Orientador: Reynuncio Napoleão de Lima / Banca: José Leonardo do Nascimento / Banca: Dagoberto José Fonseca / Resumo: Até a década de 1940, o negro no teatro brasileiro, mesmo quando em personagens de destaque, quase sempre foi retratado por meio de certas caricaturas ou estereótipos herdados do período da escravidão. Entre o final do século XIX e começo XX, as personagens negras aparecem muitas vezes representadas em figuras dramáticas femininas como a mulata bela e sensual (reboladeira e carnal, pernóstica ou faceira), a bá (ama-de-leite geralmente negra beiçuda e gorda, confidente, chorosa e prestativa), a baiana macumbeira (em especial a vendedora de quitandas, vestida com saia rodada, bata de renda, turbante, pano-da-costa, colares e balangandãs), a preta velha (africana idosa conhecedora de segredos); em personagens masculinos, como o negrinho espertalhão (agregado da casa-grande), o bobalhão (pouco inteligente; estúpido, ignorante, imbecil); o malandro (astuto, bon vivant); o pai João (na maioria das vezes negro velho, dócil, conformado e submisso). Nos idos de 1944, surge no Rio de Janeiro um grupo de teatro formado por atores negros propostos a problematizar e revisar a tradição cênica de representação da "raça" levando aos palcos textos ligados aos temas das culturas afro-brasileiras, aos conflitos raciais e ao estigma da cor negra. Trata-se do Teatro Experimental do Negro (TEN). A presente investigação visa compreender as propostas dramatúrgicas deste grupo para a construção da personagem negra, tendo como base os estudos de Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) e Sábato Magaldi (1962), e partindo da analise de duas específicas peças do repertório do TEN, que estão reunidas na coletânea Drama para negros e prólogo para brancos, publicada em 1961. São elas: O filho pródigo (1947), de Lúcio Cardoso e Sortilégio (1951), de Abdias do Nascimento. Palavras-chave: Teatro... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Until the nineteen forties decade, the Negroes in the Brazilian drama were represented, even when taking up major parts, throughout some stereotyped characters and caricatures inherited from the slavery period. Between the end of the nineteenth century and the beginning of the twentieth, the feminine negro character so many times appears in dramatic parts like the "mulata" beautiful and sexy (with good dancing skills and body performance), the "babá" (wet-nurses regularly black, thick lips and fat, confidant, tearful and helpful), the "bahiana macumbeira" (normally in voodoo style, seller of grocer's shops, dressing wide skirts, sewed smock, turban, necklaces and local baubles), the "black old lady" (old African having knowledge of ancient secrets), and the masculine characters like the "smart young black" (a lodger of the Brazilian 'greathouse'), the "fool" (lacking intelligence, lout, ignorant and idiot), the "father John" (mostly old black, docile submissive and conformist). Around nineteen forty-four, there is within Rio de Janeiro the foundation of a new drama group, created by black actors intended to revise the stage tradition for representation of race, bringing to stage different works related to African-Brazilian culture subjects, to the racism conflicts and the Negroes stigma. It was the Negroes Workshop Theater ("Teatro Experimental do Negro", TEN). This investigation intends to understand this group's theatrical proposal to build the Negro character, having as a direction the works of Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) and Sábato Magaldi (1962), as well as coming from the analysis of two specific plays from the 'TEN's repertoire united in the collection: "Drama para negros e prólogo para brancos", released in... (Complete abstract click electronic access below) / Mestre

Scope of this diploma work is layout proposal for joinery workshop including store for its products and materials. Building design has been done in two variants. Chosen variant has been finished into documentation required for issue of building permission. Attention is paid to dimensions and location of manufacturing areas, sanitary facilities and salesroom so that all regulations are accomplished, accessibility and manipulation with material are optimized. Building is drawn up for real estate in area of Ledenice town, which is according to development plan allocated to industrial areas. In diploma work are mentioned all important requirements, which have to be kept during project planning, requirements for documentation and also are discussed particular activities prior to construction itself.

