Dissertations / Theses on the topic 'Gauchesco'

The present work is inscribed in the History of Linguistic Ideas (HLI) that studies, mainly, the production of linguistic instruments, this has been done in Brazil since the 16th Century. Language tools are, according to Auroux (1992), the main pillars of our metalinguistic knowledge, resulting from the Technological Revolution of Gramatization. In addition to grammar and dictionaries, vocabularies and glossaries are also considered language tools. Our object of research is the work Vocabulario Gaúcho, produced in the year 1928 by the Santa Marian author Roque Callage, who collected typical entries spoken by the gaucho society. We understand that, among other factors, it is through the language that the gaucho builds his regional identity. Our corpus is structured as follows: from this vocabulary, we cut out 132 entries, using selection criteria that designate subjects. Soon after, we separate them into the following categories: 1. Those who designate social class; 2. Those who designate a geographical and belonging issue, which indicates where the subject comes from; 3. Those who designate the race/ethnicity of the subject; 4. Those that indicate the occupation and/or profession of the subject; 5. Those that have the physical characteristics of the subjects; 6. Those who designate women. After showing the meanings presented by these entries, we selected nine: bahiano, bruáca, china, chirú, chirúa, estancieiro, gasguita, gaúcho and morocha, mobilizing the concepts of designation, description and definition for analysis. The choice of these nine entries is due to the fact that they reveal the socio-historical conditions of the time in which Vocabulario Gaúcho was produced. Most of the entries in Callage's work are in the masculine, and the few that are in the feminine present pejorative senses, as in the case of bruáca, china, chirúa and gasguita. This analysis reveals a Rio Grande do Sul dominated by men, where the gaucho is highly valued; his qualities as virility and ability with the horse are exalted, while women, especially women from the countryside, as Hillaire (1997) tells us, remain restricted to the domestic sphere. Thus, we confirm the theoretical assumptions brought by Nunes (2006b), that dictionaries are discursive objects. Although our research object is a vocabulary, it presents functions similar to those of dictionaries, so that the designations presented by the analyzed articles are lined with history, especially in the history of Rio Grande do Sul. This brings a discourse about the history of the state.
O presente trabalho está inscrito na História das Ideias Linguísticas (HIL), área que estuda, sobretudo, a produção de instrumentos linguísticos que se faz no Brasil desde o século XVI. Instrumentos linguísticos são, segundo Auroux (1992), os principais pilares de nosso saber metalinguístico, resultantes da Revolução Tecnológica da Gramatização. Além de gramáticas e dicionários, vocabulários e glossários também são considerados instrumentos linguísticos. Nosso objeto de pesquisa trata-se da obra Vocabulario Gaúcho, produzida no ano de 1928 pelo autor santa-mariense Roque Callage, que coletou verbetes típicos falados pela sociedade gaúcha. Entendemos que, dentre outros fatores, é pela língua que o gaúcho constrói sua identidade regional. Nosso corpus está estruturado da seguinte maneira: deste vocabulário, recortamos 132 verbetes, tendo como critério de seleção verbetes que designam sujeitos. Logo após, os separamos nas seguintes categorias: 1. Os que designam classe social. 2. Os que designam uma questão geográfica e de pertença, que indica de onde o sujeito vem. 3. Os que designam a raça/etnia do sujeito. 4. Os que indicam a ocupação e/ou profissão do sujeito. 5. Os que apresentam características físicas dos sujeitos. 6. Os que designam mulheres. Depois de apresentarmos os sentidos apresentados por estes verbetes, selecionamos nove: bahiano, bruáca, china, chirú, chirúa, estancieiro, gasguita, gaúcho e morocha, mobilizando os conceitos de designação, descrição e definição para a análise. A escolha destes nove verbetes se deve ao fato de que eles nos revelam as condições sócio-históricas da época em que Vocabulario Gaúcho foi produzido. A maioria dos verbetes apresentados na obra de Callage está no masculino e os poucos que estão no feminino apresentam sentidos pejorativos, como é o caso de bruáca, china, chirúa e gasguita. Esta análise nos revela um Rio Grande do Sul dominado por homens, onde o gaúcho é bastante valorizado; suas qualidades como virilidade e habilidade com o cavalo são enaltecidas, enquanto as mulheres, sobretudo as mulheres de interior, conforme nos diz Hilaire (1997), permanecem restritas ao âmbito doméstico. Assim, confirmamos os pressupostos teóricos trazidos por Nunes (2006b), de que dicionários são objetos discursivos. Apesar de nosso objeto de pesquisa ser um vocabulário, ele apresenta funções semelhantes às dos dicionários, de maneira que as designações apresentadas pelos verbetes analisados estão revestidas de história, sobretudo da História do Rio Grande do Sul, portanto trazem um discurso sobre a história do estado.

Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation.

Esse estudo visou demonstrar a existência de uma literatura da atualidade que trata do gaúcho e do \"gaucho\" e do universo que o cerca por meio de formas e conteúdos específicos. Assim, são nossos objetivos evidenciar em que medida os contos de Sergio Faraco e Mario Arregui podem ser considerados gauchescos e apontar as semelhanças e as diferenças da literatura, tanto do escritor brasileiro como do uruguaio, no processo de criação de uma identidade regional fronteiriça, o que os classificaria como regionalistas num sentido amplo.
This study sought to demonstrate the existence of a literature in the present time that shows the \"gaúcho\" and \"gaucho\" and their universe through specific forms and contents. This analysis tried to evidence the reason of Faraco\'s short stories and Arregui´s short stories can be considered \"gauchescos\". This study also tried to show the similarities and the differences of literature, as much of the Brazilian writer as of the Uruguayan, in the process of creation of a bordering regional identity.

O objetivo deste trabalho é analisar os aspectos morais, sociais, políticos, econômicos e culturais do gaucho argentino e do gaúcho sul-rio-grandense por meio da literatura gauchesca. Neste sentido, procuraremos compreender como escritores gauchescos no caso deste trabalho José Hernández e João Simões Lopes Neto descreveram seus personagens e, também, o contexto em que eles estavam inseridos. O nosso interesse em analisar as obras Martín Fierro de José Hernández e Contos Gauchescos de João Simões Lopes Neto ocorreu pelo fato de as obras e seus autores terem uma forte presença tanto na Argentina quanto no Rio Grande do Sul. Quando se fala em gaucho na Argentina, é de maneira instantânea que as pessoas dizem José Hernández, Martín Fierro, e o mesmo acontece no Rio Grande do Sul em relação a Lopes Neto. Além da introdução e das considerações finais, esta dissertação estará dividida em quatro capítulos. Ao longo dos capítulos, será conceituado o gaucho/gaúcho, bem como definida a literatura gauchesca, tanto na Argentina, como Brasil. Será feita, igualmente, uma breve introdução sobre a vida dos dois autores escolhidos. Apresentaremos, também, as duas obras no que se refere à parte técnica das mesmas, isto é, motivação, data de publicação, estrutura, contexto, comercialização, etc. Descreveremos trechos das duas obras que consideramos importantes, em relação aos aspectos que serão de relevância para nosso trabalho, apresentando, após cada canto e conto, nossa leitura através de comentários realizados. Em seguida, faremos o fechamento da pesquisa e reflexão, por meio do método de leitura cultural e comparativa, onde verificaremos em que pontos as obras se assemelham e em quais se distanciam.
This work has as its main objective to analyze the moral, social, political, economic and cultural aspects of the Argentinian gaucho and of the gaúcho from Rio Grande do Sul through Gauchesca Literature. In this sense, we will seek to understand how gauchesco writers in the case of this work José Hernández and João Simões Lopes Neto described their characters and, likewise, the context in which they were inserted. Our interest in analyzing the titles Martín Fierro written by José Hernández and Contos Gauchescos written by João Simões Lopes Neto occured by the fact that the titles and their writers have a strong presence in Argentina and in Rio Grande do Sul. When we mention the word gaucho in Argentina, it is in an immediate way that the people say José Hernández, Martín Fierro, the same occurs in Rio Grande do Sul in relation to Lopes Neto. Beyond the introduction and the final considerations, this dissertation will be divided into four chapters. During the chapters, it will be conceptualized the gaucho/gaúcho, and it will be defined the Gauchesca Literature in Argentina and in Brazil. It will be done, likewise, a short introduction about the authors life. We will also introduce some aspects regarding the technical parts of the titles, such as, motivation, date of publication, structure, context, commercialization, etc. We will describe excerpts of both titles that we consider important, in relation to the aspects that will be relevant to our work, making, after every canto and tale, our reading through written comments. Forthwith, we will make the conclusion of the work and reflexion, through a cultural reading and comparative method, where we will verify in which points the titles are alike and in which they are different.

