SoC were investigated, together with their architecture. Two novel techniques were developed during this investigation. The first was a high compression point LNA design giving a lower overall systems noise figure for the receiver. The second was an innovative means of matching circuits with low Q components, which enabled the use of smaller inductors and reduced the attenuation loss of the components, the resulting smaller circuit die size leading to smaller and lower cost commercial radio equipment. Both these techniques have had patents filed by the University. Finally, the overall design was laid out for fabrication, taking into account package constraints and bond-wire effects and other parasitic EMC effects.

In this thesis, the research and development of a novel rapid figuring procedure for large ultra-precise optics by Reactive Atom Plasma technology is reported. The hypothesis proved in this research is that a metre scale surface with a form accuracy of ~1 μm PV can be figure corrected to 20 – 30 nm RMS in ten hours. This reduces the processing time by a factor ten with respect to state-of-the-art techniques like Ion Beam Figuring. The need for large scale ultra-precise optics has seen enormous growth in the last decade due to large scale international research programmes. A bottleneck in production is seen in the final figure correction stage. State-of-the-art processes capable of compliance with requisites of form accuracy of one part in 108 (CNC polishing, Magneto-Rheological Finishing and Ion Beam Figuring) have failed to meet the time and cost frame targets of the new optics market. Reactive Atom Plasma (RAP) is a means of plasma chemical etching that makes use of a Radio Frequency Inductively Coupled Plasma (ICP) torch operating at atmospheric pressure. It constitutes an ideal figuring alternative, combining the advantages of a non-contact tool with very high material removal rates and nanometre level repeatability. Despite the rapid figuring potential of this process, research preceding the work presented in this manuscript had made little progress towards design and implementation of a procedure for metre-class optics. The experimental work performed in this PhD project was conducted on Helios 1200, a unique large-scale RAP figuring facility at Cranfield University. Characterisation experiments were carried out on ULE and fused silica surfaces to determine optimum process parameters. Here, the influence of power, surface distance, tool speed and surface temperature was investigated. Subsequently, raster-scanning tests were performed to build an understanding on spaced multiple passes ... [cont.].