A experiência que sustenta as reflexões contidas nesta dissertação se desenrolou em uma oficina de fotografia que aconteceu num centro de atenção diária de uma instituição psiquiátrica da cidade do Rio de Janeiro. Partindo da definição etimológica da foto-grafia como uma escrita com a luz, nos perguntamos sobre as relações possíveis entre o fotografar e o escrever. As oficinas terapêuticas – um território híbrido onde está em jogo o encontro entre vários saberes (Rickes) – configuram-se como o campo para a nossa experiência. Participaram da Oficina de Fotografia pacientes adultos usuários deste serviço e a proposta consistiu em convidá-los a fotografar a partir de três eixos temáticos: o escrever, a instituição que abriga a oficina e a cidade. Este trabalho está estruturado a partir de três principais seções. No primeiro capítulo, apresentamos a instituição, o desenrolar da proposição da Oficina neste espaço de tratamento, e nos perguntamos se esta intervenção teve o efeito de produzir uma desacomodação nas práticas já instituídas. Para articular esta hipótese, utilizamos os conceitos de studium e punctum segundo os formulou Barthes. Na segunda seção, procuramos delinear uma definição possível para a imagem como uma superfície que não é apenas plana (Didi- Huberman), mas que pode se apresentar como porosa. Tomamos para isso a noção proposta por Rivera de que o imaginário pode se desdobrar em imagem-muro e imagem-furo. A possibilidade de manter uma pulsação entre estas duas formas de imagem nos remete de volta ao oficinar e aos impasses que este fazer engendra, seja no sentido de se manter fechado, quanto de se abrir a novas experimentações. A partir da interrogação sobre como ler as imagens e os textos produzidos ao longo da Oficina, buscamos a referência freudiana como base para a nossa postura ética frente a este material. Neste sentido, não fizemos uma análise do conteúdo das fotografias e escritos, nem nos debruçamos sobre a biografia dos pacientes. Construímos pequenos ensaios que contam a trajetória de cada um com o fotografar nesta Oficina. Finalmente, na terceira seção desenvolvemos, a partir das contribuições de Freud e Lacan, o tema que parece costurar as experiências singulares, a saber, a pergunta sobre o que é um registro. O registrar implica a perda, e é esta assertiva que insiste de várias formas diferentes ao longo deste relato. / The experiment that supports the reflections contained in this dissertation occurred during a photography workshop that was held at a day-care center in a psychiatric institution in the city of Rio de Janeiro. Based on the etymological definition of photography as a form of writing with light, we question ourselves as to the relationships that are possible between photographing and writing. The therapeutic workshops – a hybrid territory in which the meeting of various areas of knowledge is at play (Rickes) – are structured as the field for our experiment. Adult patients that are users of this service participated in the photography workshop. The objective was to invite them to take photos based on three central themes: the act of writing, the institution that houses the workshop, and the city. This study is structured into three main sections. In the first section, we present the institution and the development of the workshop’s scheme within this treatment site. We asked ourselves whether this intervention disrupted previously established practices. In order to articulate this hypothesis, we used the concepts of studium and punctum as formulated by Barthes. In the second section, we seek to define an image as a surface that is not only plane (Didi-Huberman), but also porous. In order to do this, we employ the notion proposed by Rivera that imagined reality could be broken down into an image-wall and an image-hole. The possibility of maintaining a kind of pulsation between these two forms of images brings us back to workshopping and to the impasses that such an undertaking engenders in the sense of keeping oneself either closed or open to new experimentation. Starting with the question of how to interpret the images and texts produced during the workshop, we sought to employ the Freudian concept as the basis of our ethical stance concerning this material. In this sense, we neither analyzed the content of the photos and compositions, nor concerned ourselves with the patients’ biographies. We composed brief essays on each patient’s experience with photography in the workshop. Finally, based on the contributions of Freud and Lacan, in the third section we develop the issue that seems to connect the individual experiences: What is a register? The act of registering implies a loss; and this is a statement that appears in various manners throughout this essay.