As variantes dialetais de cada idioma possuem características geográficas, sociais, situacionais e culturais muito próprias e que podem vir a ser diferentes das encontradas em qualquer outra língua. Portanto, a tradução dessas variantes estaria diante de problemas para os quais seria necessário empregar uma variedade de técnicas tradutórias que, a nosso ver, merecem uma investigação mais detalhada. Assim, esta pesquisa tem como tema o estudo da tradução da representação literária do dialeto rural no romance Don Segundo Sombra (1926) do escritor argentino Ricardo Güiraldes para o português. A necessidade de um trabalho que vise analisar a tradução da representação literária do dialeto deve-se à falta de pesquisas sobre traduções de variantes dialetais que tenham como corpus original uma obra literária de língua espanhola e se baseie numa metodologia que exponha os dados de maneira qualitativa. A pesquisa fornece respostas às problemáticas que envolvem a tradução de dialeto e se beneficiarão dela todos os interessados nos aspectos da tradução de romances regionalistas, tal como aqueles que buscam amostras para os estudos dialetológicos na área de tradução. Analisamos a tradução com o auxílio do modelo de avaliação de qualidade de tradução de Juliane House (1997), baseado em quatro níveis de análise: função do texto individual, gênero, registro e linguagem/texto. Concluímos que o tradutor realiza um trabalho bastante satisfatório ao se aproveitar do contínuo dialetal existente entre o português brasileiro e espanhol, mais especificamente o português do Rio Grande do Sul e o espanhol do Rio da Prata, para marcar a linguagem da tradução como regional e estrangeirizadora. Por meio disso, ele consegue transmitir ao leitor a noção de que as personagens produzem uma variante marcada dialetalmente como não padrão/neutra, sem descaracterizá-las.
The dialect variants of each language have geographical, social, cultural and situational features very unique and that may be different from those found in any other language. Therefore, the translation of these variants would face problems for which it would be necessary to employ a variety of translation techniques that, in our view, deserve a more detailed investigation. Thus, this research theme is the study of translation of literary representation of rural dialect in the novel Don Segundo Sombra (1926) by Argentine writer Ricardo Güiraldes into Portuguese. The need for a work aimed to analyze the translation of literary representation of dialect is due to the lack of research on translations of dialect variants that have as source corpus a literary piece written in Spanish language and based on a methodology that expose data in a qualitative way. The research provides answers to problems involving the translation of dialect and it will benefit all interested in aspects of translation of regionalist novels, as well as those seeking dialect samples for studies in the field of translation. We analyzed the translation with the help of Juliane Houses model of translation quality assessment (1997), based on four levels of analysis: individual textual function, genre, register and language / text. We conclude that the translator performs a quite satisfying work as he takes advantage of the dialect continuum between Brazilian Portuguese and Spanish, more specifically the Portuguese from Rio Grande do Sul and Spanish from Rio de la Plata, to mark the language of translation as regional and foreignizing. By this, he manages to convey to the reader the notion that the characters produce a variant marked as dialectally nonstandard / neutral without uncharacterize them.

This work is proposed to study the functioning semantic analysis-enunciation of words and phrases from spanish to come in contact with the portuguese language, expressing how this operation is meant to say, producing senses and characterizing heterogeneity of Portuguese for existence, then, of a language gauchesca. Thus, the study considered the operation semantic-enunciation of words and expressions related to the spanish way of stating the subject gaucho, removed the strips analyzed and showing a sense of purpose and production of language that historically and socially mean this guy gaucho . To that end, we organized a corpus from the strips that make up the book Tapejara: the last guasca, where we analyzed written statements that present linguistic marks of Spanish language gauchesca. We performed a semantic approach-enunciative these statements, in order to demonstrate how to establish the effects of meaning that if there are. Thus, under the bias of enunciative and discursive studies, guided by the semantics of the Event of Eduardo Guimarães and Discourse Analysis of Michel Pecheux, we tried to think about how these words and expressions interfere with the production of these effects of meaning in the relationship between language and subject, considering that such effects can be observed in the strips, while the object of analysis. The observation of this representation is to analyze the production space and the effects of meaning produced by the cops while setting up a discourse about the gaucho that occurs by incorporating words of Spanish language gauchesca, represented in linguistic materiality of the strips. We work thus a linguistic manifestation that takes place in a space of enunciation itself, the border region of Rio Grande do Sul with Uruguay and Argentina, and that serves as an example of linguistic heterogeneity of the Portuguese language. The observation of certain linguistic expressions and specifically in this case a representative of identity Rio Grande reveals a world perspective of an individual who lives, circulates between states and languages, becoming representative of a social space and a socio- historical capable of producing a speech characteristic and distinctive from the rest of Brazil. Because it is a discourse that is evident both in materiality as linguistic means in terms of enunciation, seeks to interpret the meanings that emerge from these statements that represent the words of a social subject that plays in the language your identity. Thus, from these statements can pinpoint elements that allow us to say that this "language of gaucho" is re-signified in gaucho as a social and produces strips through a speech about the gaucho who claims an entire regional identity. The emphasis on linguistic peculiarities of portuguese in Rio Grande do Sul including contact between portuguese and spanish language contributes to the constitution of this gaucho. This speech, their characteristics, peculiarities and the guy who is meant by it is therefore the question that drives this work seeks to present the aspects that constitute the language of the gaucho.
O presente trabalho tem como proposta de análise estudar o funcionamento semântico-enunciativo de palavras e expressões da língua espanhola ao entrarem em contato com a língua portuguesa, expressando de que modo esse funcionamento se significa no dizer, produzindo sentidos e caracterizando uma heterogeneidade da língua portuguesa pela existência, então, de uma linguagem gauchesca. Diante disso, o estudo considerou o funcionamento semântico-enunciativo de palavras e expressões da língua espanhola relacionadas ao modo de enunciar do sujeito gaúcho, retiradas das tiras analisadas, e que evidenciam uma produção e efeitos de sentido da linguagem que significam histórica e socialmente esse sujeito gaúcho. Para tanto, foi organizado um corpus a partir das tiras que compõem o livro Tapejara: o último guasca, onde se analisaram enunciados escritos que apresentam marcas linguísticas da língua espanhola na linguagem gauchesca. Realizou-se uma abordagem semântico-enunciativa desses enunciados, de modo a demonstrar como se estabelecem os efeitos de sentido que aí se constituem. Assim, sob o viés dos estudos enunciativos e discursivos, pautados na Semântica do Acontecimento de Eduardo Guimarães e na Análise de Discurso de Michel Pêcheux, buscou-se refletir sobre como essas palavras e expressões interferem na produção desses efeitos de sentido nas relações entre língua e sujeito, considerando que tais efeitos podem ser observados nas tiras, enquanto objeto de análise. A observação dessa representação visou analisar o espaço de produção e os efeitos de sentido produzidos pelas tiras enquanto constituição de um discurso sobre o gaúcho que ocorre pela incorporação de palavras da língua espanhola na linguagem gauchesca, representada na materialidade linguística das tiras. Trabalhamos, assim, uma manifestação linguística que se dá num espaço enunciativo próprio, a região fronteiriça do Rio Grande do Sul com o Uruguai e a Argentina, e que serve de exemplo da heterogeneidade linguística da língua portuguesa. A observação de determinadas manifestações linguísticas e, neste caso, de uma especificamente representativa da identidade rio-grandense nos revela uma perspectiva de mundo de um indivíduo que vive, circula e enuncia entre línguas, tornado-se representativo de um espaço social e de um contexto sócio-histórico capaz de produzir um discurso característico e diferenciado do restante do território brasileiro. Por tratar-se de um discurso que se evidencia tanto na materialidade linguística como se significa no plano da enunciação, procura-se interpretar os sentidos que emergem desses enunciados que representam os dizeres de um sujeito social que reproduz na língua a sua identidade. Desse modo, partindo desses enunciados é possível apontar elementos que nos permitem dizer que essa língua do gaúcho é ressignificada no gaúcho como tipo social e produz, através das tiras, um discurso sobre o gaúcho que afirma toda uma identidade regional. A ênfase nas peculiaridades linguísticas do português do Rio Grande do Sul, entre elas o contato entre português e espanhol, contribui na constituição dessa linguagem gauchesca. Esse discurso, suas características, peculiaridades e o sujeito que se significa através dele é, portanto, a questão que movimenta este trabalho na busca de apresentar aspectos constitutivos da linguagem do gaúcho.

Esta Dissertação investiga a construção de identidades infantis regionais, a partir de representações da infância verificadas em Contos gauchescos e Lendas do Sul, de João Simões Lopes Neto. Para tanto, são discutidas as relações entre os universos adulto e infantil, os papéis destinados à personagem mirim, os modos de referir e caracterizar a criança, bem como suas trajetórias esperadas e possíveis no mundo narrado. Desse modo, o presente estudo demonstra a predominante constituição do sujeito infantil como herdeiro de uma tradição sócio-cultural, entendendo-se que tal referência identitária inibe a renovação da concepção social de infância, na sociedade representada. Configura-se, assim, uma abordagem ao texto literário subsidiada por aportes da História e da Antropologia, contribuindo para uma perspectiva interdisciplinar sobre a problemática da regionalidade, no âmbito dos estudos culturais.
Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-05T19:10:35Z No. of bitstreams: 1 DISSERTACAO Marli C T Marangoni.pdf: 796070 bytes, checksum: 969fa90f4172456cc6a7e780ae1acc3d (MD5)
Made available in DSpace on 2014-05-05T19:10:35Z (GMT). No. of bitstreams: 1 DISSERTACAO Marli C T Marangoni.pdf: 796070 bytes, checksum: 969fa90f4172456cc6a7e780ae1acc3d (MD5)
This dissertation investigates the construction of regional identities from the infancy representations verified in Contos gauchescos and Lendas do Sul, by João Simões Lopes Neto. For that, there have been discussions about the relations between adult and infantile universes, the roles of child character, the ways to refer and characterize the child, as well as the expected and possible trajectories in the narrative. In this manner, this study demonstrates the predominant constitution of the infantile individual as an heir of a socio-cultural tradition, knowing that such identifying reference inhibits the renewal of the social conception of infancy in the shown society. Therefore, an approach to the literary text is shaped supported by History and Anthropology, contributing to an interdisciplinary perspective on regionality matters, within the ambit of cultural studies.

