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SIGNA, SARA. "NETosis Dysregulation in Adenosine Deaminase 2 deficiency (DADA2)." Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1080132.
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Introduction: Deficiency of Adenosine deaminase 2 (DADA2) is a monogenic autoinflammatory disorder presenting a broad spectrum of clinical manifestations, including vasculitis, immunodeficiency and hematologic disease. The genetic mutations in ADA2 gene have been associated to an insufficient ADA2 activity leading to reduction in deamination of adenosine to deoxyadenosine, and a consequent accumulation of extracellular adenosine. The pathogenic mechanisms investigated so far have elucidated a skewed polarization from the M2 macrophage subtype to the proinflammatory M1 subtype with an increased production of inflammatory cytokines (TNF-α, Interferon IFN). More recently a chronic neutrophil activation and a dysregulation of NETosis, as process triggered by extracellular Adenosine, inducing TNFα secretion from Macrophages stimulated by NETs, has been implicated in the pathogenesis of DADA2.
Objectives: The aim of the project is to dissect NETosis directly in neutrophils isolated from DADA2 patients and healthy controls (HDs), and to quantify suicidal and vital NETosis induced by several stimuli. To determine if NET epitopes can change depending from the inflammatory microenvironment and if protein composition of NETs is disease specific, we used quantitative proteomics approach to characterize NET proteins, released from neutrophils after different stimuli in DADA2 patients, HDs and nongenetic vasculitis. Moreover, we investigated the mechanisms of NETs removal.
To verify if NETs can influence maturation or inflammatory phenotype of DCs, we characterized peripheral myeloid Dendritic cells (mDCs) and plasmocytoid DCs (pDC) in DADA2 patients and analyzed in vitro moDC maturation and cytokine production in presence of NETs.
Methods: We analyzed and quantified both suicidal and vital NETosis by Imaging Flow Citometry (IFC): neutrophils isolated from peripheral blood from DADA2 patients and HDs were stimulated in vitro with different stimuli (PMA, Adenosine and LPS) to induce NETosis and were analyzed in the ImageStreamXMark II IFC equipped with a MultiMag system. We evaluated also NETs remnants and DNAse in the plasma samples by ELISA assay. We used quantitative proteomics approach to characterize NET proteins, released from neutrophils after different stimuli in DADA2 patients, HDs and nongenetic vasculitis: LC-MS/MS analyses were conducted on Orbitrap Fusion Tribrid mass spectrometer and NET protein quantification was carried out using Label-Free Quantification method.
We isolated monocytes from peripheral blood with microbeads and we generated moDC after culture stimulation with LPS/NETs. On the 7th day we analyzed by flow cytometry the phenotype and the markers of differentiation. Quantification of cytokines was performed by flow cytometry bead array.
Results: We enrolled 14 patients with Adenosine Deaminase 2 deficiency diagnosis who underwent blood sampling at out Center, collecting also plasma samples from further 6 genetically confirmed DADA2 patients enrolled by other Italian Pediatric Rheumatology Units.
Neutrophils from DADA2 show a significant increased suicidal NETosis, identified as nuclear decondensation and Myeloperoxidase (MPO) colocalization with DNA, following PMA stimulation and we observed an increase also with LPS and Adenosine. Then we analyzed vital NETosis, identified as elongated shape of cells, nuclei polarized within the cell and not colocalized with MPO and we found an increased vital NETosis in DADA2 neutrophils. Accordingly, plasmatic levels of circulating nucleosomes (NET remnants) were elevated in patients; DNAse levels were normal but the activity was reduced. We set up experimental conditions for proteomic analysis of NETs, induced by PMA, Adenosine and TNFα, testing two patients, two HDs and two patients with non-genetic vasculitis: in total we identified 1770 proteins among which a hundred of proteins were significantly up or down-modulated in DADA2 NETs compared to controls NETs.
DC phenotype in DADA2 patients result concordant with HD, as well as moDCs cytokine production after LPS stimulation. We observed a stimulatory effect of NETs towards induction of TNF alpha, IL-6 production and IP-10 from moDCs in both HD and DADA2.
Conclusion: Our findings confirm a dysregulation in NETosis process in DADA2 patients, that can be induced by both LPS and adenosine. An increase of vital NETosis was also identified. Proteomic profile of NETs isolated from DADA2 is different from HD and PAN patients: NETs are qualitatively different between HD and DADA2. NETs in DADA2 may therefore interact differently with innate immunity compartment, stimulating DCs to produce citokines, contributing to the typical inflammatory phenotype.
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Myers, John Vincent. "An Exploratory Analysis of the DADA2 and uBiome Pipelines." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555603546669156.
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Bargues, Cécile. "Dada après Dada (années 1930-1940)." Paris 1, 2012. http://www.theses.fr/2012PA010576.
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Pour Jean Arp, Kurt Schwitters ou encore Raoul Hausmann, le propre de Dada serait de se survivre en changeant sans cesse de visage. Cette thèse retrace ce qu'il advient du mouvement dans les années 1930 et 1940. Elle s'attache d'abord à montrer son caractère de transformation permanente en s'appuyant sur les œuvres des dadaïstes se considérant toujours comme tels, ce qui est particulièrement le cas de Raoul Hausmann. Dans un deuxième temps, une étude historiographique, et une analyse des expositions, tant en France qu'aux Etats-Unis, viennent préciser les rapports de Dada avec le champ de l'histoire de l'art. Son rejet (en France) et son intégration progressive (aux Etats-Unis) agissent comme un révélateur des présupposés de la discipline. Par un effet miroir, Dada vient servir un questionnement sur les thèmes constitutifs du discours des historiens de l'art de la période étudiée, qu'il s'agisse du nationalisme, ou du modernisme. Ces deux approches sont imbriquées l'une dans l'autre, les dadaïstes assistant, et participant, à l'historicisation du mouvement.
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Fernandez, Ruben. "Dada /." Title page, contents and foreword only, 1994. http://web4.library.adelaide.edu.au/theses/09ARM/09armf363.pdf.
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Barry, Marie Porterfield. "Lesson 18: On the Dada of Art versus the Dada of War." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/20.
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Nunes, Matheus Marques [UNESP]. "Dada e o riso." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/106291.
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Made available in DSpace on 2014-06-11T19:35:36Z (GMT). No. of bitstreams: 0
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nunes_mm_dr_arafcl.pdf: 852193 bytes, checksum: 4a87b7923e2acc8967a070b0497e7c9a (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O trabalho analisa a ligação entre o riso e as intervenções realizadas por vários artistas ligados ao Dada. Inicialmente buscamos contextualizar o riso enquanto manifestação cultural em diferentes momentos da história. Tentamos destacar, com isso, os seus inúmeros significados culturais. Também analisamos certas características da indústria cultural e as transformações sofridas pelo riso diante das novas modalidades de dominação. Enfatizamos, além disso, as implicações da racionalidade e da tecnologia como formas de ideologia nas sociedades capitalistas mais desenvolvidas. Ressaltamos, finalmente, algumas das principais implicações do riso mercadoria como uma forma privilegiada de manipulação das massas e as contradições entre as atitudes dadaístas e a prática de dominação fomentada pela indústria cultural.<br>This work analyses the connection between laugh and the interventions performed by several artists linked to Dada movement. Initially we try to characterize laugh as a cultural manifestation in different moments of history. With that we try to highlight its several cultural meanings. We also analyze certain aspects of culture industry and the transformations undergone by laugh in face of new forms of domination. Additionally we stress some of the main implications of commodity laugh as a privileged form of manipulation of masses and the contradictions between the dadaist attitudes and the practice of domination stimulated by culture industry.
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Nunes, Matheus Marques. "Dada e o riso /." Araraquara : [s.n.], 2006. http://hdl.handle.net/11449/106291.