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-03T12:04:00Z No. of bitstreams: 2 Dissertação - Bruno Coelho Alves - 2015.pdf: 982364 bytes, checksum: 8bb1adfa0ea948a338a23083d0ae14bf (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-03T12:06:02Z (GMT) No. of bitstreams: 2 Dissertação - Bruno Coelho Alves - 2015.pdf: 982364 bytes, checksum: 8bb1adfa0ea948a338a23083d0ae14bf (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-03T12:06:02Z (GMT). No. of bitstreams: 2 Dissertação - Bruno Coelho Alves - 2015.pdf: 982364 bytes, checksum: 8bb1adfa0ea948a338a23083d0ae14bf (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-08-07 / This work aims to present the content of Error-Correcting Codes to teachers, in a way to use this content in their classes. A code representing a particular word or symbol by another word or symbol. This study handle with the error correcting codes, especially that said linears. Thus, the concept of code is disclosed along two examples. The Linear Algebra and Algebra requirements are exposed, handling the concept of nite elds, the de nition of linear space and linear transformation. The error correcting codes, from alphabets de ned in nite elds, allow sending messages, even in noisy channels, they can be interpreted with a lower probability of error. This process is done in linear codes through linear transformations. Hamming codes and Reed-Solomon codes are exemples of linear codes which are showed in this work. After presented the theoretical basis of content, it is proposed a workshop that has as target students from the nal years of High School. This workshop explore some common feature codes, such as the use of check digits and the interpretation of texts by digital machines by zeros and ones. It is hoped that this work can assist the release of some current research topics among teachers and encourage the use of new methodologies for teaching content that is considered di cult and useless to several students of High School. / Este trabalho tem como objetivo apresentar o conteúdo de Códigos Corretores de Erros a professores, de modo que possam utilizá-lo em suas aulas. Um código é a representa ção de uma determinada palavra ou símbolo por uma outra palavra ou símbolo. Este trabalho aborda os códigos corretores de erros, principalmente os ditos lineares. Dessa forma, o conceito de código é apresentado junto a dois exemplos motivadores. Os requisitos de Álgebra e Álgebra Linear são expostos, abordando o conceito de corpos nitos, a de nição de espaço linear e de transformação linear. Os códigos corretores de erros, a partir de alfabetos de nidos em corpos nitos, permitem que o envio de mensagens, mesmo em canais ruidosos, possam ser interpretadas com uma menor probabilidade de erro. Esse processo é feito em códigos lineares através de transforma ções lineares. Os códigos de Hamming e os códigos de Reed-Solomon são exemplos de códigos lineares que são tratados neste trabalho. Após apresentada a base teórica do conteúdo, é proposta uma o cina que possui como alvo os alunos dos anos nais do Ensino Médio. Essa o cina explora alguns códigos comuns, como o uso de dígitos veri cadores e a interpretação de textos por máquinas digitais através de zeros e uns. Espera-se que este trabalho possa auxiliar a divulgação de alguns tópicos atuais de pesquisa entre os professores e incentivar o uso de novas metodologias para ensinar conteúdos que são considerados difíceis e inúteis para vários alunos de Ensino Médio.

Projektets syfte var att undersöka om en handdator kan stödja distriktssköterskans arbete. I rapporten beskrivs hur vi tillsammans med distriktssköterskor har iakttagit i vilka situationer handdatorn kan vara ett hjälpmedel. Om patientjournalen är tillgänglig via handdatorn vid hembesök skulle det styrka de av oss utvalda nyckelorden som representerar distriktssköterskans yrkeskunnande; "seende", lyhördhet, kommunikation, flexibilitet, prioritering, beslutsfattande, dokumentation, framförhållning samt utveckla ett minne och självständighet. I rapporten skriver vi också om hur distriktssköterskorna tillsammans med oss har påverkat utvecklingen av det grafiska gränssnittet i designprocessen. Vi visar med mock-upbilder hur denna process har framskridit och vi pekar på hur viktig användarmedverkan är. Vår studie visar att man med metoder som etnografiska studier, workshops, mock-uparbete och participatory/deltagar design kan få en inblick i ett så traditionellt yrke som distriktssköterskans och se var, när och hu r handdatorn kan användas i den dagliga verksamheten.