La classification des courbes gauches repose sur l'étude d'invariants qui permettent de répartir les courbes en différentes classes. À toute courbe on peut associer son degré et son genre. Mais ces invariants ne sont pas assez fins ; on s'intéresse alors à la postulation des courbes, c'est-à-dire à la dimension de la famille des surfaces de degré n contenant la courbe. On travaille dans le domaine, appelé Range FW, des couples (d,g) tel qu'il existe une courbe X lisse et connexe de degré d et de genre g vérifiant une condition portant sur le faisceau normal de la courbe. Cette condition signifie que le morphisme entre familles universelles qui envoie une courbe sur sa section plane est lisse en X ; en particulier, on peut déformer X pour que son intersection avec le plan devienne générique. On montre dans cette thèse que si d et g vérifient une certaine relation, il existe une courbe X lisse et connexe de degré d et de genre g ayant la postulation minimale attendue d'après le théorème de Riemann-Roch. La preuve utilise la méthode d'Horace et divers critères de lissification des courbes.

O presente estudo aborda a obra narrativa da escritora argentina Silvina Ocampo, propondo uma leitura crítica dos contos em que a autora retrata a figura e os costumes do habitante da pampa rio-platense – o gaucho – a partir de estratégias de representação que rompem com a tradição mimética. Estabelecida como um sistema literário desde as últimas décadas do século XIX, a narrativa de temática gauchesca produzida nos países da região platina retoma, ao longo de sua tradição canônica, uma série de elementos simbólicos a partir dos quais foi elaborada a imagem literária do gaucho. Dentre esses elementos, três merecem destaque: o processo de identificação entre o ser humano e o cavalo, a relação que o indivíduo pampeano mantém com o sujeito feminino e com a esfera da família e o jogo de aproximação e distanciamento que o protagonista da literatura gauchesca estabelece com os polos da dicotomia “civilização e barbárie”. Tendo em vista essas questões, o objetivo central desta análise é demonstrar como a narrativa de Ocampo problematiza e reconfigura tais elementos simbólicos, operando uma ruptura no cânone da gauchesca por meio de uma escrita fortemente marcada por questões de gênero. Para tanto, este trabalho apropria-se do referencial teórico que permeia as diferentes correntes da crítica feminista contemporânea, em especial as discussões levantadas por Simone de Beauvoir, Elizabeth Grosz, Ynestra King, Luce Irigaray, Alison Jaggar, Hélène Cixous, Elaine Showalter, Teresa de Lauretis, Debra Castillo e Gloria Anzaldúa, dentre outras. Além disso, assumem igual relevância para esta análise alguns conceitos diretamente ligados à literatura gauchesca, principalmente as ideias discutidas por autores como Richard Slatta, Domingo Faustino Sarmiento, Ezequiel Martínez Estrada, Angel Rama, Juan Carlos Ghiano, Josefina Ludmer e Sandra Contreras. Com base no arcabouço teórico delineado, é realizada uma leitura crítica dos contos “El impostor”, publicado na obra Autobiografía de Irene, de 1948; “Azabache” e “La última tarde”, que constam no livro La furia, de 1959; “La hija del toro” e “El moro”, presentes em Las invitadas, de 1961; e “La muñeca”, de Los días de la noche, de 1970, com uma atenção especial aos aspectos estéticos e temáticos desses textos. Paralelamente, tendo em vista as características da narrativa de Ocampo e das obras canônicas da literatura gauchesca, este trabalho aproxima os textos de autoria feminina e masculina, a fim de apontar a relevância que a escritora estudada assume junto a esse sistema literário, em especial como forma de revisão e alargamento de tal cânone.
This study addresses the narrative work of Argentinean writer Silvina Ocampo, proposing a critical reading of the tales in which she portrays the figure and customs of the man from the Pampa – the gaucho – by means of strategies of representation that disrupts the mimetic tradition. Established as a literary system since the last decades of the nineteenth century, the canonical Gauchesca narrative produced in the countries of the River Plate region resumes a series of symbolic elements from which was drawn the literary image of the gaucho. Among these elements, three stand out: the identification between the human being and the horse, the relationship the pampa’s gaucho has with the female subject and the domestic realm and convergences and differences the gaucho as protagonist establishes with the dichotomy “civilization and barbarism”. Given these issues, the main objective of this analysis is to demonstrate how Ocampo’s narrative discusses and reconfigures such symbolic elements, operating a rupture in the canon of Gauchesca by means of a writing strongly marked by gender. Therefore, this work appropriates theoretical frameworks present in currents feminist criticism, in particular the discussions raised by Simone de Beauvoir, Elizabeth Grosz, Ynestra King, Luce Irigaray, Alison Jaggar, Hélène Cixous, Elaine Showalter, Teresa de Lauretis, Debra Castillo and Gloria Anzaldúa, among others. Besides, some concepts directly related to Gauchesca literature assume equal importance to this analysis, especially the ideas discussed by authors such as Richard Slatta, Domingo Faustino Sarmiento, Ezequiel Martínez Estrada, Angel Rama, Juan Carlos Ghiano, Josefina Ludmer and Sandra Contreras. Based on the theoretical framework outlined, this paper makes a critical reading of the tales “El impostor”, published in Autobiografía de Irene (1948); "Azabache" and " La última tarde", published in La furia (1959); "La hija del toro" and "El moro", published in Las invitadas (1961); and “La muñeca”, published in Los días de la noche (1970), with special attention to the aesthetic and thematic aspects of these texts. In addition, considering the characteristics of Ocampo’s narrative and the canon of Gauchesca literature, this paper approaches texts of masculine and feminine authorship, in order to argue for the relevance that Silvina Ocampo assumes in this literary system, particularly in terms of revising and extending such a canon.
Este estudio aborda la obra narrativa de la escritora argentina Silvina Ocampo, y propone una lectura crítica de los cuentos en que la autora retrata la figura y las costumbres del habitante de la Pampa platina – el gaucho – a partir de estrategias de representación que rompen con la tradición mimética. Establecida como un sistema literario desde las últimas décadas del siglo XIX, la narrativa de temática gauchesca producido en los países platinos retoma, a lo largo de su tradición canónica, una serie de elementos simbólicos de la cual se ha elaborado la imagen literaria del gaucho. Entre esos elementos destacan tres: el proceso de identificación entre el ser humano y el caballo, la relación que el individuo pampeano tiene con el sujeto femenino y el ámbito familiar, y el juego de proximidad y separación que el protagonista la literatura gauchesca establece con los polos de la dicotomía "civilización y barbarie". Teniendo en cuenta estas cuestiones, el objetivo principal de este análisis es demostrar cómo la narrativa de Ocampo discute y reconfigura dichos elementos simbólicos, y opera una ruptura en el canon de la gauchesca por medio de una escritura fuertemente marcada por el género. Por lo tanto, este trabajo se apropia del referencial teórico que permea las distintas corrientes de la crítica feminista contemporánea, en particular las discusiones planteadas por Simone de Beauvoir, Elizabeth Grosz, Ynestra King, Luce Irigaray, Alison Jaggar, Hélène Cixous, Elaine Showalter, Teresa de Lauretis, Debra Castillo e Gloria Anzaldúa, dentre outras. Por otra parte, algunos conceptos directamente relacionados con la literatura gauchesca asumen la misma importancia a este análisis, principalmente las ideas discutidas por autores como Richard Slatta, Domingo Faustino Sarmiento, Ezequiel Martínez Estrada, Angel Rama, Juan Carlos Ghiano, Josefina Ludmer e Sandra Contreras. A partir del marco teórico esbozado, se realiza una lectura crítica de los cuentos “El impostor” publicado en el libro Autobiografía de Irene, 1948; “Azabache” e “La última tarde”, del libro La furia, 1959; “La hija del toro” e “El moro”, del libro Las invitadas, 1961; y “La muñeca”, de Los días de la noche, 1970, con especial atención a los aspectos estéticos y temáticos de los textos. Teniendo en cuenta las características de la narrativa de Ocampo y de las obras canónicas de la literatura gauchesca, este trabajo también compara textos de autoría femenino y masculino para señalar la relevancia que dicha escritora asume en este sistema literario, en particular como una forma de revisión y expansión de dicho canon.

O tropeirismo é uma temática frequentemente exaltada por diferentes compositores e intérpretes da música regionalista gauchesca, dada sua importância no desenvolvimento econômico e cultural do Estado do Rio Grande do Sul. Esse fenômeno, que se estendeu do final do século XVII até meados do século XX, no sul do Brasil, além de ter sido responsável pelo surgimento de inúmeras vilas e cidades ao longo das rotas, proporcionou um imenso intercâmbio cultural. Essa mescla das diferentes culturas envolvidas no fazer tropeiro criou uma espécie de identidade comum. Vestígios culturais decorrentes do contato entre birivas – como eram conhecidos os tropeiros paulistas e os habitantes de Cima da Serra, no RS – e gaúchos manifestam-se na culinária, na dança, na descrição das lidas de campo e na linguagem, especialmente na seleção lexical. Neste trabalho, propomos uma análise léxico-semântica da letra de quatorze canções gauchescas de cunho regionalista, a fim de investigar de que maneira a música regionalista reconstitui a história do tropeirismo. Almejou-se verificar se ocorre a mitificação da figura do tropeiro à semelhança do que acontece com o gaúcho e, após as análises, observou-se que isso de fato ocorre. A partir do levantamento das lexias relacionadas à atividade tropeira presentes nas canções, apresentamos uma proposta de modelo de organização da memória sobre o tropeirismo em campos lexicais. De acordo com Abbade (2012), a organização de um determinado conjunto de lexias em campos lexicais vai além da mera contribuição para estudos linguísticos: também evidencia a história e os costumes do grupo linguístico que as utiliza.
Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-05-11T19:34:58Z No. of bitstreams: 1 Dissertacao Silmara Argenton.pdf: 1208883 bytes, checksum: 99b6426a9caaaebf71e832098cb660c9 (MD5)
Made available in DSpace on 2016-05-11T19:34:58Z (GMT). No. of bitstreams: 1 Dissertacao Silmara Argenton.pdf: 1208883 bytes, checksum: 99b6426a9caaaebf71e832098cb660c9 (MD5) Previous issue date: 2016-05-11
The tropeirismo, the occupation of the muleteers, is a theme which is frequently exalted by different composers and interpreters of gauchesca regional music, having in mind its importance in the economic and cultural development of the state of Rio Grande do Sul. This phenomenon, which extended from the end of the XVII century until the middle of the XX century, in the southern states of Brazil, besides being responsible for the emergence of countless villages and cities throughout the routes, provided a huge cultural exchange. The mingling of the different cultures involved in the regular activities of the muleteers, the tropeiro, created a kind of common identity. Cultural tracescaused by the contact between birivas – as were known the muleteers from São Paulo and the inhabitants of northern area of the state of Rio Grande do Sul, called Cima da Serra region – and gaúchos (the inhabitants of Rio Grande do Sul) are expressed in the culinary, dance, description of the work in the fields and in language, especially revealed in the choice of lexical items. In this research, we propose a lexical-semantic analysis of the lyrics of fourteen gauchesca regional songs, in order to investigate how the regional music reconstitutes the history of tropeirismo. The aim is to verify whether the mystification of the muleteer occurs, similarly to what happens to the gaúcho, which our analysis proved to be right. Based on the survey of the lexis related to the activities of the tropeiros present in the songs, we propose a model of organization of the memory of tropeirismo in lexical fields. According to Abbade (2012), the organization of the lexicon goes beyond the mere contribution to linguistic studies: it also evidences the history and the customs of the linguistic group that uses it.