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Orientador: Raul Fiker<br>Banca: Valentim Aparecido Facioli<br>Banca: Renato Bueno Franco<br>Banca: Fábio Akcelrud Durão<br>Banca: José Pedro Antunes<br>Resumo: O trabalho analisa a ligação entre o riso e as intervenções realizadas por vários artistas ligados ao Dada. Inicialmente buscamos contextualizar o riso enquanto manifestação cultural em diferentes momentos da história. Tentamos destacar, com isso, os seus inúmeros significados culturais. Também analisamos certas características da indústria cultural e as transformações sofridas pelo riso diante das novas modalidades de dominação. Enfatizamos, além disso, as implicações da racionalidade e da tecnologia como formas de ideologia nas sociedades capitalistas mais desenvolvidas. Ressaltamos, finalmente, algumas das principais implicações do riso mercadoria como uma forma privilegiada de manipulação das massas e as contradições entre as atitudes dadaístas e a prática de dominação fomentada pela indústria cultural.<br>Abstract: This work analyses the connection between laugh and the interventions performed by several artists linked to Dada movement. Initially we try to characterize laugh as a cultural manifestation in different moments of history. With that we try to highlight its several cultural meanings. We also analyze certain aspects of culture industry and the transformations undergone by laugh in face of new forms of domination. Additionally we stress some of the main implications of "commodity laugh" as a privileged form of manipulation of masses and the contradictions between the dadaist attitudes and the practice of domination stimulated by culture industry.<br>Doutor
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Matheson, Neil. "The traumatised male : Dada, surrealism and masculinity." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246594.
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Benjamin, Elizabeth Frances. "The authenticity of ambiguity : Dada and existentialism." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5600/.
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Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study. The five chapters analyse a range of Dada work through a lens of Existentialist literary and theoretical works across the themes of choice, alienation, responsibility, freedom and truth. These themes contribute to the overarching claim of the thesis that Dada and Existentialism both advocate the creation of a self that aims for authenticity through ambiguity.
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Widmaier, Tobias. "Sin(n)copations: ein Kapitel Dada-Musik." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37157.
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Miguel, Luiz Felipe Hadlich. "As garantias dadas ao particular nas parcerias público-privadas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/2/2134/tde-20062013-133627/.
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O presente trabalho tem por objetivo apresentar ao leitor as diversas formas de garantia que poderão ser oferecidas ao particular, pelo Estado, como forma de atraí-lo à contratação de parcerias público-privadas, instituídas em âmbito federal pela lei nº. 11.079, de 30 de dezembro de 2004. A escassez de recursos públicos, culminando com a incapacidade estatal de investir em áreas de sua responsabilidade, fez com que se buscassem novas formas de interação entre os setores público e privado. Contudo, o histórico de mau pagador da Administração Pública brasileira implicou na necessidade de oferecimento de garantias àqueles que irão contratar com o poder público, sem as quais talvez poucos ousassem investir seu capital em atividades nem sempre certamente rentáveis. A proposta é analisar as diversas modalidades de garantias, apontando suas fragilidades e seus aspectos favoráveis, sempre no intuito de mostrá-las viáveis e eficientes. Por fim, algumas sugestões de novas espécies serão apresentadas, aumentando a gama de opções que o administrador terá ao seu alcance quando pretender levar a efeito uma contratação desta natureza.<br>The present work aims at presenting the reader a wide range of guarantees which can be offered to private companies by the State, so as to attract them to contracting public-private partnerships, instituted in federal extent under law number 11.079, dated December 30, 2004. The shortage in public resources, culminating with the incapacity of the State to invest in sectors of its own responsibility, has brought about the pursuit of new ways of interaction between the public and private sectors. Notwithstanding, the fact that Brazilian Public Administration has a history of being a bad payer has implied the need for guarantees to those who will hire the Public Power, taking into consideration that perhaps only a few people will be willing to invest their funds in doubtfully profitable activities. The purpose of this paper is to analyze the various forms of guarantees, pointing out weaknesses and favorable aspects, always targeting on turning them viable and efficient. At last, some other new suggestions will be introduced, enhancing the range of options the administrator may have at reach whenever one intends to put into practice such kind of hiring.
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Lochmann, Erin Megan. "THE ART OF NOTHINGNESS: DADA, TAOISM, AND ZEN." UKnowledge, 2011. http://uknowledge.uky.edu/art_etds/1.
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When examining the art, actions, and writings of Zurich Dadaists it becomes apparent that there is an affinity with Eastern thought, namely Taoism and Zen Buddhism. It cannot be said that Eastern thought directly influenced the artistic production of these Dadaists. However, the philosophy of Dada artists in Zurich mirrors that of Taoism and Zen so strongly that this connection cannot be ignored, although the Western art historical cannon has done just that. Exploring this connection offers a new perspective of Zurich Dada and encourages a reconsideration of the commonly applied label of nihilism to this group of Dadaists.
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Winskell, Samantha Kate. "Dada and Russia : Zurich and Berlin, 1915-1922." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294791.
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Lewer, Deborah Claire. "Dada in Zurich 1916-1920 : ideology and practice." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322020.
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Kunesova, Mariana. "L'absurde dans le théâtre français Dada et présurréaliste." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30010/document.
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L’objectif de cet essai est d’interroger l’absurde en tant que catégorie esthétique dans le théâtre Dada et pré-surréaliste français, entre 1916 et 1923, et ce dans trois textes : La Première aventure céleste de Monsieur Antipyrine, de Tristan Tzara (1916), S’il vous plaît, d’André Breton et Philippe Soupault (écrit en 1919) et Les Mystères de l’amour, de Roger Vitrac (écrit en 1923).L’absurde en tant que catégorie de théâtre a été notamment interrogé à la moitié du siècle dernier par le critique de théâtre britannique Martin Esslin, auteur de la conception d’un « théâtre de l’absurde », mise en place afin de caractériser et d’expliquer l’oeuvre des avant-gardes contemporaines. Cette contribution jouit à la fois d’une grande popularité et a été l’objet de vives critiques, qui la qualifient d’imprécise sinon vague. À ce titre, la présente thèse, afin de définir l’absurde, ne reprend pas les propositions de M. Esslin, mais s’efforce de procéder de manière indépendante. Dans la conclusion, elle effectue une comparaison avec la conception de cet auteur.La première section de cette thèse définit l’absurde en tant qu’une catégorie esthétique et de théâtre ; puis, elle s’intéresse à l’évolution de l’absurde esthétique (formulé comme tel ou intuitif) dans l’histoire du théâtre, notamment en France dans la période postclassique. La deuxième section étudie l’absurde dans le corpus concerné en examinant les structures narratives ainsi que discursives<br>The aim of this doctoral dissertation is to analyze the absurd as an aesthetic category in French Dada and pre-surrealist theatre between 1916 and 1923, dealing with three texts : La Première aventure céleste de Monsieur Antipyrine by Tristan Tzara (1916), S’il vous plaît, by André Breton et Philippe Soupault (written in 1919) and Les Mystères de l’amour by Roger Vitrac (written in 1923).The absurd as a theatre and drama category was examined especially at the half of the last century by the British drama critic Martin Esslin, author of the conception of the ‘theatre of the absurd’, created in order to caracterize and explain the avant-garde theatre of the 1950´s. This contribution has reached both popularity and deep critics, being considered as poignant as well as imprecise and vague. Thus, this dissertation does not use M. Esslin´s propositions as its starting point, bur attempts to define the category of the absurd in drama and theatre independently. In the conclusion, it proceeds to a comparison with M. Esslin´s contribution.The first chapter of the thesis defines the absurd as an aesthetic and theatre category. Then, it observes the evolution of the aesthetic absurd (named as such or intuitive) in theatre history, before all in France of the post-classical period. The second part analyzes the absurd elements in my corpus, as regards narrative and also discursive structures
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horas, Noticiero 24. "Carlos Adrianzén cuestiona cifras de crecimiento económico dadas por Gobierno." Panamericana Televisón, 2016. http://hdl.handle.net/10757/611838.
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Morel, Maxime. "Histoire du surréalisme au temps du surréalisme : essai d'historiographie (1921-1941)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H044.
