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Demonstrou-se pela primeira vez que é possível determinar surfactantes e água em formulações de Sabonetes Líquidos (SL) e Shampoos (SH), direta e simultaneamente pela técnica de infravermelho por transformada de Fourier (FTIR) acoplada à uma cela de reflectância total atenuada (ATR). Tradicionalmente, a principal aplicação do infravermelho médio (2,50 - 15,0 µm) é a identificação de compostos orgânicos. O desenvolvimento de novos acessórios, principalmente de ATR, os avanços na área de microinformática e de métodos quimiométricos, vem viabilizando as análises quantitativas rápidas com excelentes resultados mesmo em meio aquoso. A determinação simultânea de surfactantes em formulações por FTIR-ATR é investigada em detalhes nesta tese. Dentre os surfactantes utilizados, o Lauril Éter Sulfato de Sódio (LESS) e a Cocoamidopropil Betaína (CAPB) são comuns em ambas as formulações, sendo a Coco Dietanolamida (CDEA) empregada em shampoo e o Alquilpoliglicosídeo (APG) em sabonete líquido. Espectros de absorbância de amostras padrão e de verificação foram adquiridos na região do infravermelho médio (800-1600 e 1900-3000 cm-I). Para a regressão de mínimos quadrados clássicos (CLSR), selecionou-se 200 números de onda, enquanto que para a regressão de mínimos quadrados inversos (ILSR), apenas 10. Nas regressões de componentes principais (PCR) e de mínimos quadrados parciais (PLSRI e PLSR2), utilizaram-se de 300 à 1100 números de onda. Dois conjuntos de amostras padrão foram preparados, o primeiro, contendo 27 misturas padrão, foi estudado somente pelos métodos CLSR e ILSR, enquanto que o segundo conjunto, contendo 48 amostras padrão, foi avaliado por todos os métodos mencionados acima. A seleção das regiões de quantificação favoreceu números de onda dos componentes minoritários CAPB, APG e CDEA e resultados satisfatórios foram encontrados para 18 amostras de shampoo e sabonete líquido. Interferentes como NaCl e perfume foram incluídos no segundo conjunto e os métodos PCR e PLSR proporcionaram melhores resultados. Os erros relativos (RSEP%) para água (correspondendo a 84-88% do produto) e LESS (6-10%) não excederam 1%; para CAPB (<3%) e CDEA (<2%), o RSEP% situou-se entre de 2-4% e para APG (<3%), não excedeu 5%. Avaliações do processo de normalização, repetibilidade, vulnerabilidade a interferentes (perfumes), redução no número de padrões de calibração foram conduzidos, encontrando-se resultados satisfatórios para todos os casos, com erro relativo inferior à 5,0%. Um dispositivo simples para injeção direta da amostras no acessório de ATR foi construído, permitindo aumentar a freqüência analítica de 20 para 60 análises por hora. / It is demonstrated for the first time that the principal constituents of a shampoo as well as of a liquid soap -three surfactants and water- can be determined directly, simultaneously and quickly in undiluted samples by Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopy in the middle infrared region, despite the broad absorption bands ofthe solvent. The main application of the middle infrared (2,50 - 15,0 µm) was the identification of organic compounds. The development of new accessories, such as ATR, and the advance of computers and chemometrics, extended the technique to quantitative analysis, with excellent results. The simultaneous determination of surfactants in shampoos and liquid soap formulations by FTIRA TR is investigated in detail in this thesis. Two of the surfactants, sodium lauryl ether sulfate (LESS) and cocoamidopropyl betaine (CAPB) are common to both formulations; alkylpolyglucoside (APG) is the third surfactant of the liquid soap and cocodiethanolamide (CDEA), the corresponding ingredient of the shampoo. Absorbance data of the undiluted verification samples and calibration standards was collected in the middle infrared region of the spectrum (800-1600 and 1900-3000 cm-1). Five methods of multivariate quantification were compared: Classical Least Squares Regression (CLSR), where absorbance data measured at 200 wavenumbers was processed, Inverse Least Squares Regression (ILSR), were data at 10 selected wavenumbers was analyzed, Principal Components Regression (PCR), and Partial Least Squares Regression, which has two different approaches, PLSR1 and PLSR2. Two sets of standard samples were prepared for the method calibration. The first one, consisting of 27 standard mixtures, was evaluated by the CLSR and ILSR methods; a second set, with 48 standards, was evaluated by all the methods mentioned above. Potential interfering, such as NaCI and perfume, were inc\\uded in this second set. By favoring wavenumbers where absorption bands of the minor components (CAPB in both formulations, APG in the liquid soap and CDEA in the shampoo) are more intense, good results were obtained for 18 simulated samples of shampoo and 18 samples of liquid soap. For the second set, PCR and PLSR methods were most favorable; relative errors (RSEP%) for water (major component, 84-88%) and LESS (6-10%) did not exceed 1%; for CAPB (<3%) and CDEA(<2%), RSEP% of 2-4% were observed, and for APG(<3%), 5% was not exceeded. Tests for repeatability, normalization performance evaluation, effect of interferents presented favorable results. A simple device for direct sample injection was designed and evaluated. It permitted an increase ofthe analytical frequency from 20 to 60 samples per hour.