Les surfaces gauches sont utilisées actuellement dans divers domaines d'activité tels que la définition de moules ou de matrices d'emboutissage. Pour ce type d'application, ces surfaces présentent un ensemble de zones convexes, concaves ou à double courbure, et exigent un niveau de qualité élevé et des défauts de formes réduits. Ceci rend leur usinage long, coûteux et peu optimisé, à ce jour : il s'effectue souvent à l'aide d'un outil sphérique et seul le critère de rugosité est pris en compte. L'objectif de cette étude est de minimiser le temps d'usinage des surfaces gauches par outil torique suivant la stratégie par plans parallèles tout en respectant le critère de rugosité. Le temps d'usinage n'est pas une fonction analytique connue. Par hypothèse, il est supposé proportionnel à la longueur de la trajectoire totale parcourue par l'outil sur la surface. Cette dernière dépend de la direction d'usinage qui est influencée par la topologie de la surface et de la hauteur de crête maximum à ne pas dépasser. Afin d'avoir une direction d'usinage optimale pour toute la surface gauche, cette dernière est découpée en zones à faible variation de la normale. Pour chaque zone, une direction d'usinage optimale est calculée et la distance d'usinage optimale est évaluée. Par ailleurs, une pénalité reflétant le temps de déplacement de l'outil d'une zone à une autre est prise en compte. Le problème d'optimisation est donc de minimiser la distance totale parcourue par l'outil sous la contrainte de ne pas dépasser une hauteur de crête imposée. Les paramètres de l'optimisation sont : le nombre et la géométrie des zones de découpage de la surface ainsi que leur direction d'usinage. Pour la résolution du problème de minimisation de trajectoire de l'outil en usinage par zones, les méthodes d'optimisation mises en œuvre sont des méthodes d'optimisation. Les méthodes d'optimisation sont testées sur diverses surfaces tests. Après simulations, analyses et comparaisons entre les différentes méthodes d'optimisation, les résultats obtenus présentent un gain de temps significatif comparé à ce qui se fait actuellement : l'usinage en mono-zone, généralement avec un outil sphérique
Currently, free-form surfaces are used in various fields of activity, such as a manufacturing moulds or matrix used to make the models. The free form surfaces present a set of curved zones, i. E. Concave and convex zones, these surfaces require a high quality level and reduced shape defects. Their machining is long, not optimized and costly, to date: the machining of free form surfaces is done using the spherical tool with respecting roughness quality. The object of this study is to minimize the machining time of the free-form surfaces using toric end mill cutter and parallel planes milling strategy, with respecting roughness quality. The analytical expression of the machining time is unknown and by hypothesis, it is assumed to be proportional to the paths length crossed by the cutting tool. Those paths length depend on the feed direction and the maximal scallop height criteria must not be exceeded. To have an optimal feed direction at any point, the surface is divided into zones with low variation of the steepest slope direction. The optimization problem was formulated in order to minimize the global path length. Furthermore, a penalty reflecting the time loss due to the movement of the tool from one zone to another one is taken into account. The optimization problem is to minimize the path long trajectory crossed by the tool on the surface while respecting scallop height criteria. The optimization parameters are the number and the geometrical of the zones and the optimal feed direction in each zone. To resolve this problem, several optimization methods are used: combinatorial optimization and stochastic optimization. These methods are applied on a test surface and after simulations, the results obtained present a significant saving of paths length compared to the machining in one zone with spherical tool

L'etude presentee dans ce memoire, est consacree a la construction et a l'optimisation de maillage sur des surfaces gauches. L'algorithme propose est base sur l'interpolation d'une surface (continument differentiable) a partir de la seule donnee d'un ensemble de points formant une grille grossiere et structuree. Dans la premiere partie, differentes methodes d'interpolation et de parametrisation sont rappelees, dont celles qui sont employees par la suite. Les etapes de la construction algebrique de maillages surfaciques sont detaillees dans la deuxieme partie. En particulier, une methode est proposee pour l'interpolation de surfaces passant par une grille de points et assujetties a respecter des plans tangents calcules en ces points. Ces surfaces sont ensuite maillees par une methode algebrique qui repose sur la construction d'un maillage dans l'espace des parametres et sa transformation en un maillage surfacique. Pour ameliorer le maillage ainsi obtenu, il est parfois necessaire de l'optimiser. Cette optimisation est decrite dans la troisieme partie, elle est realisee a l'aide d'une formulation variationnelle qui conduit a la minimisation d'une fonction mesurant la deformation du maillage. A chaque etape de l'algorithme d'optimisation, une pseudo-projection sur la surface interpolee est appliquee. Elle permet plus generalement de deplacer les nuds sur des surfaces gauches. Des exemples de maillages surfaciques algebriques et optimises sont presentes pour des configurations academiques et des configurations plus realistes

Ce memoire est une contribution a l'etude de l'intersection de surfaces b-splines ou nurbs. Apres avoir rappele brievement la definition et quelques proprietes des courbes et surfaces b-splines ou nurbs, nous presentons une analyse de differentes methodes d'intersection (subdivision recursive, suivi de contours et methodes mixtes). Nous exposons ensuite la methode que nous avons developpee. L'utilisation de proprietes specifiques a ce type de modelisation nous permet de proposer une technique de localisation autre que la methode de subdivision recursive habituellement utilisee. Une etude des normales aux surfaces permet ensuite de decomposer l'intersection suivant son type (point, courbe, partie d'une surface) afin d'utiliser une methode de determination fiable et adaptee. Puis, le cas de l'intersection surface-plan est aborde. La prise en compte de simplifications permet de mettre en uvre une methode propre a ce cas particulier d'intersection surface-surface. Enfin, nous terminons par une analyse du cout temporel des deux methodes sur des exemples choisis en fonction de leur specificite par rapport au cadre de notre etude. Cette analyse permet de montrer l'importance de chacune des phases en fonction du type d'intersection calcule

Made available in DSpace on 2016-04-28T19:34:13Z (GMT). No. of bitstreams: 1 Danielle Guglieri Lima.pdf: 624521 bytes, checksum: e9fb71e2ce1f449645dc5bc559b0a14f (MD5) Previous issue date: 2007-06-04
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation is set forth in the Text and Discourse research line within the oral and written modalities. Its subject is the study of oral manifestations in literary texts, and the stories that compose the regionalist literature of writer João Simões Lopes Neto as the aim of the study. The purpose of this work is to contribute to the studies of language and literature in the interface of spoken and written language modalities. More specifically: 1. to examine the manifestations of spoken language in the regionalist literary work by João Simões Lopes Neto; 2. to analyze its corpus through studies that refer to the constitutive properties of the speech; and 3. to describe the way in which the manifestations of the spoken modality of the language permeate the selected texts. The theoretical substantiation is set forth in Textual Linguistics and the Analysis of Conversations within the socio-interactional aspect. The material analyzed was selected from the literary work by João Simões Lopes Neto (2000). The results obtained indicated that in the short story, a textual/discursive genre, the spoken modality of the language is present by means of the constitutive properties of the speech, such as the discursive topic, conversational turn, conversational markers, and adjacent pairs. We concluded thus that studies regarding the spoken modality of the language, as opposed to those of the written modality, contribute to a possible significance when reading a regionalist text. However, such studies need to be continuous, for the realized investigation was only centered upon the regionalism of João Simões Lopes Neto. It is necessary to open new perspectives for the study of other regionalist short stories, insofar as the textual/discursive genre
Esta dissertação situa-se na linha de pesquisa Texto e Discurso, nas modalidades oral e escrita. Tem por tema o estudo das manifestações orais em textos literários, e, por objeto de estudo, os contos que compõem a literatura regionalista do escritor João Simões Lopes Neto. O objetivo deste trabalho é contribuir para os estudos da língua e literatura, na interface das modalidades de língua falada e escrita. Especificamente: 1. examinar as manifestações da língua falada na obra regionalista de João Simões Lopes Neto; 2. analisar o corpus, por meio dos estudos referentes às propriedades constitutivas da fala; 3. descrever de que maneira as manifestações da modalidade falada da língua permeiam os textos selecionados. A fundamentação teórica situa-se na Lingüística Textual e na Análise da Conversação, vertente sócio-interacional. O material de análise foi selecionado da obra de João Simões Lopes Neto (2000). Os resultados obtidos indicaram que no conto, gênero textual/discursivo, a modalidade falada da língua está presente por meio das propriedades constitutivas da fala: tópico discursivo, turno conversacional, marcadores conversacionais e pares adjacentes. Concluímos que os estudos, da modalidade falada da língua, em contraponto aos da modalidade escrita, contribuem para que a leitura de um texto regionalista possa ser significativa. Não obstante, tais estudos precisam ter continuidade, pois a investigação realizada foi centrada apenas no regionalismo de João Simões Lopes Neto. Faz-se necessária a abertura de novas perspectivas para o estudo de outros contos regionalistas, enquanto gênero textual/discursivo