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Ce travail a pour objet l'histoire du surréalisme pendant l'entre-deux guerres (1921-1941 ). À travers l'étude de nombreuses revues d'époque et des écrits d'André Breton, de Georges Hugnet, de David Gascoyne, il s'agit de mettre en lumière la façon dont les surréalistes se sont faits les acteurs de leur propre histoire. Cette construction mémorielle, parfois critiquée par certains surréalistes (notamment René Crevel), explique sans nul doute les tensions et les conflits qui agitent le groupe. Durant les années 1930, nombreux sont les historiens de l'art et écrivains à assister et à commenter la formation du groupe surréaliste. Le rôle de Christian Zervos, celui de René Huyghe et de Marcel Raymond est évoqué, tout comme les apports plus marginaux de Carl Einstein, de Benjamin Fondane et de Walter Benjamin. Ce processus de réification d'un mouvement qui entend écrire sa propre histoire n'a pas pour seul théâtre la France et l'Europe. Plusieurs historiens de l'art, marchands et galeristes américains ont joué un rôle capital dans la reconnaissance du surréalisme. Les écrits de James Thrall Soby, de James Johnson Sweeney tout comme les initiatives d'Alfred Barr ou de Julien Levy ont été sondés et interrogés pour bien montrer la dimension planétaire du mouvement<br>This work is dedicated to the history of surrealism du ring the inter-war period (1921-1944). Through the study of many periodicals and the writings of André Breton, Georges Hugnet, David Gascoyne, it highlights how surrealists have made themselves the actors of their own history. This memorial construction, sometimes criticized by some surrealists (especially René Crevel), undoubtedly explains the tensions and conflicts that shake the group. Du ring the 1930s, many art historians and writers attended and commented on the formation of the surrealist group. The role of Christian Zervos, René Huyghe and Marcel Raymond is evoked, as are the more marginal contributions of Carl Einstein, Benjamin Fondane and Walter Benjamin. This process of commodification of a movement that intends to write its own story does not only take place in France and in Europe. Many American art historians, merchants and galleries have played a major role in recognizing surrealism. The writings of James Thrall Soby, James Johnson Sweeney, as well as Alfred Barr or Julien Levy's initiatives show the planetary dimension of the movement
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Delfiner, Judith. "Le renouveau de Dada aux États-Unis, 1945-1957." Paris 1, 2006. http://www.theses.fr/2006PA010584.
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Cette recherche envisage le renouveau de Dada dans l'art américain, sa genèse et ses manifestations, de l'après-guerre à la fin des années 1950, développement élaboré dans l'ombre de l'expressionnisme abstrait et qui n'apparut au grand jour qu'au cours de la décennie suivante. Dada y est abordé moins comme un mouvement que comme un principe, dont la réactivation au lendemain de la Seconde Guerre mondiale donna lieu à une production singulière. Sur la côte Est, le Black Mountain College semble avoir été le creuset de ce phénomène en accueillant les esprits les plus novateurs de l'époque, notamment John Cage autour duquel se forma très rapidement un petit cercle composé de Merce Cunningham, Robert Rauschenberg et Jasper Johns, d'où émergea une nouvelle sensibilité qualifiée de « néo-Dada» dès 1957. Questionnant les limites entre l'art et la vie, ils opérèrent un décloisonnement des genres artistiques et renouèrent singulièrement avec les pratiques du ready-made, de l'assemblage et de la performance. Parallèlement, de jeunes artistes s'engageaient dans une voie similaire en Californie. À Los Angeles, Wallace Berman et George Herms devenaient les pionniers d'un nouvel art de l'assemblage empreint de spiritualité et marqué par la poésie et le jazz, tandis qu'à San Francisco, Jay DeFeo, Wally Hedrick, Bruce Conner et Jess se révélaient les figures les plus marquantes d'une scène artistique expérimentale largement inspirée de Dada. L'examen des interactions entre ces deux pôles ainsi que la question de l'identité du renouveau de Dada aux États-Unis occupe le dernier temps de ce parcours qui s'achève par une réflexion autour de la notion problématique de « néo-avant-garde ». 1
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Perestrelo, Maria Natália de Oliveira Santos Fadigas. ""De mãos dadas" combate ao isolamento social no Concelho de Tavira." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/15013.
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A sociedade atual caracteriza-se pelo envelhecimento demográfico, que se traduz pela alteração da estrutura das pirâmides etárias, refletindo o envelhecimento da população. Constata-se que à medida que os anos avançam, o círculo de relações dos idosos fica cada vez mais reduzido e consequentemente a rede de apoio informal vai-se esgotando. Esta realidade vem colocar à sociedade em geral, desafios decorrentes destas novas necessidades sociais e de saúde, que exigem respostas mais adequadas no sentido de promover o envelhecimento saudável através da prevenção do isolamento social e a solidão da pessoa idosa.
Este relatório pretende dar a conhecer as estratégias e atividades encontradas, no sentido de minimizar o impacto do isolamento social em utentes idosos e muito dependentes acompanhados pela Equipa dos Cuidados Continuados Integrados no concelho de Tavira, mediante a implementação do projeto” De Mãos Dadas”, que tem como base o estabelecimento de parcerias, nomeadamente, o recurso a um núcleo de voluntariado de proximidade com competências ao nível da atitude e comunicação, assentes numa perspetiva biopsicossocial; ABSTRACT: In our days, society is characterized by an aging population, which translates the change in the structure of the population pyramid, reflecting the aging population. It appears that as the years advance, the circle of acquaintances of the elderly is increasingly reduced and consequently the informal support network will be depleted. This reality has put society at large, challenges arising from these new social and health needs that require more adequate responses to promote healthy aging by preventing social isolation and loneliness of older people. This report seeks to present the strategies and activities found in order to minimize the impact of social isolation in elderly users and highly dependent accompanied by Continuous Care Team of the municipality of Tavira, through the implementation of the project “Holding Hands” which is based on the establishment of partnerships, including the use of a core volunteer proximity with skills in communication and attitude, based on a biopsychosocial perspective.
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Schultz, Deborah. "Marcel Broodthaers : strategy and dialogue." Thesis, University of Oxford, 1999. https://ora.ox.ac.uk/objects/uuid:7d6dbff1-7cf0-4187-8ba8-6940192f4824.
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This thesis examines the work of Marcel Broodthaers (1924-76). It analyses why and how he became an artist, and considers his witty and ironic strategy for success. It explores his relationship with his contemporaries and predecessors, in 19th century French poetry, Surrealism, Pop and Conceptual Art. By making a conscious decision to become an artist, Broodthaers responded to, and commented upon, dominant movements of the period. He constantly referred to other artists and poets, for example Mallarmé, Baudelaire and Magritte, thereby bringing 19th century themes into the 20th century. In drawing upon his own background as a poet, he developed word-image and word-object concepts initiated by Magritte. In turn, these related to a use of language in what later became known as Conceptual Art. This thesis provides a broad analysis of Broodthaers' work as a whole. It examines his questioning approach, and his rejection of conventional definitions to demonstrate their instability. By discussing his poetry and early writings, his objects, museum, and later retrospective exhibitions or Décors, I have aimed to show how the different areas of his practice both interrelated and combined the material with the poetic. I have examined Broodthaers' focus upon the relationship between objects (also central to Structuralist theories) and the importance of the context in which objects exist, whereby he questioned Duchamp's assertion of the power of the artist or museum to define objects as art. A focus upon the relationship between things also informs the artistic context, or dialogue, into which Broodthaers entered, as well as the geographical context he explored via maps, notions of the voyage, and a sense of place. The artist's political position and moral responsibilities in society are discussed by analysing the responses of Broodthaers, Buren, Beuys and Haacke to a series of events in the early 1970s.
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Albert, Dada Aishe [Verfasser], and T. [Akademischer Betreuer] Stief. "Thrombin Generation by Gentamicin / Dada Aishe Albert. Betreuer: T. Stief." Marburg : Philipps-Universität Marburg, 2014. http://d-nb.info/1051935040/34.
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Lara, Sara Veloso. "No limiar do ethos do enunciador e do ator do enunciado no drama político O último rei da Escócia e no documentário-verdade General Idi Amin Dada: um autorretrato." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-29062015-145116/.