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2017-04-03T14:00:22Z No. of bitstreams: 1 2016- Edmilson Moreira de Carvalho.pdf: 515540 bytes, checksum: 84c24075582e9a863a85af1a9a243938 (MD5) / Made available in DSpace on 2017-04-03T14:00:22Z (GMT). No. of bitstreams: 1 2016- Edmilson Moreira de Carvalho.pdf: 515540 bytes, checksum: 84c24075582e9a863a85af1a9a243938 (MD5) Previous issue date: 2016-04-28 / One of the main themes in the thinking of Nietzsche consists of his critique of the rationalism created by Socrates, which, to the detriment of the artistic form of treating life, establishes the predominance of science as the only generator of knowledge, therefore, of the truth. What he stands for is a tragic view of the world, in which art, with its characteristics, specially the appreciation of illusion and appearance, is the guider of life, including the knowledge itself. So, we see the author turn his thinking to the Pre-Socratic period, appreciating the thoughts of philosophers from that time, when life and art were not separated, since the instinct for knowledge had not spoiled them yet. The art among the Greek, specially tragedy, represents, to Nietzsche, the climax of this civilization, the will of living of these people, who, before knowing, wanted to live and who understood that knowledge must serve life, and not the other way around. Therefore, facing the issues through which his time goes, and identifying their causes in the Socratic rationalism, we see Nietzsche claim the return of a tragic era, which, following the Pre-Socratic format, would have art as its founder. / Um dos principais temas presentes no pensamento de Nietzsche consiste em sua cr?tica ao racionalismo criado por S?crates, que, em detrimento da forma art?stica de se tratar a vida, estabelece a predomin?ncia da ci?ncia como ?nica formadora de conhecimento, portanto, de verdade. O que ele defende ? uma vis?o tr?gica do mundo, na qual a arte, com suas caracter?sticas, principalmente a valoriza??o da ilus?o e da apar?ncia seja norteadora da vida, inclusive do pr?prio conhecimento. Ent?o, vemos o autor voltar seu pensamento para o per?odo pr?-socr?tico, valorizando o pensamento dos fil?sofos dessa ?poca em que a vida e a arte n?o se dissociavam, porque o instinto de conhecimento ainda n?o as havia contaminado. A arte entre os gregos, principalmente a trag?dia, representa para Nietzsche o apogeu dessa civiliza??o, a vontade de vida desse povo, que antes de conhecer queriam viver, e que entendiam que o conhecimento deve servir a vida e n?o o contr?rio. Assim, diante dos problemas pelos quais passa sua ?poca, e identificando suas causas no racionalismo socr?tico, vemos Nietzsche reclamar o retorno de uma era tr?gica, que nos mesmos moldes dos pr?-socr?ticos, teria a arte como fundadora

This thesis is performed as a summarizing project for the mechanical engineering education at School of Engineering in Jönköping. All knowledge necessary to complete this thesis was gathered from previous courses and education. This project was to develop a new product for the company TR Equipment AB in Tranås. The new product is going to be based on an already existing product, TR 1700. TR 1700 is a bathtub equipped with a height adjustable function. This product is used in retirement homes and in the care of disabled people. The height adjustable function limits the stress needed to lift and assist the bather when using the product. This gives a better work situation for the caretaker. Our goal is a functional and attractive product designed and built with existing parts available from TR Equipments other products. If the timeframe allowed the method of DFM/DFA (Design For Manufacturing/Design For Assembly), be applied so that the company could start production on the product as soon as possible. An analysis of different competitors in the same market was conducted. Result showed that the most of the competitors were foreign. The main market for this product is outside Sweden. Specifications for the new product were drawn up, the new product should have a lift to transport the user in and out of the bathtub. Different concepts were generated and one dominant design was chosen for further development. The next step was to choose the final design, from the new sketches