Ce travail est constitué de deux parties distinctes et complémentaires : l'une théorique, l'autre fictionnelle. La première partie s’appuie sur l’expérience personnelle de l’auteur en tant qu’écrivain de prose qui débute son parcours dans les années 90 au Brésil pour analyser certains moments-clef de la formation d’un écrivain qui peuvent s'appliquer à d'autres écrivains brésiliens de la même génération, notamment les passages de la lecture à l'écriture, puis du manuscrit au livre et finalement celui de la nouvelle au roman. La seconde partie est intégralement composée du roman inédit intitulé Bariyer. Alliant réflexion et fiction, l'ensemble des deux parties est une tentative de présenter certains éléments participant au processus formateur de l'écrivain, mais aussi le résultat pratique de ce travail. / This work consists of two distinct and complementary parts: one essay and onefiction. The first part analyzes some key moments of the author`s training as a writer ofprose, namely the path from reading to writing, then from the manuscript to thebook and, finally, from the short story to the novel, all of which is based on his personal experience, and applies, to some extent, to a number of Brazilian prose writers of his generation. The second part displays an unpublished novel entitled “Bariyer” that was composed especially for this work. In combining reflection and fiction, the assemblage of these two parts constitutes an attempt to show not only the elements participating in the writer`s training process, but also the actual result of his creative work. / Este trabalho é composto por duas partes distintas e complementares: uma ensaística e a outra ficcional. A primeira tem o objetivo de, a partir da experiência pessoal do autor como escritor de prosa, analisar alguns momentos-chave da sua formação que, em certa medida, podem ser encontrados na formação de um bom número de prosadores brasileiros de sua geração, a saber: o caminho percorrido da leitura à escrita, depois do manuscrito ao livro e, por fim, do conto ao romance. A segunda parte apresenta um romance inédito intitulado Bariyer e composto para este trabalho. Aliando reflexão e ficção, o conjunto destas duas partes configura uma tentativa de mostrar não apenas alguns elementos que participam do processo formativo do escritor, mas também o resultado prático do seu trabalho.

Nos travaux concernent la mise en œuvre de méthodologies pour la résolution de problèmes d’ordonnancement en industries agroalimentaires. Trois nouvelles approches basées sur les algorithmes génétiques, sont proposées pour la résolution de problèmes d’ordonnancement multi-objectifs : les algorithmes génétiques séquentiels (SGA), les algorithmes génétiques parallèles (PGA) et les algorithmes génétiques parallèles séquentiels (PSGA). Deux approches coopératives multi-objectifs en mode relais, SH_GA/TS et SH_GA/SA, hybridant toutes les deux des métaheuristiques de haut niveau, sont par la suite proposées. Un algorithme évolutionnaire et un algorithme de recherche locale sont, dans ce cas exécutés séquentiellement / The purpose of our works is the implementation of methodologies for the resolution of the agro-food industry scheduling problem. Three new approaches based on genetic algorithms are proposed to solve multi-objectives scheduling problems: sequential genetic algorithms (SGA), parallel genetic algorithms (PGA) and parallel sequential genetic algorithms (PSGA). Two high-level hybrid algorithms, SH_GA/TS et SH_GA/SA, are also proposed. The purpose in this hybridization is to benefit the exploration of the solution space by a population of individuals with the exploitation of solutions through a smart search of the local search algorithm

Cette recherche Ante-mortem, à la fois artistique et théorique, tente de démontrer que les expériences collectives du deuil et des rites funéraires, bien que mises à mal en surface par les logiques du capitalisme, n'ont pas complètement disparu et demeurent enfouies dans les interstices mêmes du spectacle. A partir de matériels artistiques, littéraires, psychanalytiques, historiques et politiques, ce travail déroule le fil d'une angoisse commune et rapproche les conduites obsessionnelles à l 'œuvre dans un travail plastique des expressions névrotiques qui traversent la plupart des individus. L'examen de l'atelier polyfonctionnel permettra tout d'abord d'observer les relations nouées entre habitant et habitat et déterminera dans quelles mesures l'idée de notre propre mort et la vaine frayeur qu'elle suscite peuvent stimuler et nourrir le geste créateur. Par ailleurs, entre protocoles sériels, matériaux polymorphes et procédures cathartiques, les créations inscrites dans la lignée de l'art mortuaire seront envisagées comme une « réalité soignante », ce qui permettra alors de préciser le concept de névroplasticienne, avatar de l'artiste comme guérisseur. / This Ante-mortem piece of research - both an artistic and a theoretical attempt - tries to establish that the collective experiences of bereavement and funeral rituals, albeit superficially battered by the logics of capitalism, have not completely disappeared and remain buried within the very cracks of the show. Starting from artistic, literary, psychoanalytical, historical and political materials, this research work unravels the thread of a common dread, it also brings together the obsessional behaviours in a plastic work and the expressions of neurosis that pass through most individuals. Examining the polyfunctional workshop will enable us to look closely at the connections that get established between the home-dweller and the home; it will also determine to what extent thinking about our own death and the pointless fright it arouses can stimulate and sustain the creative gesture. Besides, somewhere between artistic rituals, serial protocols, polymorphic materials and cathartic procedures, some of the creations in the tradition of death representations in art will be examined as a « curing reality », which will then give us the opportunity to specify the concept of the neuroartist, that latest metamorphosis of the artist into a healer.