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Nesta dissertação, investimos na depreensão e no cotejo dos ethé das instâncias dos enunciadores e dos atores do enunciado de duas totalidades fílmicas: o subgênero drama político, O último rei da Escócia, dirigido pelo norte-americano, Kevin MacDonald, em 2006, e o documentário-verdade, General Idi Amin Dada: um autorretrato, dirigido pelo francês Barbet Schroeder, em 1974, na perspectiva da Semiótica francesa. Os enunciadores correspondem ao simulacro de sujeito dos cineastas, em conjunção com roteiristas, operadores de iluminação e de som; e os atores do enunciado correspondem ao simulacro de sujeito de Idi Amin Dada nos filmes. Entende-se o ethos na visada da Semiótica narrativa e discursiva, como um modo recorrente de fazer e ser, depreensível por meio de um percurso gerativo de sentido. As ações dos sujeitos ligadas ao fazer oscilam devido à influência das grandezas, intensidade e extensidade, que os aspectualizam, por meio do olhar do observador, representado pelos espectadores, cujas percepções são temporalizadas, controladas pelo andamento, princípios advindos da Semiótica tensiva. Os ethé dos enunciadores estão diretamente relacionados aos recursos fílmicos: tipos de plano, enquadramentos, tipos de ângulo, movimentos de câmara, iluminação, efeitos sonoros. Todos esses elementos também participam da composição dos ethé dos atores, acrescidos dos elementos corporais, como: gestos, expressão facial, olhar e forma de se mover no espaço. Pautando-nos nos trabalhos de Yuri Lotman (1978), Greimas e Courtès (1979; 2008), Elizabeth Harkot-de-La-Taille (2004; 2008), Norma Discini de Campos (2009; 2006) e Fiorin (2008), analisamos os recursos fílmicos e gestuais, cujas significações erigem da combinação do plano do conteúdo e do plano da expressão, submetidos à percepção dos espectadores. Para tanto, elencamos três cenas emblemáticas de cada filme. Primeiramente, nós as cotejamos separadamente em cada obra, a fim de verificar a possibilidade de convergência ou divergência entre o ethos do enunciador e o do ator do enunciado. Em seguida, cotejamos os dois filmes, a fim de verificar o grau de convergência ou divergência entre os ethé dos enunciadores e entre atores com os estilos dos subgêneros.<br>In this dissertation, we observe and compare the ethos of the enunciators and the actors of enunciation of two movie subgenres: the political drama The last king of Scotland, directed by the North American filmmaker Kevin McDonald (2006), and the documentary General Idi Amin Dada: a selfportrait (1974), directed by the French filmmaker Barbet Schroeder, from the perspective of French Semiotics. The enunciators correspond to the simulacrum of the subjects responsible for the movie: filmmakers, screen players, sound editor, photography etc; and the actors of the enunciation correspond to the subject Idi Amin Dada. Ethos in the perspective of narrative and discursive semiotics is understood as resulting from repetitive ways of doing and being, which are recognized in the generative process of meaning. The actions of the actors, which are related to the way of doing, vary according to the influence of two valencies: intensity and extensity, which aspectualize them through the viewers gaze, represented by the spectators, whose perceptions are time-measured and controlled by the pacing, principle derived from tensive Semiotics. The ethos of the enunciators is apprehended from the filmic elements: types of plan, framing, angle, camera movements, lighting, sound effects and body elements: gestures, facial expression, gaze and movement in space. Based on the works of Yuri Lotman (1978), Greimas and Courtès (1979), Elizabeth Harkot de-La-Taille (2004), Norma Discini de Campos (2009; 2006), Fiorin (2004; 2008), we perform an analysis of filmic and gestural features of three emblematic scenes in each movie, whose meanings come from the combination of the content and the expression plan submitted to the perception of viewers. Firstly, we compare them separately in order to verify the possibility of convergence or divergence between the ethos of the enunciator and the actor. Then we compare both films in order to verify the degree of convergence or divergence between the ethos of enunciators and the style of each subgenre.
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Varadarajan, Malini. "The localization of rnp-4f and dADAR mRNA isoforms during Drosophila embryonic development." Miami University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=miami1155906454.
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Fuenzalida, Caro Barbara Bia. "Pronóstico de efectividad de promociones sobre clientes, dadas sus características y respuestas pasadas." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/111506.
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Ingeniera Civil Industrial<br>El presente trabajo se realiza en el contexto de la industria del retail, que tiene por principal dificultad entender las preferencias de sus clientes, dificultando la gestión eficiente y correctamente dirigida de sus iniciativas de marketing, particularmente promociones de descuento. Una segunda dificultad enfrentada por la industria es la complejidad de evaluar correctamente los efectos de dichas iniciativas dado que generalmente su proceso de asignación no es aleatorio.
El objetivo del trabajo es establecer un método de pronóstico de la respuesta del cliente al ser expuesto a promociones, agregando a la información actualmente utilizada su respuesta a ofertas pasadas, de manera de reducir las pérdidas de ganancia de los retailers.
La metodología a utilizar se basa en la aplicación de un modelo estimador de efectos causales ad hoc a la naturaleza no aleatoria de los datos llamado Modelo Causal de Rubin con Enfoque Predictivo, el cual mediante el cálculo de la propensión que presentan los clientes a ser expuestos a la promoción llamado Propensity Score contrasta la respuesta de consumidores comparables, reflejando el efecto incremental de la presencia de la intervención. Al modelo se le puede dar un enfoque predictivo si se considera que los clientes no cambian su comportamiento en el tiempo. Además se plantea un modelo propio basado en los principios de Rubin que permite reconocer clientes que si bien no es posible asegurar que compran el producto a consecuencia de la promoción, su intención de adquirirlo no es independiente de la presencia de un cupón de descuento.
Entre los resultados se encuentra que la inclusión de las respuestas a ofertas pasadas de los consumidores mejora en un 23,6% el pronóstico de su respuesta actual. Por otro lado el 72% de los clientes no manifiesta cambios en su comportamiento de compra inmediato producto de la intervención, siendo las únicas variables que presentan influencia significativa sobre dicha decisión aquellas referentes a la marca del producto ofertado, la respuesta a promociones a las cuales fueron expuestos el trimestre anterior a la intervención y su comportamiento de compra en el mismo período. Además se identifican dos tipos de clientes, aquellos a quienes una alta exposición a promociones de características comunes incentiva el imprimir y utilizar cupones de descuento y aquellos a los cuales dicha exposición deteriora su propensión a manifestar estos dos comportamientos. Finalmente el modelo propio propuesto es capaz de reconocer al 80,6% de los clientes que según el Modelo de Rubin sí es influenciable por promoción.
Se concluye que el actual sistema de evaluación de promociones sobrestima los efectos reales de la intervención sobre los consumidores en MM$ 1,2 por promoción, siendo más riguroso el modelo de estimación de Efectos Causales de Rubin. Por otro lado se tiene que el modelo propio propuesto, si bien no iguala el porcentaje de identificación de clientes influenciables del modelo recién mencionado, su superioridad en eficiencia lo hace el más indicado para la aplicación en el retail estudiado, además de superar en precisión al actual sistema de asignación de promociones que podría significar una disminución de la perdida de aproximadamente MM$ 72.
Finalmente se sugiere a la empresa evaluar el trade off entre costos y resultados más reales que plantea continuar usando el actual modelo de evaluación de promociones versus el uso de Modelo Causal de Rubin de manera de utilizar el que mejor se ajuste a sus prioridades. Además se sugiere utilizar el modelo de pronóstico propio planteado para dirigir promociones de productos con niveles de demanda poco clara, evitando desarrollar iniciativas en aquellos con demanda alta. Por último se propone automatizar el modelo de pronóstico propuesto, además de incluir en él mediciones de la percepción que los clientes tienen respecto a promociones.
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Forster, Iris. "Die Fülle des Nichts : wie Dada die Kontingenz zur Weltanschauung macht /." München : m Press, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=013145336&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Noury, François. "Duchamp, le regardeur et la scène de l'art : un théâtre dada." Paris 8, 2006. http://www.theses.fr/2006PA083675.
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Dada naît sur scène, en cet instant où le poème simultané, dans l’entrelacement imprévisible des voix des acteurs et des spectateurs, dissout la mise à distance signifiante de la représentation au profit d’un autre type de rencontre. Par ailleurs, Marcel Duchamp, fidèle sa vie durant à l’esprit dada, propose dans sa dernière œuvre, « Étant donnés : 1° la chute d’eau, 2° le gaz d’éclairage », un dispositif dont la théâtralité énigmatique invite le regardeur à faire l’expérience de cet autre rapport à l’art. La recherche présente consiste en une approche simultanée du théâtre dada et de la dernière œuvre de Duchamp, visant une éthologie de la rencontre dada. Cette approche théorique est elle-même simultanée à une expérimentation théâtrale effectuée avec des étudiants du département théâtre de l’Université Paris 8 et dont témoigne un film ainsi qu’un recueil de manifestes théâtraux inspirés par dada.
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Arfouilloux, Sébastien. "La musique, entre pratiques et théorie littéraire, de Dada au surréalisme." Paris 4, 2007. http://www.theses.fr/2007PA040061.