made from the chosen design from the first round. Color is very essential for a product and the group decided to implement the red color found in TR Equipments previous products but in a new, more distinct way to highlight important functions, safety features and logotypes. Ideas and solutions concerning the attachment of the chair into the lifting arm, and the design and function of the arm itself, has been included in the report. The thesis is for the most part focused on the design element of the product. After working through all the steps and methods of product development a functional product with a clean, hygienic and practical design was constructed. / Detta examensarbete är utfört vid Tekniska Högskolan i Jönköping inom ämnesområdet maskinteknik produktutveckling och design. Där kunskaper inhämtade från tidigare kurser använts för genomförandet av arbetet. Uppdraget är att vidareutveckla en produkt åt företaget TR Equipment AB i Tranås. Produkten TR 1700 är ett höj- och sänkbart badkar som används på bland annat äldreboenden för att vårdpersonalen ska minska den fysiska belastningen i sitt arbete. Den nyutvecklade lyften i kombination med badkaret behövs för att öka säkerheten samt ytterligare minska den fysiska belastningen för vårdpersonalen. Målet var att göra en attraktiv och funktionell produkt och i största möjliga mån använda de komponenter som redan finns i TR Equipments sortiment.. En konkurrentanalys visade att det finns ett antal konkurrenter, största delen utländska då det är den tänkta marknaden. En kravspecifikation ställdes upp efter att funktionsanalysen gjorts. Den nya produkten kommer inte endast omfatta ett badkar utan även en personlyft för att transportera användaren i och ur badkaret. Med utgång från badkaret TR 1700 genererades ett antal koncept varav en grunddesign valdes ut för vidareutveckling. Efter ytterligare ett urval bestämdes den slutgiltiga utformningen. Färgvalet på produkten var det steget som följde. Att tydligt ta vara på och visa accentfärgen i viktiga detaljer på den nya produkten blev slutsatsen. Idéer och lösningar kring upphängning av stolen i lyftarmen, och hur denna lyftarm i sin tur ska se ut och fungera, har tagits med i rapporten. Rapporten i sin helhet är dock mest fokuserad på utformningen. Genom att gå igenom alla dessa steg skapades en funktionell produkt med ett enkelt, hygieniskt och utförande.

My thesis aims to explore how John Ruskin's idea of the workman's "freedom of thought" was disseminated to late Victorian female consumer culture, through the transformation of its ideal from Gothic architecture into Eastern decorative art. By examining both elite and popular Aesthetic texts, I will argue that references to Eastern art are not only about the issue of style, but also involve theoretical interests about how to integrate art, consumption, women and the home. In chapter one, I examine Ruskin's conception of workmen's free thought, and how the architect William Godwin adapted it by transferring his ideal example of it from Gothic to Eastern architecture. In chapter two, I discuss how manual books by Mary Eliza Haweis acknowledged the authority of wealthy middle-class women's consumption by using Ruskin's ideas alongside Eastern dress examples. In chapters three and four, I examine the Art at Home series, an affordable set of household manuals, to see how they acknowledged less wealthy middle-class women's capacity to be effective house decorators by raising the status of inexpensive Eastern art. Chapter five analyses the catalogues of Liberty's, an Oriental goods shop, and examines how they presented the principles of Eastern art as their own. In chapter six, I discuss The Woman's World, edited by Oscar Wilde, to show how the perspective of Eastern art can crystallise the definitions of female artists by both elite and popular Aesthetes. In chapter seven, I will examine the representation of Eastern art in Vernon Lee's Miss Brown, and show how her text is a critical response to the definition of female artists in elite and popular Aestheticism. By focusing on these various approaches to Eastern art, we can see that Aestheticism was engaged in a process of critiquing and customising Ruskin's ideas in order to acknowledge the artistry and autonomy of consumers.