On etudie ici des produits gauches qui sont des extensions d'un systeme dynamique associees a un cocycle (celui-ci est donne par une fonction quand on n'a qu'une seule transformation). Ces systemes constituent une classe riche en exemples pour la theorie spectrale. On etablit au chapitre 2 une methode permettant de majorer la multiplicite spectrale d'operateurs lies a un produit gauche au dessus d'une transformation de rang un local. Cette propriete est donnee pour une rotation irrationnelle par les tours de rokhlin liees a la decomposition en fraction continue de l'irrationnel, et entraine la multiplicite finie lorsque le cocycle est a variation bornee. On donne ensuite des majorations explicites. On montre au chapitre 3 la singularite spectrale d'extensions a 2 points au dessus d'une rotation irrationnelle et associe a la fonction caracteristique d'un intervalle. On etudie ensuite des produits gauches au dessus d'une transformation de rang un, associes a des cocycles constants sur les etages d'une suite de tours, qu'on appelle m-extensions. Les methodes des transformations de rang un permettent de determiner le type spectral des m-extensions a l'aide de produits de riesz generalises. On donne au chapitre 4 plusieurs de leurs proprietes. On etablit au chapitre 5 des proprietes de singularite et de simplicite spectrale presque sures pour une construction aleatoire des m-extensions. Enfin, on considere au chapitre 6 les m-extensions a deux points a spectre simple qui correspondent aux suites de morse generalisees. On montre alors une equivalence entre l'existence d'une telle transformation admettant un spectre non singulier, et l'existence de polynomes plats a coefficients 1 ou -1. Ce lien avec un probleme d'analyse harmonique conduira a la construction d'une action d'un groupe abelien denombrable a spectre simple, et dont le type spectral est la somme d'une mesure discrete et de la mesure de haar du groupe dual.

Le but de ce travail est de donner une justification de la méthode fonctionnelle ; celle-ci, due à Cayley, fut utilisée en particulier par Berzolari et Severi pour trouver les formules sur les coniques multisécantes aux courbes gauches. Plus précisément, on démontre un théorème qui permet d'affirmer que les formules énumeratives k-sécantes dans le cas d'une courbe x (de degré n et genre g dans ipᶟ sont fonctions seulement de n et g. De plus, le théorème donne l'expression d'une telle formule k-sécante : c'est un polynôme en n et g de degré au plus k en n et (k/2) en g. On donne en effet ici une expression explicite de la classe d'équivalence rationnelle Hilb k x du schéma de Hilbert d'une courbe lisse x inclus dans pᶟ comme combinaison linéaire de cycles fixes qui ne dépendent ni du degré ni du genre de la courbe x. Le théorème en découle alors presque immédiatement

L'objectif de cette étude est d'analyser sous ses différents aspects, l'émergence à partir des années 1980 d'une perspective de démocratisation libérale - définie comme un processus de "dé-radicalisation" - au sein de la gauche turque. L'apparition de ce discours démocratique-libéral porté par des intellectuels de gauche est abordée dans le contexte d'une défaite des mouvements révolutionnaires face au coup d'État de 1980 et de la construction de l'hégémonie de la Nouvelle Droite. Les différentes critiques à l'égard du régime kémaliste et du passé du mouvement socialiste en Turquie, ainsi que la stratégie de démocratisation formulées par ce "libéralisme de gauche" sont analysées à travers leurs liens avec une conception du développement historique ottoman-turc fondée sur la thèse d'une "tradition d'État fort" empêchant l'émergence d'une société civile autonome. Notre étude se focalise aussi sur les transformations survenues dans les champs médiatiques et intellectuels pour expliquer l'apparition à partir des années 1990 d'organes de presse libéraux. C'est dans ces quotidiens que les principaux intellectuels porte-parole du courant libéral de gauche contribueront à travers leurs chroniques à la construction d'un discours "démocrate" profondément lié au projet hégémonique centré sur l'adhésion de la Turquie à l'Union Européenne qui permettrait une "normalisation" des rapports politiques délivrés de la tutelle militaire. Seront finalement étudiées les analyses et prises de position exprimées dans les chroniques de ces "intellectuels démocrates" au cours de deux périodes de crises politiques et d'interventions militaires en 1996-1997 et 2007-2008
The purpose of this study is to analyze the different aspects of the emergence of a liberal democratic perspective - which is described as a process of de-radicalization - within Turkish left in the post-1980 period. The emergence of this democratic-liberal discourse among leftist intellectuals is placed in the context of revolutionary movements' defeat in the face of 1980 military coup and the construction of the hegemony of new right. Different critiques of Kemalist regime and the past of socialist movement in Turkey as well as democratization strategies formulated by this "left liberalism" are analyzed in their relations with the hegemonic reading of the Ottoman-Turkish historical development conventionally known as the thesis of "strong state tradition" which has supposed to prevent the emergence of an autonomous civil society. Our study also focuses on the transformations in the media and of the intellectuals in order to expose the rise of the liberal press after the mid 1990s. Outstanding intellectuals, who are the spokesmen of the liberal left movement, have contributed to the construction of a "democratic" discourse through their columns and newspaper articles. This discourse is deeply linked with the project of Turkey's adhesion in the European Union, which is constructed as a hegemonic project that would lead to a process of "normalization" of the political relations to be emancipated from military tutelage. The final chapter is reserved to the analysis of the political positionning and analyses of the "democratic intellectuals" on the basis of their columns in the course of two periods of political crisis and military interventions, namely 1996-1997 and 2007-2008

Aderida de modo amplo aos campos da literatura, da música e da história e, a partir daí, em específico à canção popular compreendida como gênero artístico de significativa presença no Brasil, esta dissertação tem por objetivo refletir e compreender a apropriação da forma milonga no interior das obras de dois expressivos cancionistas brasileiros da atualidade, Bebeto Alves e Vitor Ramil. Advindos de uma geração de músicos urbanos com formação na década de 1970 no Rio Grande do Sul, ambos demonstram, em vários momentos de suas trajetórias, um tipo de leitura que se poderia qualificar como renovadora à milonga, tanto em peças isoladas como em álbuns inteiros. Com o objetivo de abrir a questão em perspectiva histórica, partiu-se do pensamento de Ángel Rama sobre o sistema literário da gauchesca e teve-se como horizonte de chegada, entre outros autores, Lauro Ayestarán e Jorge Luis Borges, que escrevem sobre o tango e a milonga a posteriori da, como refere Luiz Tatit, triagem dos meios, na virada do novecentos. Por outro lado, na ponta sul-brasileira, a milonga é percebida em 1912 por Cezimbra Jacques como “adaptada entre a gauchada da fronteira”, e passa a encontrar grande difusão a partir da década de 1960. É a mesma década em que a forma é também apropriada pela chamada nova canção latino-americana, com Atahualpa Yupanqui e Daniel Viglietti, por exemplo. A hipótese desta pesquisa é a de que a milonga, praticada como um elemento central do processo de criação em Vitor e em Bebeto, e não como um elemento a mais do processo de mistura, passa por mais um de seus periódicos nós de reprocessamento, em patamar artístico de integração mais ampla para além-fronteiras pampeanas. Procedeu-se, como demonstração desta hipótese, ao comentário de dois álbuns: Bebeto Alves y la milonga nova e Ramilonga.
Adherida de modo amplio en las areas de la literatura, música y historia, y a partir de ahí específicamente a la canción popular ubicada como género artístico de presencia significativa en Brasil, esta investigación tiene como propósito reflexionar y comprender la apropriación de la forma milonga en el interior de las obras de Bebeto Alves y Vitor Ramil, dos expresivos cantautores brasileños de la actualidad. Salidos de una generación de músicos urbanos con formación en la década de 1970 en Rio Grande del Sur, ambos demuestran, en varios momentos de sus trayectorias, un tipo de lectura que se podría calificar como renovadora de la milonga, tanto en canciones aisladas como en discos completos. Con el objectivo de abrir la cuestión en perspectiva histórica, se puso en marcha inicialmente el pensamiento de Ángel Rama sobre el sistema literario de la gauchesca, y como punto de llegada, entre otros autores, Lauro Ayestarán y Jorge Luis Borges, que escriben sobre el tango y la milonga a posteriori de la – como refiere Luiz Tatit – selección de los medios, en inícios del novecientos. Por otra parte, en el extremo sur brasileño, la milonga es reconocida por Cezimbra Jacques en 1912 como “adaptada entre la gauchada de la frontera”, y pasa a encontrar gran difusión a partir de la década de 1960. En esta misma década, la forma también es apropiada por la nombrada nueva canción latinoamericana, con Atahualpa Yupanqui y Daniel Viglietti, por ejemplo. La hipótesis de esta investigación es que la milonga, practicada como un elemento central del proceso de creación en Vitor Ramil y en Bebeto Alves, y no como un elemento más en el proceso de mezclas, enfrenta otro de sus frecuentes momentos de renovación, en nivel artístico de integración más amplia, más allá de las fronteras de la pampa. Se procedió, para demostrar esta hipótesis, al comentario de dos discos: Bebeto Alves y la milon