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Cette étude met à l’épreuve des faits les déclarations théoriques de Dada et du surréalisme sur la musique en proposant de les relire dans leur contexte historique et culturel. Il s’agit de voir en quoi la musique a un rôle à jouer dans le surréalisme, compte tenu des textes qui annoncent un refus, et de mesurer l’écart entre la théorie annoncée et les réalisations menées à bien. Prenant comme point de départ les spectacles et les théories musicales de l’avant-garde de l’époque dada, qui portent en germe ce que sera le surréalisme, elle examine ensuite l’ensemble des déclarations d’André Breton sur la musique. Elle met enfin en doute l’idée qu’il n’y a pas eu de surréalisme musical. Loin du postromantisme, à l’écart du retour au classicisme de la France au début du vingtième siècle, de nouvelles musiques s’élaborent. Certaines nouvelles tendances musicales sauront retenir l’attention des poètes surréalistes et constituer une inspiration. D’autres seront impulsées par des compositeurs ayant partie liée avec le mouvement surréaliste<br>This study puts to the test facts the theoretical declarations of Dada and surrealism about music, proposing to read them again in their historical and cultural context. It is about to know in what music has a role to play into surrealism, taking into account the texts that announce a refusal, and to measure the difference between the announced theory and the achievements concluded. Taking as starting point the spectacles and the musical theories of the avant-garde of the time of Dada, which carry in germ what will be surrealism, it examines then the whole of the declarations of Andre Breton on the music. It finally questions the idea that there was no musical surrealism. Far from the postromantism, well off the return to the classicism of France at the beginning of the twentieth century, new musics are worked out. Certain news musical tendencies will be able to hold the attention of the surrealist poets and to constitute an inspiration. Others will be impelled by composers having dependent part with the surrealist movement
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Andrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
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This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.
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Antoine, Vincent. "Théâtre et théâtralité du mouvement Dada : mise en scène d'une subversion." Montpellier 3, 2001. http://www.theses.fr/2001MON30041.
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Montabord, Karine. "Dada et la danse : dans les interstices de l'interdisciplinarité (1913-1924)." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2023. http://www.theses.fr/2023UBFCH032.
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Cette étude s’appuie sur le fait que la danse, même si sa présence n’est pas uniforme, est une constante dans les événements dada. La recherche s’est intéressée à la rencontre, à Zurich, entre les dadaïstes, l’École de danse de Rudolf Laban et de Mary Wigman, en revanche, la danse n’a jamais fait l’objet d’une étude plus globale, prenant en compte d’autres foyers dada. Cette thèse étudie les événements survenus entre 1913 et 1924 dans les quatre foyers dada principaux, New York, Zurich, Berlin et Paris, ainsi qu’à Genève et lors de la Tournée Dada aux Pays-Bas. Elle est soutenue par un questionnement en deux temps : un premier consacré à son identification (qui danse, quoi, quand, et pourquoi ? quel statut de la danse dans les soirées ?) et un second qui s’intéresse à l’impact de sa présence sur la production artistique des dadaïstes, notamment dans les arts visuels. La danse n’est donc pas considérée de manière isolée mais en relation avec les autres activités dada, afin d’envisager le dialogue interdisciplinaire. Les dadaïstes se rencontrent dans les cafés, les salons privés, les salles de spectacle, les bals et dancings. La danse fait partie du quotidien des artistes, elle est donc abordée dans un premier temps comme une pratique sociale et sous l’angle du divertissement, c’est-à-dire, à la fois le loisir mais également le détournement des formes d’expression et du format de la soirée-spectacle. La danse est aussi envisagée comme un médium favorisant les explorations interdisciplinaires, des expériences kinesthésiques que les plasticiens peuvent transposer dans leurs œuvres, ceci grâce à l’identification d’éléments communs à la danse et aux arts visuels. À partir de là, sont examinées les traces de la danse, sous forme de sujet, mais surtout de métaphore. Enfin, les dadaïstes appellent au renouvellement des matériaux de l’art. Or, lors des soirées, le corps se présente comme un matériau immédiatement disponible pour les artistes. L’intérêt porté à la matérialité et à la plasticité du corps constitue donc encore une entrée vers la danse<br>The backbone of this study is the fact that dance, even if not continuous, is a constant in dada events. Past researches focus on the meeting in Zurich, between the dadaists, Rudolf Laban dance school and Mary Wigman, however dance itself has never been the central point of a global study, taking into account a larger group of Dada locations. This thesis studies the events that took place between 1913 and 1924 in the four major hearts of Dada : New York, Zurich, Berlin and Paris as well as Geneva and the Dada Tour in the Netherlands. The argument of this work is approached from two angles: first, an emphasis on identifying (who dances, what, when and why? How does dance take place in the events? ) and second, putting the emphasis on the impact that dance within the dada movement had on artistic production, especially for the visual arts. Dance is not approached as an isolated event but instead is linked with other dada activities, in the context of an interdisciplinary exchange. Dadaists meet in cafes, private lounges, concert halls and ballrooms, dance is part of their everyday life and is thus approached initially as a social practice, as entertainment meaning leisure but also the diversion of forms of expression. Dance is also used as a medium favoring interdisciplinary exploration, kinesthetic experiences that artists can then transpose in their works, thanks to common elements between dance and visual arts. Thereafter, the traces of dance can be explored, as a subject as well as a metaphor. Finally, dadaists call for a renewal of the materials of art. However, during the events, the body is seen as a crucial material, readily available for artists. Hence, the interest taken in materiality and plasticity of the body also establishes a path towards dance
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Haugstad, Bjørn. "Strategy as the intentional structuration of practice : the translation of formal strategies into strategies-in-practice." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:91e71808-dad2-4532-87e5-e2380d5d17ad.
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Acknowledging the difficulties of achieving effective strategic management in practice, this thesis investigates how formal strategies quite often succeed in conditioning organisational actions even in firms such as professional service firms, which may lack effective measures for coercing action and which often depend on distributed decision-making. The fundamental question posed in this investigation is: what are the social processes that make strategies work? This thesis addresses that question by contributing to our understanding of strategy realisation as a continuing process of translating formal strategies into ‘strategies-in-practice’, i.e. the situated performance of strategies through choices, actions, and practices pertaining to the selection and accomplishment of concrete assignments. The thesis investigates this translation process in three small professional service firms, in which the responsibility for enacting the strategies lies with autonomous practitioners, making centralised strategy realisation difficult. Searching for integration rather than further fragmentation of different strands of strategy research, the thesis make use of Porterian activity systems theory, Giddens’ structuration theory, Wittgensteinian theory of rule-following, Searlean theory of intentionality, and the strategy-as-practice approach, in order to understand the translation process as the intentional structuration of practice. The thesis reports two main contributions, the first addressing a gap in strategy re-search, the second contradicting prevailing theories. The first contribution is an outline of a theory of strategy translation: how formal strategies are translated into strategies-in-practice, coping with insoluble strategic dilemmas, and achieving maintenance of strategic position and strategies-in-practice under pressure for unwanted change. Good strategies-in-practice are as much about managing dilemmas as about eliminating them. Second, in contrast to prevailing strategic positioning theory and generic strategies, this study documents the potential benefits of straddling strategically distinct services within a single activity system, in terms of: learning opportunities; work variation; better opportunities for attracting, developing, and retaining talented people; the possibilities of capitalising on client relationships; and the dynamics of routinisation of once-novel services.
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Nédélec, Marine. "De l'incohérence à l'humour, Dada et le surréalisme dans le miroir de la presse : réception et diffusion de Dada et du surréalisme par la presse française (1920-1927)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H084.
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Que reste-t-il encore à examiner de Dada et du surréalisme, quasiment cent ans après leur naissance ? Malgré les multiples études déjà existantes, certainement beaucoup de choses, à commencer par les réactions de leurs contemporains. Car si la réception de Dada, puis surtout du surréalisme, a suscité des analyses, ce vaste champ de recherche demeure encore en grande partie à explorer. Cent vingt-six titres ont été ici consultés parmi la presse française des années vingt, afin d’observer la réception de Dada et du surréalisme. L’analyse des articles a fait émerger des thématiques, qui ont construit la structure de cette thèse. La première partie montre comment Dada et dans une moindre mesure le surréalisme ont été perçus comme incohérents, absurdes et donc incompréhensibles. En cherchant à expliquer les raisons de l’incohérence dadaïste, cette partie glisse vers la notion d’hermétisme. De là, la seconde partie s’attelle à analyser l’humour Dada à travers les mystifications, puis le rire joyeux qui tourne à l’offensive et au tragique. En faisant dialoguer les avis de critiques les uns avec les autres, ce travail permet de replonger ces avant-gardes dans leur époque. S’y dévoile leur histoire, mais aussi en filigrane les préoccupations des années vingt. En outre, cette étude fait émerger les filiations dans lesquelles la presse a inscrit les deux mouvements : du romantisme au futurisme, en passant par le symbolisme, les Arts Incohérents, l’impressionnisme, le postimpressionnisme, le cubisme ou encore les Humoristes<br>What is left to examine about Dada and the Surrealism almost a hundred years after the birth of these movements? Numerous studies have dealt with the subject, yet the reactions of their contemporaries have still to be explored. If Dada’s and the Surrealism’s reception among the public has been touched upon by scholars, it remains an unexplored aspect of these movements. This thesis relies upon the analysis of a hundred and twenty-six titles from the 1920’s French press in order to fill this gap by exploring the reception of Dada and Surrealism. The structure of this thesis has been built upon the themes found in the press articles. The first part shows how Dada and to a lesser extent Surrealism have been perceived as incoherent, absurd and thus unintelligible. By trying to explain the reasons of this Dadaist incoherence, this first part touches upon the notion of hermeticism. Then, the second part analyses Dadaist humour through its mystification and laughter which often turns to be offensive and tragic. By cross-reading the various critical assessments of these two movements, this thesis allows us to put back these avant-guardes in their own historical contexts. It unveils their history which is underlined by the concerns of the 1920’s. in addition, the analysis of their reception enables us to insert these two movements in a cartography of references which goes back to the Antiquity, continues in the Middle Ages, expands in the 19th century and comes to an end in the beginning of the 20th century. Therefore, Dada and Surrealism have been read and evaluated in relation to artistic and literary history, from Romanticism to Futurism, right through Symbolism, Incoherent Arts, Impressionism, post-Impressionism, Cubism and the Humorists
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Rodrigues, Carina Miguel Figueiredo da Cruz Rosa. "Palavras e imagens de mãos dadas: a arquitetura do álbum narrativo em Manuela Bacelar." Doctoral thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/10586.