Space-time block coding (STBC) has added a new dimension to broadband wireless communication systems. Applications such as wireless Internet access and multimedia require the transmission of high data rates over frequency selective fading channels. The reliability of the wireless communication system can be increased by using diversity techniques combined with an equalizer at the receiver to eliminate the inter-symbol interference caused by multipath propagation. Generalizing Alamouti's famous STBC method to frequency selective channels, Time Reversal-Space Time Block Coding (TR-STBC) was first introduced in [1] and has since been shown to be an effective transmit diversity scheme [2, 3, 4]. TR-STBC-based schemes are considered promising candidates for indoor transmission [5] as well as for the enhanced data rates of the global evolution (EDGE) system [2, 3]. The optimal equalizer for a TR-STBC-based transceiver is the Maximum Likelihood Sequence Estimator (MSLE), realized using the Viterbi algorithm. Unfortunately, a Viterbi equalizer is difficult to implement in real-time due its exponential increase in complexity with the number of antennas and the length of the channel impulse response. Thus, we consider an adaptive algorithm-based Decision Feedback Equalizer (DFE). Such a DFE requires only linear processing complexity while maintaining good performance. Theoretically, the two output streams of a 2 x 1 TR-STBC decoder are uncoupled in terms of the input signal statistics and uncorrelated in terms of the channel noise statistics. The standard approach to removing the inter-symbol interference from these streams is to use either two parallel independently-adapted Single-Input Single-Output (SISO) equalizers or to use a single Multiple-Input Multiple-Output (MIMO) equalizer. By exploiting the common second-order statistics of the two output streams, we proposea novel hybrid equalizer structure which shares the statistical information between two SISO equalizers while constraining them to have common tap weights. To accommodate various levels of performance versus computational complexity, we propose novel Least Mean Square (LMS), Normalized Least Mean Square (NLMS), and Recursive Least Squares (RLS)-based adaptive algorithms for this new equalizer architecture. We use both statistical analysis and Monte Carlo simulations to characterize the dynamic convergence of these algorithms and to compare our new structure with the conventional uncoupled SISO equalizers and fully-coupled MIMO equalizer. We show that our new equalizer outperforms the other two equalizers using a reduced computational complexity similar to the uncoupled SISO equalizers. As expected, with increasing complexity, we find that the novel RLS-based algorithms converge the fastest followed by the novel NLMS- and LMS-based algorithms. We also consider alternative packet structures and kick-start methods to increase the convergence speed and reliability of the equalizer at realistic complexity. Finally, adding multiple receiver antennas to our system, we extend our equalizer structures and algorithms to the 2 x NR case. Using analysis and simulations, we demonstrate that the added receiver diversity in this case yields even greater reliability.

The imperial city of Ulm in southwest Germany was one of the largest in the country during the Middle Ages, and one of four important centres in the Swabian region. In the fourteenth and fifteenth centuries the region was characterised by a large number of towns and cities, especially imperial cities, most of which lay south of the Swabian Alps, in Upper Swabia. For their protection the towns formed into the Swabian League of which Ulm had leadership until the latter part of the fifteenth century. The League restrained the ambitions of emperor and the princes, and effectively maintained relatively peaceful conditions in the region for most of the fifteenth century. The cities relied largely on trade, shipping iron, salt, meat and grain from eastern areas into the southwest for distribution. There was also a vast textile industry, producing woollen cloths and fustian, or barchent, with a mixture of cotton and linen. Wool and flax were produced locally, while cotton was brought from Venice, and finished cloth distributed throughout Europe. This led to the rise of family merchant companies that handled import, export, distribution, and in some cases production. Familial networks were key. Such networks were also fundamental for craft communities throughout the region and artisans frequently moved to train or work. As a large centre, Ulm produced much sculpture and painting with production peaking during the second half of the fifteenth century, resulting in an extensive export market. As with all imperial cities, Ulm relied on its relationship with the empire for its ability to function, politically and economically. Largely because of its wealth, it gained a high level of autonomy, which it used to acquire an extensive territorial area, and to secure authority over the parish, its church, and local foundations. Of fundamental importance was the parish church of Our Lady, which was relocated into the heart of the commercial area of the city and rebuilt on a massive scale signalling the might of the town. The renewed importance of Our Lady encouraged endowments and gifts, and helped secure the authority of the patriciate, especially the Krafft family. In the face of guild uprisings during the fourteenth century, the patriciate of Ulm was a particularly closed type and social demarcation was rigorously practised. Inter-marriage with a select group of traders, however, resulted in a ruling body that effectively developed into an oligarchy, despite substantial guild representation on the civic council. A small group held power over many years and most aspects of everyday living were closely regulated and policed. Artistic styles and developments reflected this stable, yet rather restricted climate. Change was adopted with caution. But, arguably, styles also reflected wider regional trends that, to an extent, might be classed as traditionally Swabian. The characteristic regional style might also have been linked to mysticism and pious practices amongst female religious that had filtered into civic life. As vibrant commercial centres, the cities were conscious of a communal responsibility. Ultimately, this somewhat conservative attitude led to a shift in artistic production during the last decade of the fifteenth and into the sixteenth century. Ulm was unable to keep pace with wider political and commercial developments, and in certain ways Ulm did not provide artists with the conditions necessary to fully exploit their talents.