En reconstruction de surface definie par un produit tensoriel, a partir d'un nuage de points, la parametrisation est un prealable impose par le modele. Dans la situation simple d'une grille reguliere de points, des methodes empruntees a la reconstruction de courbe peuvent etre appliquees: parametrage uniforme parametrage par longueur de corde parametrage par longueur d'arc par contre, quand le nuage de points ne degage pas d'axes privilegies, ou quand il est saisi au hasard, les methodes ci-dessus ne sont plus appropriees. Les transformations conformes constituent un outil puissant permettant de mettre en bijection l'interieur de deux contours fermes. Si l'un des contours est l'espace de parametrage et l'autre, deduit de la forme du nuage de points, on a la, un moyen d'associer deux parametres (u, v) a chacun des points du nuage. Dans la premiere partie de cette these nous presentons l'etat de l'art de la reconstruction de surface et de la parametrisation. La seconde partie est reservee a la methode de parametrisation que nous proposons. Nous y expliquons comment nous definissons une transformation conforme comme fonction de parametrage. Dans la derniere partie nous presentons une analyse des carreaux reconstruits apres parametrisation par une transformation conforme

A literatura gaúcha se constitui em um gênero peculiar que surgiu na região platina e no RS, devido à figura identitária destes dois locais: o gaucho. Essa região e sua literatura formam uma espécie de “comarca do pampa.” Devido a sua grande semelhança identitária, a literatura gaúcha rio-grandense e a poesia gauchesca da região platina são consideradas uma só literatura, sem diferenças. Muitos escritores e ensaístas discorreram sobre ela, entre dos quais destacamos Jorge Luís Borges (argentino) e Augusto Meyer (rio-grandense). Os dois escritores também são semelhantes: contemporâneos, ensaístas, poetas e cosmopolitas, mas que voltaram suas obras, em determinado momento, para discutir a respeito da literatura local, a gauchesca, em relação a literatura universal. Cada escritor tem um entendimento próprio sobre a figura identitária do gaúcho e da literatura gaucha. O posicionamento deles pode ser explicado por vários fatores. Primeiro, o contexto histórico de formação de seus locais de nascimento, do sentimento de pertencimento e da figura identitaria gaúcho. Embora muito semelhantes, o gaucho platino e o riograndense tem suas diferenças. Segundo, analisamos suas trajetórias de vida e obra. Terceiro, pesquisamos a crítica de Augusto Meyer ao posicionamento de Borges, no ensaio “Jorge Luís Borges”, do livro Borges no Brasil (2001). Essa crítica foi apontada e discutida pelo professor Dr. Luís Augusto Fischer no ensaio “Augusto Meyer: um ensaísta da comarca do pampa.”
The gaucha literature constitutes in a peculiar genre that emerged in the Platina region and in the Rio Grande do Sul State, due to the identity figure of the two places: the "gaúcho". This region and its literature form a kind of "comarca do pampa." Because of its great similarity in the identity, the Rio Grande do Sul literature and the gauchesca poetry of Platina region are considered one literature, there have no differences. Several writers and essayists wrote about it, which we highlight Jorge Luis Borges (Argentina) and Augusto Meyer (Rio Grande do Sul). The two writers have also similarity: are contemporary essayists, poets and cosmopolitan figures. They turned their works, at the same time, to discuss about the local gauchesca literature in relation to the universal literature. Each writer has a personal understanding about the identity of the gaúcho and the gauchesca literature. The positioning of them can be explained by several factors. First, the historical context of the place where they were born, the feeling of to be part of the place and the identity of the gaúcho. Although very similar, there have differences between the gaucho from Platina region and from Rio Grande do Sul. Second, we analyzed the course of the writers‟ life and of their work. Third, we explored the critical positioning of Augusto Meyer about the literature work of Borges in his essay "Jorge Luís Borges", by the book “Borges no Brazil” (2001). This criticism was before pointed out and discussed by Professor Dr. Luís Augusto Fischer in his essay "Augusto Meyer, an essayist of the Pampas region."

La modélisation géométrique est un outil fondamental de la C. A. O. Actuellement, le monde de la C. A. O. S'intéresse plus particulièrement aux modèles solides. Indépendamment des recherches consacrées aux modèles solides, se sont développés des systèmes fondés sur des modèles de surface. Mais de plus en plus, on aimerait avoir un modèle volumique avec des surfaces gauches pour pouvoir représenter des solides à formes libres. Nous nous proposons de contribuer à l'intégration des surfaces gauches dans les modèles solides. Après avoir rappelé les principes des différents modèles solides et leurs propriétés, nous essayons d'expliciter les difficultés liées au passage d'un modèle mathématique à un modèle informatique. Puis nous détaillons et comparons les différents modèles de surfaces. Enfin nous nous attachons à montrer, à partir de l'existant, par quels moyens on peut tenter d'intégrer les modèles de surface dans les modèles solides

A cultura gauchesca tem vínculos estreitos com a formação geográfica do Estado do Rio Grande do Sul (RS) e isso é representado, por exemplo, em canções gauchescas, quando as formas geotopológicas (relevo, vegetação e hidrografia) são mencionadas para referir ao estado como um todo. Da mesma forma, os recortes geopolíticos são referidos pela menção a cidades, ao próprio RS ou à sua posição cardeal em relação ao Brasil. Nesse âmbito, o objetivo geral desta tese é examinar as construções de sentidos e interpretações de designadores espaciais (DE) de letras de canções gauchescas, a partir da leitura por parte de duas categorias de leitores: os vinculados a movimentos tradicionalistas e os não vinculados a esses movimentos. O problema que guia esta pesquisa é: que construções de sentidos e interpretações são revelados nas designações espaciais relativas ao RS nas letras de canções gaúchas, verificadas por meio da leitura de certas categorias de público receptor? Trabalhamos, então, com a ideia de leitura como interpretação, buscando subsídios na Linguística Cognitiva para refletir sobre como indivíduos interpretam vocábulos diferentes em canções regionais, quando dispostos em enunciados diferentes, com base nas pesquisas de Barcelona (2003), Evans (2009), Fillmore (2009), Geeraerts (2009), Panther e Thornburg (2007), Panther (2006), Silva (2010), Taylor (2009; 2010) e Teixeira (2001).Para a consecução de nosso objetivo geral, esta investigação é construída por uma pesquisa sobre a história da musicografia gauchesca (para contextualizar, selecionar e justificar o conjunto de canções utilizadas), pesquisa lexicográfica (para verificar como os sentidos dos designadores são registrados nos dicionários), pesquisa de campo (por meio de questionário e entrevistas, para levantar como os informantes-leitores interpretam os vocábulos), análise introspectiva (na perspectiva do pesquisador) e análise das respostas do questionário e das entrevistas. A partir desse conjunto de pesquisas e análises, constatamos que os DEs são interpretados, em grande parte, como processos metonímicos em que as PARTES do RS representam o TODO. Respondendo à questão de pesquisa, a categoria de sujeitos ligados a movimentos tradicionalistas demonstrou maior sensibilidade em suas interpretações, conferindo aos DEs pormenores e traços de afetividade, enquanto a categoria não vinculada a esses movimentos apresentou uma tendência a construir sentidos mais genéricos.
Submitted by cmquadros@ucs.br (cmquadros@ucs.br) on 2018-02-20T12:32:44Z No. of bitstreams: 1 Tese Odair José Silva dos Santos.pdf: 3841720 bytes, checksum: 6d0ded47c195d77b45b6e48535a5bbe4 (MD5)
Made available in DSpace on 2018-02-20T12:32:44Z (GMT). No. of bitstreams: 1 Tese Odair José Silva dos Santos.pdf: 3841720 bytes, checksum: 6d0ded47c195d77b45b6e48535a5bbe4 (MD5) Previous issue date: 2018-02-20
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES
Gauchesque (or gaucho) culture has close links with the geographic formation of the state of Rio Grande do Sul (RS) and this is represented, for example, in gauchesque songs, when geotopological forms (such as relief, vegetation and hydrography) are mentioned to refer to the state as a whole. Likewise, geopolitical contours are referred to as cities, as the state itself or its cardinal position in Brazil. The general aim of this thesis is to examine the construction of meanings and interpretations of spatial designators (DE) of lyrics of gaucho songs, as evidenced from the reading of two categories of readers: those related to traditionalist movements and those not related to them. The problem that guides this investigation is: what constructions of meanings and interpretations are revealed in spatial designators related to RS in gaucho song lyrics, as observed in certain categories of readers? This thesis deals with the idea of reading as interpretation, based on Cognitive Linguistics to reflect on how individuals interpret different words in regional songs, when arranged in different statements, using data from researches by Barcelona (2003), Evans (2009), Fillmore (2009), Geeraerts (2009), Panther and Thornburg (2007), Panther (2006), Silva (2010), Taylor (2009) and Teixeira (2001). In order to achieve it main goal, the investigation includes research on the history of gaucho musicography (in order to contextualize, select and justify the set of songs used), lexicographic research (in order to check how the meanings of designators are registered in dictionaries), field research (by means of a questionnaire and interviews, in order to analyze how the informants-readers interpret the words), introspective analysis (from the perspective of the researcher) and analysis of the answers to the questionnaire and interviews. This set of researches and analyses has evidenced that DEs are seen, mostly, as metonymic processes in which the PARTS of the state of RS represent the WHOLE. In addition, as an answer to the question of this investigation, the individuals related to traditionalist movements have shown greater sensitivity in their interpretations, assigning DEs more details and traces of affection, while those in the category not related to traditionalist movements tended to construct broader generic meanings.