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Doutoramento em Literatura<br>É objetivo da presente investigação a análise sistemática do álbum narrativo
infantil, mais concretamente, da obra escrita e ilustrada por Manuela Bacelar,
numa leitura dialógica das suas componentes linguística e pictórica. Partindo
de um conspecto teórico-crítico do conceito e da caracterização do álbum
enquanto género maior da literatura, o estudo centra-se no exame técnicocompositivo
do corpus, procurando indagar alguns dos traços e/ou dos
recursos formais, retórico-estilísticos e ideotemáticos que singularizam a obra
desta premiada artista plástica, assentando em algumas das modernas
correntes literárias (e.g., a intertextualidade e a metaficção) que a inscrevem
numa estética pós-modernista. As repercussões práticas do contacto precoce
com o álbum e os seus contributos na promoção de comportamentos
emergentes de literacia são analisados num estudo de caso que a
investigação contempla. Analisando a interação entre as vertentes textual e
icónica sublinha-se a especificidade de um género que aposta na
narrativização como forma de aproximar a criança do universo plástico e
literário.<br>The aim of this thesis is to provide a systematic analysis of the narrative
picturebooks (or picture storybook) of the author illustrator Manuela Bacelar –
an analysis derived from a dialogical reading of the linguistic and pictorial
components. The study begins with a critical overview of the concept and
characterization of the picturebook as one of the greatest forms of literature.
Relying upon modern literary currents (e.g., intertextuality and metafiction) to
be found in a postmodernist aesthetic, it examines the corpus, from both a
technical and compositional point of view, seeking to investigate some of the
traits and / or formal resources, rhetorical, stylistic and thematic, that
distinguish the work of this awarded artist. To contemplate the practical
implications of early contact with picturebooks and their possible contribution to
emergent literacy behaviours, a case study is described. By analysing
interaction with the textual and iconic aspects of these picturebooks, it
highlights how the specificity of a form that relies upon the narrative process
can bring a child closer to the illustrated and literary universe.
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Martins, Marcos Henrique Santos. "A interpretação global de propriedades figurais no esboço de curvas dadas por equações paramétricas." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/176711.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação Científica e Tecnológica, Florianópolis, 2016.<br>Made available in DSpace on 2017-06-27T04:13:25Z (GMT). No. of bitstreams: 1
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Previous issue date: 2016<br>A aprendizagem em Matemática se constitui de atividades cognitivas que requerem a compreensão e manipulação dos seus variados sistemas de representação. Entre esses sistemas temos as chamadas representações algébricas e as suas correspondentes representações gráficas. Neste contexto, estamos então nos referindo a formas diferentes de representação de um mesmo objeto matemático. Ao visualizarmos um gráfico, muitas vezes não nos damos conta que este nada mais é que uma relação, comparação entre duas ou mais grandezas representadas de tal forma que, visualmente, podemos perceber informações que denotam uma série de características em relação ao objeto representado, sendo que para esse gráfico tomar forma, se faz necessário que essa relação tenha uma representação na forma algébrica, podendo esta ser escrita também de maneiras distintas. Este trabalho se refere à utilização da interpretação global de propriedades figurais proposta por Raymond Duval em sua Teoria dos Registros de Representação Semiótica, aplicada ao esboço de curvas planas. Primeiramente, é feito um detalhamento sobre alguns estudos já realizados a respeito de curvas planas, representantes de funções e cujas equações (representações algébricas) são dadas cartesianamente em sua forma explícita. Em seguida apresentamos uma proposta para curvas planas dadas por equações paramétricas, independentemente de estas representarem ou não funções . Levando em consideração as operações cognitivas de tratamento e conversão, a interpretação global de propriedades figurais foi realizada no âmbito do entendimento das variações visuais (registros gráficos) e suas correspondentes variações simbólicas (registros algébricos). As curvas paramétricas analisadas se referem às retas e parábolas, onde propomos a utilização do software Geogebra com a finalidade de facilitar a obtenção de seus registros gráficos a partir de suas equações paramétricas, visto que a construção em si das referidas curvas foge ao foco deste trabalho.<br><br>Abstract : Learning in Mathematics is composed of cognitive activities that require understanding and manipulation of its various systems of representation. Among these systems have the so-called algebraic representations and their corresponding graphical representations. In this context, then we are referring to various forms of representing the same mathematical object. To visualize a graphic, often we do not realize that this is nothing more than a relationship, comparing two or more quantities represented in such a way that visually we can see information that show a number of characteristics in relation to the object represented, and that for this chart take shape, it is necessary that this relationship has a representation in algebraic form, which may also be written in different ways. This work relates to the use of global interpretation of figural properties proposed by Raymond Duval in his Theory of Semiotics Representation Registers, applied to the sketch plane curves. First, it is done a breakdown of some previous studies on plane curves, representatives of functions and whose equations (algebraic representations) are given cartesianly in its explicitly. Then we present a proposal for plane curves given by parametric equations, regardless of whether they represent functions or not . Taking into account the cognitive processing and conversion operations, the overall interpretation of figural properties was carried out under the understanding of visual variations (graphic records) and their corresponding symbolic changes (algebraic records). Parametric curves analyzed refer to straight and parables, which we propose the use of the Geogebra software in order to facilitate obtaining their graphic records from their parametric equations, as the construction itself of these curves beyond the focus of this work.
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Patrício, Maria Júlia de Oliveira Cyrino. "A ciência normal em Thomas Kuhn : apresentação, críticas e respostas dadas por Thomas Kuhn." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Filosofia, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000205978.
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O trabalho apresentado teve como o objetivo mostrar como se desenvolve a filosofia de Thomas Kuhn, mais precisamente, sua estrutura científica. De inicio faço uma análise sobre a ciência normal para mostrar como ela funciona no meio científico de acordo com os pensamentos de Kuhn. Porem, quando Karl Popper, Paul Feyerabend e Larry Laudan chegam as conclusões que Kuhn nos mostra em Estruturas das Revoluções Científicas, ás criticas começam a aparecer. Portanto, as críticas perante a ciência normal de Thomas Kuhn são aprofundadas e por fim, a necessidade da resposta de Kuhn sobre as críticas dadas e uma sua tentativa de explicar que ele pode estar correto em suas colocações. Concluimos que as críticas que foram dadas pelos filósofos foram pertinentes já que muito do que foi colocado ainda não havia sido pensado e talvez não teria sido se não fosse levado em consideração todas as críticas dadas por cada um e as críticas ficam ainda mais pertinentes, principalmente pelo recuo nítido que as vezes Kuhn consegue dar com sua retórica; deixando assim, alguns espaços sem soluções e os cientistas acabam por continuar seguindo os manuais de Kuhn.<br>The work presented has as objective to show how it develops the philosophy of Thomas Kuhn, more precisely, its scientific structure. At first do an analysis of normal science to show how it works in the scientific community according to Kuhn's thoughts. However, when Karl Popper, Paul Feyerabend and Larry Laudan reach the conclusions that Kuhn shows us Structure of Scientific Revolutions, ace critical start to appear. Therefore, the criticism before the normal science Thomas Kuhn are deepened and finally, the need of Kuhn's response on the criticism given and his attempt to explain that he may be correct in their placements. We conclude that the criticisms that have been given by philosophers were appropriate since much of it was placed had not been thought of and perhaps would not have been if it were not taken into account all the criticism given by each and criticisms are even more relevant, especially the sharp decline that sometimes Kuhn can give with his rhetoric; thus leaving some areas without solutions and scientists eventually continue following the Kuhn manuals.