Over the past two decades institutionally dominant art history has been strongly influenced by the theory and practice of deconstruction. While many art historians have embraced deconstruction as a productive means of unsettling and remotivating standard forms of art historical discourse, others have raised concerns over what they see as a widespread departure from the most basic tenets of art historical discourse; that is to say, not only the belief that there is a circumscribed category of aesthetic experience (art), but also that it is possible to arrive at a truthful representation of the relationship between works of art and the circumstances of their production and initial reception (history). Moreover, many of those same commentators have railed against the way in which this departure can be understood to have suspended any sense of a stable, structural connection between a historical is and a present ought; in other words, the notion that a truthful understanding of past events has the potential to inform ethico- political activity in the here and now. Our intention here is to problematize this apparent schism by demonstrating that art historical discourse has drawn the very possibility of its continuing conceptuality since Antiquity from a chronic and, for the most part, unconscious deconstructive interaction between the signifying ‘texts’ of art history and what might be seen as the various material, social and intellectual forces pertaining to the wider historical ‘contexts’ of their production and reception. Thus, we will have attempted to show that deconstruction is indivisible from continuing discursive attempts to arrive at a ‘truthful’ understanding of the past. In addition to this we will also attempt to show - with reference both to the writings of Jacques Derrida and a Duchampian inheritance in the visual arts - that it is possible to develop deconstructive forms of historical narrative through which we might engage critically with questions of ‘ethico- political’ value.

This thesis studies the imaginary beings of Minoan iconography with the aim of understanding their functions and meaning within the iconography of Bronze Age Crete. Two broad categories of Minoan fantastic creatures can be discerned, namely the imported and the locally created hybrids. With the exception of investigations of the genius, previous studies have focused mainly on matters of typology and style and, more importantly, have detached the illustrations of imaginary beings from their context of creation and use. Consequently, griffins and sphinxes are vaguely classified as "royal monsters", the dragon is merely considered as the transporter of deities, the reasons behind the creation of the bird-lady and the "Minotaur" are still unfathomable and the demonic creations of the Zakros workshop have not been explained at all and are simply viewed as meaningless. On the other hand, conjoined animals and less popular monsters, like the winged goats, have been more or less overlooked. In an attempt to remedy this, this study places the fantastic creatures of the Minoans within their context. The iconography of the Prepalatial, Protopalatial, Neopalatial and Final Palatial periods is examined sequentially so as to determine the degree to which the functions of demons and monsters changed through time in the Minoan repertoire. Variations in the choice of media for their depictions, the consideration of their find contexts, of religious and socio-political developments in each period and of the development of monstrous iconography in the mainland, the Aegean islands, the Near East and Egypt, all help towards a better appreciation of the fantastic world of the "Minoans". As a result, generic characterisations of the Minoan imaginary beings are rejected and the multiplicity of their roles, their ability to evolve and their significant role in the expression of the Minoan mindset are established. In short, the demons and monsters of the Minoans are revealed as reflections of the multifaceted, complex society of Bronze Age Crete and articulate the fears, concerns and beliefs of its different members.

This thesis is a study of the notebook (British Library Egerton MS 1635) compiled by Richard Symonds (1617-1670), royalist exile and virtuoso, during his visit to Rome between 1649 to1651. The first volume of the thesis provides an analysis of the chronology of notebooks that Symonds wrote at the time and his methods of study, as well as a detailed reconstruction of his visits to a number of collections. The second volume consists of an annotated transcription of Egerton MS 1635, and an extract from British Library Additional MS 17919 which relates to Symonds's visit to Palazzo Barberini. Symonds's visits to the Borghese, Farnese, and Giustiniani collections in Rome allowed him to study at first hand major sixteenth-century works by Titian, Raphael, Caravaggio and the followers of the Carracci. He also visited four less important collections (which all had some renowned paintings) at Palazzo Mattei, Palazzo Spada, Palazzo Mazzerino and Palazzo Sachetti. In addition, Symonds made notes on Palazzo Barberini although he was only taken on a brief tour of this collection. Symonds's study of antique sculpture is revealed in his notes on the important collection he saw at Villa Medici, and two smaller ones belonging to Ippolitto Vitelleschi and the Pighini family. Symonds also encountered the circle of antiquaries and connoisseurs in Rome, which included Francesco Angelom, and among the artists he met were the painters Giovanni Angelo Camni (who served as his mentor) and Nicolas Poussin. Symonds was not only interested in art, architecture, and antiquities, but also the social and religious customs that he encountered, as well as early ventures into science and medicine. The taste and knowledge that he acquired in Rome is reflected in the paintings that he selected to record and admire, of which the vast majority were works by Titian, Raphael and the Carracci. A thorough investigation of Egerton MS 1635 establishes that Symonds's knowledge of Italian art was exceptional for an Englishman of the time.