On étudie le problème suivant : étant donnés m points généraux de P3, trouver une courbe lisse et connexe passant par ces points et de degré le plus petit possible. Le problème se ramène essentiellement à l'étude du fibré normal des courbes de P3, en particulier à une propriété voisine de la stabilité : la hO-stabilité. On donne un critère pour obtenir cette condition et des applications utilisant les méthodes de liaison. Les résultats obtenus sont, le plus souvent, regroupés sous forme de tableaux
Given m general points of P3 , we try to find a curve of low degree containing these points. The problem involves the normal bundle of the curves in P3 , namely a condition which we call h0 –stability by analogy with ordinary stability. We give a criterion of h0 -stability and apply it by use of liaison techniques. Most of the results are collected in several tables

Nous decrivons un nouvel algorithme permettant de representer tres fidelement des surfaces anatomiques a l'aide de nappes b-splines, puis de calculer leurs courbures. Nous introduisons ensuite deux algorithmes permettant d'extraire des lignes de courbure extremale, et nous comparons les resultats obtenus a l'aide de ces deux methodes. Les courbes extraites sont ensuite approximees par des b-splines, afin d'evaluer localement courbure et torsion, ainsi que d'autres parametres invariants par deplacement rigide, lies a la surface sur laquelle la courbe s'appuie. Enfin, la contribution principale de cette these est la description d'un algorithme permettant de mettre en correspondance automatiquement ces courbes, et plus particulierement les courbes produites par le marching lines, avec une precision tres largement inferieure a celle de l'element de volume. Cet algorithme a ete utilise pour recaler automatiquement et precisement des images volumiques scanner-x

L'objet de cette étude est la détermination de la classe rationnelle associée au cycle défini par le schéma de Hilbert d'une courbe projective, plane ou gauche, dans l'anneau de Chow du schéma de Hilbert de l'espace projectif de dimension 3. Cette classe est calculée de façon explicite comme combinaison linéaire de cycles "simples" ; de plus on montre son indépendance par rapport à la courbe choisie, celle-ci parcourant un certain module de courbes

La modelisation surfacique permet de definir la geometrie d'une piece avec rigueur mais requiert de nombreuses heures de travail. La modification d'un tel modele devient alors fastidieuse voir impossible au cours d'un processus de conception. Les travaux presentes dans ce document s'interessent a l'elaboration de methodes et d'outils de modification et de construction de formes gauches soumises a des contraintes de conception. L'identification des problemes lies a la manipulation des modeles geometriques couramment utilises en conception mecanique a permis de definir des criteres d'analyse des differentes methodes de modification existantes. Diverses methodes de deformation dediees aux modeles polyedriques et parametriques sont alors evaluees en fonction de ces criteres : la conservation de la geometrie, la rapidite du processus et la facilite de manipulation des parametres par l'utilisateur. Une methode basee sur un modele mecanique employant un reseau de barres, imaginee initialement pour les modeles polyedriques, est alors etudiee et adaptee aux modeles parametriques de surfaces gauches. Des contraintes de conception (plan, droite, sommet, ligne, ) utilisees pour maintenir les differentes conditions de continuites entre les carreaux restreints des surfaces parametriques ou pour modifier la forme, i. E. Deformer, la geometrie de l'objet sont introduites. Des parametres de deformation intuitifs ainsi que des criteres de deformation proches du comportement reel de membrane sont crees pour permettre a l'utilisateur de choisir une solution qui repond a son probleme particulier de conception. La nouvelle forme de la piece est alors generee par l'intermediaire d'une application relativement rapide et intuitive. L'efficacite d'une telle methode ainsi que la possibilite de manipuler directement une geometrie parametrique composee d'un ensemble de carreaux restreints sont demontrees et illustrees.

Cette etude concerne le probleme du debit a plat de pieces a parois minces ayant la forme d'une surface gauche non reglee. Deux types de problemes sont abordes: l'obtention de la piece par l'assemblage de plusieurs surfaces reglees et la mise en forme par formage a partir d'un flan. Dans le premier cas la piece est decomposee en plusieurs bandes, et chaque bande est approximee par des facettes triangulaires planes (a l'interieur les tolerances limites) et ensuite toutes les facettes sont reorientees dans un plan. Dans le deuxieme cas la forme plane initiale est corrigee selon les deformations presupposees ou calculees pour obtenir un flan unique

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-04-10T19:07:47Z No. of bitstreams: 1 lucassalesfurtado.pdf: 802083 bytes, checksum: 445bf68375103a50786c407e90e00071 (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-11T11:15:46Z (GMT) No. of bitstreams: 1 lucassalesfurtado.pdf: 802083 bytes, checksum: 445bf68375103a50786c407e90e00071 (MD5)
Made available in DSpace on 2018-04-11T11:15:46Z (GMT). No. of bitstreams: 1 lucassalesfurtado.pdf: 802083 bytes, checksum: 445bf68375103a50786c407e90e00071 (MD5) Previous issue date: 2016-09-28
A dissertação em questão tem como objetivo apresentar as diferentes formas de representação do Gaúcho dentro da literatura argentina durante o século XIX, mais especificamente, entre 1845 e 1872. Para isso, pretende-se utilizar como as obras de Domingo Faustino Sarmiento, Estanislao Del Campo e José Hernández. A literatura nacional, baseada na figura do Gaúcho, seria um diferencial importante para se construir um sentido de pertencimento e identificação entre o sujeito e a nação. Nessa dissertação será analisada as diversas representações propostas por estes três autores.
The dissertation in question aims to present the different forms of representation of the Gaucho in the Argentine literature during the nineteenth century, more specifically, between 1845 and 1872. For this, we intend to use as the works of Domingo Faustino Sarmiento, Estanislao Del Campo and José Hernández . The national literature, based on the Gaucho figure, would be an important reference for building a sense of belonging and identification between the subject and the nation. In this dissertation will analyze the various representations proposed by these three authors.

1990 wurden linksradikale Akteure aus West- und Ostdeutschland Teil des gleichen Staates und somit gleichsam Teil eines selben Ganzen: der deutschen radikalen Linken. Die große Vielfalt der ideologischen Strömungen in einer höchst heterogenen Szene wie der radikalen Linken machte die Entstehung einer gemeinsamen kollektiven Identität ohnehin schwierig. Die vorliegende Arbeit versucht herauszufinden, wie Akteure aus Ost und West, die sich selbst als „linksradikal“ bezeichneten, im Laufe der 1990er Jahre versucht haben, sich in der neuen, de facto gemeinsamen politischen Szene selbst und gegenseitig zu verorten. Wie wurden die neuen Verhältnisse nach dem Zusammenbruch des Realsozialismus und somit dem Wegfall vieler Bezugsrahmen und Paradigmen des Kalten Krieges neu definiert? Wie sah die deutsche radikale Linke ihre Rolle in diesem neuen Kontext? Gab es spezifische ost- bzw. westdeutsche Antworten auf die neue Situation? Nicht zuletzt wird gefragt, ob ost- und westdeutsche Akteure gemeinsame Kampfinhalte entwickeln konnten. Die Nationsfrage wird in der vorliegenden Studie unter zwei Aspekten verhandelt: Erstens als Erfahrungsgeschichte einer sich neu zu bildenden „deutsch-deutschen Linken“ in Ost und West nach 1990. Zweitens ist es eine Geschichte der expliziten Auseinandersetzung mit den neuen Themen „deutsche Nation“ und „deutsche Geschichte“, wie sie vor allem von Seiten der antideutschen bzw. antinationalen Linken diskutiert wurden. Diese Auseinandersetzung hatte sowohl Auswirkungen auf das linksradikale Selbstverständnis der berücksichtigten Szene als auch auf den Verlauf der Neuvereinigung der ost- und westdeutschen Komponenten dieser Szene.
In 1990, East and West German actors who viewed themselves as members of the “radical left” suddenly became part of the same collective: the German radical left. Yet the contexts in which these actors had been politicized and socialized had been quite distinct prior to the fall of the Wall. The purpose of this study is to examine the modalities by which these actors – East and West – were unified in the course of the 1990’s. On what bases did they – in an environment which remained highly heterogeneous – define the shared reality which is a precondition of any rapprochement? What was the influence of the legacy of the East German leftist opposition’s political experience in the GDR? The position known as antideutsch or antinational particularly attracted our attention. It developed among the West German left in the wake of reunification. It also contributed considerably to redefining the structure of the scene in the East and the West in the second half of the 1990’s. The dissertation throws light on German political culture following reunification, on the one hand, and on the disorientation of the German left after the collapse of Real socialism, on the other. Furthermore, it introduces the East German dimension, which is often neglected by research, in the history of the Western European left.