La présente étude vise à écouter la voix des femmes s’exprimant à travers leurs œuvres, à comprendre leurs motivations, leurs buts et leur place dans le discours littéraire et social ; on cherchera aussi à analyser la réception par les étudiants de la littérature française féminine contemporaine, considérée comme une proposition de lecture digne d’attention en raison de son caractère socialement engagé. Le fait de se demander de quelle façon la littérature française créée par les femmes observe les problèmes auxquels est confrontée la société contemporaine et de quelle manière elle entreprend un dialogue sur ces sujets, montrant par là un intérêt pour l’ordre social et politique, semble élargir avec profit non seulement les perspectives de l’analyse littéraire, mais également l’horizon de la didactique de la littérature. En se penchant sur la création littéraire contemporaine des femmes, on cherche à proposer un tour d’horizon des formes d’engagement et du degré d’intensité avec lequel sont traitées les questions de société dont la problématique influence la situation de l’individu et les communautés qu’il forme, à commencer par la plus petite d’entre elles : la famille. À travers l’œuvre de Claire Castillon, qui puise dans les modèles créés par les femmes écrivains des générations précédentes, nous pouvons observer la façon dont celles-ci entreprennent une réflexion critique sur leur place et leur rôle dans le tissu social, mais aussi sur l’état général de la société dans laquelle elles évoluent. De même, nous voyons quels problèmes de société apparaissent comme les plus sensibles de leur point de vue. Afin de suivre l’évolution de l’écriture féminine et de mieux comprendre sa place actuelle, il est essentiel d’analyser les motifs pour lesquels les femmes ont saisi la plume, notamment depuis la Révolution française, lorsque ces questions de société ont pris une importance particulière dans le discours public, également dans le champ littéraire. / This study aims to listen to the voices of women expressed through their works, to understand their motivations, their goals and their place in the literary and social discourse ; we also seek to analyze the reception by students of contemporary French women's writing considered a reading proposal worthy of attention because of its socially committed character. The fact wonder how French literature created by women observe the issues facing modern society and how she develop a dialogue on these subjects, thereby showing an interest in social and political order which seems to expand profitably not only the prospects of literary analysis, but also the horizon of didactics of literature. By focusing on the contemporary literature of women, it seeks to provide an overview of the forms of commitment and degree of intensity with which are treated the issues of society whose problems affect the situation of the individual and communities that it forms, starting with the smallest one: the family. Through the work of Claire Castillon, which draws from models created by women writers of previous generations, we can observe how women writers undertake critical reflection on the role od women in society, but also the general state of society in which they operate. Similarly, we see which social issus are most essential to their views. To follow the evolution of women's writing and understand its current position, it is important to analyze the reasons why women have seized the pen, especially since the French Revolution, when the social issues have taken a particular importance in the public discourse, also in the literary field.

本研究採經驗敘說內涵的探究，以探究兒童的世界及文化為出發點，將手製娃娃作為對象，透過它的製作經驗來探討其在童年親子關係上之意涵。除從歷史文獻檔案資料中爬梳理解其意涵，主要選取在1993年從臺灣社會中發展的「媧豆兒布娃娃工作坊」參與媽媽為對象，進行其縫製歷程當事人對此經驗敘說內涵的解讀，從中理解詮釋出媧豆兒布娃娃在母親意義世界中的畫面及在童年親子關係之建構。 / This study is to explore the connotation of experience, it is a starting point based on the world of children and culture, the handmade dolls as the object, through its production experience to explore their meaning in the childhood parent-child relationship. In addition to understanding the meaning of the historical documentary information, mainly selected the mothers of participants from the “handfpuppen workshop", which was developed from Taiwan society in 1993, to explore the subject matter and the study. To the sewing process of the parties to this exploring the connotation of experience. Try to understand the handfpuppen in the mother’s world meaning and to construct of the childhood parent-child relationship.