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Adkins, Helen Blumenfeld Erwin. "Erwin Blumenfeld : "In Wahrheit war ich nur Berliner" : Dada-Montagen 1916-1933 /." Ostfildern : Hatje Cantz Verlag, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783775721264.
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Gekürzte und überarb. Fassung der Diss. Univ. Braunschweig, 2008.<br>Anlässlich des Erscheinens dieses Buches findet eine Ausstellung statt: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Berlin, 27. Februar - 1. Juni 2009.
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Lieban, Diego Eduardo. "Soluções radialmente simétricas da equação de Poisson-Boltzmann com uma energia dada." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/18697.
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Neste trabalho, o objetivo é avaliar, com parâmetros M e E dados, a existência de solução (suposta radialmente simétrica) para o Problema de Dirichlet cuja conotação física é discutida no capítulo 1. Inicialmente fazemos para bolas unitárias em R2, onde mostramos a existência e unicidade a partir de soluções explícitas para um “problema associado” e ajustando este ao problema original via uma função apropriada. Mais adiante, procurando estender a ideia para uma bola unitária em Rn, usamos o Método de Sub/Supersolução para chegarmos a solução do problema, já que para dimensões maiores do que 2 não dispomos de “soluções associadas”. Por último, mostramos que se reduzirmos nossas hipóteses, ou seja, estendendo o domínio além de uma bola unitária (desde que limitado), ainda assim conseguiremos solução única. Entretanto, a “liberdade” para os parâmetros M e E fica restrita `a condição de que M2 E seja suficientemente pequeno. As referências fundamentais para elaboração deste trabalho são [12], [6], [7] e [13], embora outras bibliografias tenham sido consultadas e, eventualmente, citadas.<br>In this work, the goal is to evaluate, with parameters M and E given, the existence of solution (assumed radially symmetric) for the Dirichlet problem whose physical connotation is discussed in chapter 1. Initially we do for unit balls in R2, where we show the existence and uniqueness from the explicit solutions to a “associated problem” and adjusting to this original problem via a proper function. Later seeking to extend the idea to a unit ball in Rn, we use the Sub/Supersolution method to get to the solution of the problem, since for dimensions larger than 2, “associated solutions”are not available. Finally, we show that if we reduce our hypotheses, i.e., extending beyond the domain of a unit ball (but still limited), we still have a unique solution. However, the “ freedom ” on the parameters M and E is restricted to the condition that M2 E is sufficiently small. The fundamental references of this work are [12], [6], [7] and [13], although other bibliographies have been consulted and eventually cited.
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Sheldon, Melissa A. "DadaShow : an interactive resource and reference database on the Dada art movement /." Online version of thesis, 1993. http://hdl.handle.net/1850/11762.
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Simões, Eleonora das Neves. "De mãos dadas com as crianças pequenas pelos espaços da escola : interações, brincadeiras e invenções." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131058.
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Este estudo investiga como as crianças, na convivialidade com os adultos e outras crianças, significam os espaços da escola de educação infantil. Buscou-se também identificar os protagonismos das crianças pequenas na constituição e/ou transformação do espaço. A partir destas questões pretende-se refletir sobre a maneira como nos relacionamos com os espaços, móveis e materiais da escola, entendendo estes como uma pedagogia invisível. Utilizou-se como metodologia de pesquisa a abordagem de uma etnografia escolar para aproximar-se da vida cotidiana da instituição. A produção de dados partiu das três grandes questões teóricas, a saber: o protagonismo compartilhado, a constituição do lugar, e a estética dos espaços e das relações. O quadro teórico é composto por um diálogo entre autores da pedagogia italiana, Tuan na compreensão do conceito de lugar e Duarte Jr sobre a estética das relações. Ao longo do trabalho revela-se que constituir espaços em uma instituição de vida coletiva é, antes de tudo, organizar encontros e interações, sem necessariamente prever como isso irá acontecer.<br>Este estudio investiga como los niños, en el convivio con los adultos y con otros niños, atribuyen significado a los espacios de la escuela de educación infantil. Además, se buscó identificar los protagonismos de los niños pequeños en la constitución y/o la transformación del espacio. A partir de estas cuestiones se pretende reflexionar sobre la manera como nos relacionamos con los espacios, muebles, materiales de la escuela y entender estos como una pedagogía invisible. Se utilizó como metodología de la investigación el abordaje de una etnografía escolar para acercarse de la vida cotidiana de la institución. La producción de datos surgió de las tres grandes cuestiones teóricas, a saber: el protagonismo compartido, la constitución del lugar, y la estética de los espacios y de las relaciones. El cuadro teórico es compuesto por un diálogo entre autores de la pedagogía italiana, Tuan en la comprensión del concepto de lugar y Duarte Jr sobre la estética de las relaciones. A lo largo del trabajo se revela que constituir espacios en una institución de vida colectiva es, ante todo, organizar encuentros e interacciones, sin necesariamente prever como ello ocurrirá.
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Gangapatnam, Girija Lakshmi. "A NOVEL ROLE FOR dADAR ISOFORMS IN DROSOPHILA rnp-4f 5'-UTR INTRON SPLICING REGULATION." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1335963918.
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Dos, Anjos Farias Lemoine Maria Soeli. "La culture matérielle des Munduruku du Haut-Tapajos en Amazonie brésilienne : Kapikipi Jewa wy dadam." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG037.
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Cette thèse porte sur des peuples nommés Munduruku. Elle étudie l’évolution de leur culture matérielle et de leur système éducatif. Le sens du mot « indigène » est précisé afin de respecter leur terminologie : "être Munduruku" signifie « être de vrais hommes ». Avec l’accord de leurs leaders, nous les avons rencontrés en 2005 sous réserve du respect des règles. Leur culture matérielle a subi d’importants changements, particulièrement sur le plan architectural. Les maisons carrées en paille observées au début du XX siècle ont été remplacées par des rectangulaires, avec des parois en bois et un toit en zinc. Les colliers originaux, faits main avec des graines de puca et décorés avec des animaux taillés en noix de coco ont laissé la place à des missanga made in China. Les anciennes calebasses à usage alimentaire ont cédé la place à des verres. Quant au hamac en écorce, s’il est encore utilisé, il n’est plus fabriqué chez les Munduruku étudiés. Nous utiliserons le matériel collecté pour analyser leur savoir faire. L’environnement de ce peuple est également décrit. Notre recherche ne couvrant qu’une partie de son immense territoire, elle ne peut pas être considérée comme achevée<br>This Phd deals with the peoples named Munduruku. We’ll study the evolution of both their material culture and their educational system. The meaning of the word “native” is defined in order to respect the Munduruku terminology: “being Munduruku” means “being real men”. In 2005 ,their leaders first granted us permission to meet them on condition we respect the rules. Their material culture has undergone drastic changes particularly as far as architecture is concerned. The square-shaped straw houses observed at the beginning of the twentieth century have been replaced by rectangular ones with wooden walls and zinc rooftops. Missangas made in China have taken the place ot the original necklaces handcrafted with puca seeds and adorned with animals carved in coconuts. The former calabashes used for food or beverage have been replaced by glasses . As to the hammock made of bark still used today, it is no longer crafted by the Munduruku studied. We’ll use the collected materials to analyze their know how. The Munduruku environment is described as well. As our research only partially covers their huge territory, it can’t be considered as completed yet
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Dada, Waed [Verfasser]. "A semigroup Approach to Numerical Ranges of Operators on Banach Spaces. / Waed Dada." München : Verlag Dr. Hut, 2014. http://d-nb.info/1064559867/34.
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PINHEIRO, SERGIO ESTEVAO MACHADO LISBOA. "A PREDICTIVE CACHE SYSTEM FOR REAL-TIME PROCESSING OF LARGE 2D GRAPHICAL DADA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4734@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>Atualmente, diversas áreas de Computação Gráfica
necessitam processar uma grande quantidade de dados. Para
visualizar em tempo-real esses dados é necessário lidar
com dois tipos de problema. O primeiro está relacionado
com o pouco tempo destinado para realizar os cálculos no
processo de síntese de imagem. O segundo problema surge
da capacidade limitada de armazenamento dos dispositivos
de alta velocidade, como memórias RAM e de textura. Para
resolver o primeiro problema, este trabalho utilizou a
técnica de multi-resolução para representar os dados
gráficos. A representação em multi-resolução permite que
a quantidade de dados processada durante a visualização
seja praticamente constante. O segundo problema foi
resolvido a partir de um sistema de gerenciamento de
memória preditivo baseado no modelo de memória virtual.
Este trabalho propõe uma arquitetura que permite que
qualquer tipo de dispositivo de armazenamento seja
inserido. Os dispositivos estão organizados em seqüência.
O funcionamento do sistema consiste em reservar um espaço
de memória em cada dispositivo e gerenciar esse espaço de
forma otimizada. O sistema de predição tem a finalidade
de carregar antecipadamente os dados que serão
provavelmente utilizados pela aplicação num futuro
próximo. Este trabalho propõe um algoritmo de predição
adaptativo específico para o problema de visualização.
Este algoritmo explora as informações sobre as variações
dos parâmetros da câmera e as informações sobre a taxa de
transferência de dados, que são usadas para decidir o que
deve ser carregado. As informações dos parâmetros da
câmera ajudam a determinar os dados que possivelmente
serão utilizados pela aplicação. A informação da taxa de
transmissão é utilizada para decidir qual o nível de
resolução desses dados que devem ser carregados
antecipadamente para os dispositivos de alta velocidade.
O sistema de gerenciamento de memória preditivo foi
testado em aplicações de visualização de imagens de
satélite e panoramas virtuais,em tempo-real.<br>Nowadays, many areas of computer graphics need to process a
huge amount of data. In order to visualize the data in
realtime time, it is necessary to solve two different
problems. The first problem is the limited time available to
perform rendering. The second one arises from the
restricted capacity of storage high-speed memories, like
RAM and texture memories. In order to solve the first
problem, this work has used multi-resolution techniques.
The multi-resolution representation allows the application
to work with a constant amount of data during the rendering
process. The second problem has been solved by a predictive
management memory system based on the virtual memory model.
This work proposes an architecture that allows any
storage device to be incorporated in the system. Devices
are organized sequentially. The heart of the system
consists in allocating an area of memory for each device
and managing this space optimally. The predictive
system aims to load in advance. The data that will probably
be used by the application in the near future. This work
proposes a specific adaptative prediction algorithm for the
visualization problem. This algorithm exploits
the information about the camera parameter variations as
well as the data transfer rate, in order to decide what
should be loaded. The camera parameters are used to
determine which data will possibly be used by the
application. The transfer rate is used to decide which
resolution level of the data should be loaded to the high-
speed devices, in advance. The predictive
memory management system has been tested for real-time
visualization of satellite images and virtual panoramas.
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Marcon, Heloisa Helena. "Sobre a justificação hegeliana dada por Lacan para a função criadora da fala." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2003. http://hdl.handle.net/10183/3642.
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Maruta, Vasile. "La poésie et le théâtre Dada de Tristan Tzara : continuité d'inspiration et rupture." Université Marc Bloch (Strasbourg) (1971-2008), 1989. http://www.theses.fr/1989STR20016.
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Cette recherche porte sur les douze premières années de création littéraire (1912-1924) de Tristan Tzara (1896-1963). Connue et étudiée surtout comme un moment de turbulences sans précédent par rapport à la tradition littéraire, sa création dadaïste (1916-1924) doit être analysée dans le prolongement de ses débuts poétiques. L'unique volume de poèmes conçus en roumain - sa langue maternelle - relève en effet une utilisation surprenante du discours dans la poésie pour mettre en cause la construction du poème lui-même. Ainsi, La "rupture dadaïste", survenue à Zurich (Cabaret Voltaire), se traduit par une certaine "continuité d'inspiration", similaire à l'ironie qu'il adopta à l'égard du folklore roumain. Devenue une véritable rage destructrice, cette ironie trans-forme l'oeuvre littéraire (poèsie, pièce de théâtre et prose) en un mélange chaotique et explosif, pareil aux collages picturaux dont la composition accepte toutes les matières. Prônant la confusion des genres littéraires et la dé-réalisation du texte écrit, l'auteur atteint un manque de logique évident qui caractérise le vers, la ré-plique et la phrase dadaïstes. En réalité, il y cache son aspiration à l'unité et à l'universalité. Les analyses présentées concernent les modifications produites dans la struc-ture des créations écrites pendant cette période et accordent une importance parti-culière aux données numériques du découpage en répliques des textes des oeuvres dramatiques conçues à cette époque par. .<br>This research concerns itself with the first twelve years of tristan tzara's (1896-1963) litterary works (1912-1924). Especially known and stadied as an unprecedented period of turbulence compared with traditional litterature, his dadaist works (1916-1924) must be analysed as a continuation of his poetic beginnings. Indeed, the sole volume of poems written in roumanian, his native language, reveals a rather surprising use of discourse in the poetry to question the very construction of the poem itself. Thus the split with dadaism which occured in zurich (cabaret voltaire) found its expression in a certain "continuity of inspiration" similar to the irony he adopted with regard to romanian folklore. This irony, witch became a real destructive force, transforms the litterary works (poetry, plays and prose) into a chaotic and explosive mixture, comparable with pictural collages whose composition will take any substances. Extoling the confusion of litterary genders and the de-realisation of the written text, the author attains a point where logic is evidently lacking. This is a feature of dadaist verse, argument and phrase. In fact, hidden within is his aspiration for unity and universality. The analyses presented concern the alterations brought about in the structure of the works written in this period and grant a particular importance to the numerical. .
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Schaschke, Bettina. "Dadaistische Verwandlungskunst : zum Verhältnis von Kritik und Selbstbehauptung in Dada Berlin und Köln /." Berlin : Gebrüder Mann, 2004. http://catalogue.bnf.fr/ark:/12148/cb409216966.
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Foster, Jonathan W. "Dada was there before Derrida was there : the sound poetry of Hugo Ball /." Electronic version (PDF), 2004. http://dl.uncw.edu/etd/2004/fosterj/jonathanfoster.pdf.
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Ontoria, Mercedes <1978>. "Las grandes transparencias: Dada y surrealismo en los libros-collage de Julio Cortázar." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3826/1/ontoria_mercedes_tesi.pdf.
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The topic of this research is to demonstrate the technical and conceptual connections which can be seen between the style adopted by the Argentinean writer Julio Cortázar (1914-1984) in his “collage” books La vuelta al día en ochenta mundos (1967) and Último round (1969) and with the avant-garde art movements Dada and Surrealism.
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Ontoria, Mercedes <1978>. "Las grandes transparencias: Dada y surrealismo en los libros-collage de Julio Cortázar." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3826/.
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The topic of this research is to demonstrate the technical and conceptual connections which can be seen between the style adopted by the Argentinean writer Julio Cortázar (1914-1984) in his “collage” books La vuelta al día en ochenta mundos (1967) and Último round (1969) and with the avant-garde art movements Dada and Surrealism.
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Mindrup, Matthew. "Assembling the Ineffable in Kurt Schwitters’ Architectural Models." Diss., Virginia Tech, 2007. http://hdl.handle.net/10919/26502.
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During the early 1920s, the German artist and poet, Kurt Schwitters, developed a method of creating models of architecture using found objects based upon his Merz approach to art. While many leading architects joined the Arbeitsrat für Kunst and Bruno Tautâ s Gläserne Kette at the end of World War I to speculate upon what to build for the new post-war German architecture, Schwitters challenged the predominant views by probing how it could be designed through models. Compared to the normative practice of molding clay and casting plaster into scale models after completed designs, Schwitters assembled found objects into two models, Haus Merz during 1920 and Schloss und Kathedrale mit Hoffbrunnen in 1922, to imagine new combinations and transformations of material, form and space in building designs. Schwittersâ Merz interpretation of found objects as models of architecture held that all materials have an ineffable transitory content that contributes to their identities as natural or man-made utilitarian things. In the Christian medieval exegesis of religious objects, the interpretation of materials as a dichotomy of visible form and invisible content was described as â anagogy.â However, unlike this Christian conception of the invisible that was transcendental and a priori, the anagogical Merz interpretation seeks to find the invisible within the visible through the active imagination of found materials assembled as a model of architecture. This dissertation examines Schwittersâ proposed use of found objects to construct architectural models as an anagogical approach to the material imagination of architecture.<br>Ph. D.