Les sciences de l'ingenieur font souvent appel a des maillages. Cette representation geometrique demeure difficile a controler lorsque le domaine maille correspond a une surface gauche. Reposant sur un lien efficace entre un maillage et un modele geometrique (base sur un formalisme de type non uniform rational b-spline), cette etude propose des outils de manipulation geometrique ou topologique des maillages surfaciques. Elle met aussi en evidence des problemes inherents a la liaison c. A. O. -calculs de structures et indique des outils de base pour la gestion de ces problemes. Sans necessiter de connaissances approfondies sur les techniques c. A. O. , un module de maillage dedie au specialiste du calcul de structures a ete developpe et permet le controle d'un maillage surfacique conforme a un modele geometrique. Ce dernier est directement issu des modeleurs c. A. O. Ameliorant la communication entre les specialistes du bureau d'etude et ceux du service calculs, cette etude participe pleinement a l'effort d'integration des differentes phases du processus de conception

Les proprietes mecaniques du cur in-situ au cours de la contraction et de la relaxation ventriculaires gauches ont ete etudiees a l'aide de mesures instantanees et simultanees de la geometrie et de la pression ventriculaires en utilisant la technique de sonomicrometrie et de micromanometrie chez le chien prealablement instrumente. Dans l'etude de la contraction, nous avons pu montrer, contrairement a ce qui est trouve sur les curs isoles, une curvilinearite de la relation pression-volume telesystolique ventriculaire gauche lorsque le volume telediastolique est grand, ce qui indique un effet direct de la precharge sur cette relation. Cet effet est important sur le cur in-situ du fait que le ventricule gauche travaille, dans ces conditions, pres du sommet de la courbe de frank-starling. Nous avons aussi montre que, lors de la relaxation, la constante de temps de chute de la pression isovolumique ventriculaire gauche qui est un index de la vitesse de relaxation depend a la fois de la postcharge et de la sequence de mise en charge du ventricule gauche pour une contractilite donnee. Ainsi, a cote des proprietes intrinseques du myocarde, l'appreciation de conditions de charge est importante pour l'evaluation de la contraction et la relaxation ventriculaires gauches. Cette appreciation devient essentielle lors d'etats physiologiques et physiopathologiques s'accompagnant d'importantes variations de la precharge ou de la postcharge

This thesis contains the main results of five of the papers signed or co-signed by the author, those are [127, 89, 128, 55, 40]. As a consequence, it deals with various topics in representation theory of algebras. The first one is about laura algebras. Those have been independently introduced by Assem and Coelho [10] and Reiten and Skowronski [109] at the early stage of this decade. The aim was to obtain a common treatment of both the caass of representation finite algebras and weakly shod algebras (see [49]). Since then, laura algebras have been heavily investigated [9, 109, 124, 10, 14, 56]. An important fact about laura algebras is their strong links with a particular type of Auslander-Reiten components, called quasidirected. In Chapters 2 and 3, we present the results of [127, 89] whose aim is to give numerous (unified) characterizations of laura algebras and quasi-directed components; many of them being expressed in terms of paths between indecomposable modules, see Theorems 2.2.1, 3.2.1 and 3.2.2. In Chapter 4, we present the main results of [128]. Those deal with a new family of algebras, called almost laura. We highlight some properties of those algebras and show that laura algebras stand as particular cases of almost laura algebras. In addition, we study more intensively the left or right supported almost laura algebras and conjecture that any such algebra is laura. Besides this, given an algebra A and a group G, one can define, following the works of de la Peäna [51] and Reiten and Riedtmann [107], the skew group algebra A [ G ]. It is known that A and A [ G ] often share many properties. In this document, we show that if G is a finite group whose order is invertible in A, then A is almost laura if and only if so is A [ G ] (see Section 4.6). Then, in Chapter 5, we prove that under some assumptions, the fact that A is piecewise hereditary (see [71, 78, 76]) implies that so is A [G ]. Finally, in Chapter v, we present the results of [40] concerning the Hochschild and simplicial (co)homology'groups of a pullback R of algebras A[subscript 1] and A[subscript 2] . We show that under proper assumptions there exist Mayer-Vietoris exact sequences relating the Hochschild, or simplicial, (co)homology groups of A[subscript 1], A[subscript 2] and R. We also establish some links allowing to compute the fundamental groups of a presentation of R in terms of fundamental groups of presentations of A[subscript 1] and A[subscript 2]. In order to help the reader, we always refer, when this is possible, to the paper in which a given result is presented.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study aims to address the issue of crafts and symbolic market, with a view to marketing gauchescos products in the rural community of Vila Progresso artisans in Caçapava do Sul / RS, which initially developed to work with traditional techniques of wool crafts, practiced by generations and transmitted through women. This knowledge in practice produce symbolic pieces of the gaucho way of life of the past, reinvented this Traditionalist Gaucho Movement (MTG) and various contemporary cultural elements, such as the appreciation of the authentic and rustic. From this context, the theoretical study of the thematic guide mentioned the problem of research that sought to investigate: the symbolic mercado of gauchescos products in Vila Progresso in Caçapava do Sul / RS was turning the wool crafts in the community? In this sense, these changes have occurred and have the same consequences for the community of artisans? As a goal, we try to understand the relationships that are established between craft and symbolic gauchescos market products in the affected community, as well as the possible changes that may have occurred because of this relationship and its implications for the community. This research is part of a qualitative methodology, set up as a case study, with exploratory, descriptive and reflective perspective, where the main theoretical and methodological foundations are based on Bourdieu authors (2007) Canclini (1983), and Oliven (2006). As a result of research, it is observed that there were several changes in the daily lives of artisans with the expansion of demand for symbolic products of the gaucho tradition, encouraged by traditionalism, at an early date, and the appreciation of local cultures due to a cultural hybridity experienced by contemporary society. The community of artisans began to diversify crafts to be sold in the local stalls, covering a wide variety of agricultural products in wool, leather and wood, with a view to meet the needs of a consumer who has appreciation for rustic or cultivate invented traditions as a result of this fact the craftsmen grew and achieved economic stability with the expansion of this market. Thus, diversification has brought a number of new elements for the productive and commercial aspects of the craftsmen on site, where craftsmen are building new business strategies and expand trade relations, but without losing the authorship of the production process of woolen
O presente estudo visa uma aproximação da temática artesanato e mercado simbólico, tendo em vista a comercialização dos produtos gauchescos na comunidade rural de artesãos da Vila Progresso em Caçapava do Sul/RS, a qual desenvolveu-se inicialmente trabalhando com técnicas tradicionais do artesanato em lã, praticadas por várias gerações e transmitidas através das mulheres. Esses saberes produzem na prática peças simbólicas do modo de vida do gaúcho do passado, reinventado no presente pelo Movimento Tradicionalista Gaúcho (MTG) e por vários elementos culturais contemporâneos, como o apreço pelo autentico e pelo rústico. A partir desse contexto o estudo teórico das temáticas citadas norteiam a problemática de pesquisa, a qual procurou investigar: se o artesanato na Vila Progresso em Caçapava do Sul/RS foi transformando-se em função do mercado simbólico dos produtos gauchescos? Em que sentido ocorreram estas transformações e quais foram as consequências das mesmas para a comunidade de artesãos? Como objetivo geral, procurou-se compreender as relações que se estabelecem entre artesanato e o mercado simbólico dos produtos gauchescos na comunidade citada, bem como, as possíveis mudanças que possam ter ocorrido em função dessa relação e as implicações das mesmas para a comunidade. Essa pesquisa parte de uma metodologia qualitativa, configurase como um estudo de caso, com perspectiva exploratória, descritiva e reflexiva, onde as principais bases teórico-metodológicas estão embasadas nos autores Bourdieu (2007) Canclini (1983), e Oliven (2006). Como resultado da pesquisa, observa-se que houveram várias mudanças no cotidiano dos artesãos com a ampliação da demanda por produtos simbólicos da tradição gaúcha, incentivada pelo tradicionalismo, em um momento inicial, e pela valorização das culturas locais em função de um hibridismo cultural vivenciado pela sociedade contemporânea. A comunidade de artesões passou a diversificar os artigos artesanais a serem comercializados nas tendas do local, abrangendo uma ampla variedade de produtos rústicos em lã, couro e madeira, tendo em vista, suprir as necessidades de um consumidor que tem apreço pelo rústico ou que cultiva as tradições inventadas, como consequência de tal fato os artífices cresceram e conseguiram estabilidade econômica com a expansão desse mercado. Sendo assim, a diversificação trouxe uma série de elementos novos para os aspectos produtivos e comerciais dos artesãos no local, onde os artesãos estão construindo novas estratégias comerciais e ampliando as relações comerciais, mas sem perder a autoria do processo de produção das peças em lã.

Este memorial apresenta reflexões e práticas referentes ao processo criativo desenvolvido no exercício cênico intitulado Solo como un hongo, que foi construído com base em improvisações. O imaginário constituído por memórias pessoais, ditos gauchescos e comicidade de origem clownesca conduziu o processo de criação das ações que compõem o solo. A interrelação entre esse gênero de raiz popular, as memórias, o riso, meu aporte técnico e artístico e os processos intuitivos originou este estudo, em que a personagem encontra, por meio de jogos estabelecidos com um amor imaginário, uma possível via de combate à solidão.
This memorial presents reflections and practices related to the creative process developed along the scene exercise named Solo como un hongo, whose construction was based on improvisations. The imaginary constituted of personal memories, gaucho sayings and clown comicality guided the process of creating the actions composing the solo. The interrelation between this popularrooted gender, the memories, the laughter, my technical and artistic input and intuitive processes originated this study, in which the character finds a possible path to fight solitude by means of games played with an imaginary lover.

Ce travail, réalisé dans le cadre d'une thèse Allocation Couplée et un contexte inter-laboratoires fort : IRCCyN – IRENav – IFMA offrant de multiples ressources en productique et en hydrodynamique, vise à améliorer le processus de réalisation des hélices marines. Certaines des spécifications géométriques établies durant la conception perdent définitivement, lors de l'étape de définition de la stratégie de fabrication en finition, leur caractère fonctionnel au travers de leur traduction en paramètres liés à la machine d'usinage. Cette étude vise à proposer une alternative au polissage en renforçant les liens fonctionnels entre les propriétés de l'hélice et les paramètres géométriques des opérations de fraisage. La première partie du travail est consacrée à l'étude du processus de conception et de réalisation ainsi qu'au cycle de vieillissement des hélices marines. Les trajectoires d'usinage sont généralement obtenues par post-traitement du modèle numérique créé en C.A.O. ; passer directement des lois hydrodynamiques au trajet outil permet de mieux répondre aux exigences fonctionnelles des propulseurs marins. Ainsi des critères multiphysiques doivent être à la source de la spécification de l'état de surface, du format d'interpolation support des trajectoires et, dans le cadre d'une approche générique du processus d'usinage, du choix de l'ensemble des intervenants du processus de réalisation des hélices. Dans un second temps les relations entre les différentes activités du processus de fabrication des hélices sont restructurées et de nouvelles liaisons sont proposées entre les domaines dits « fonctionnel », « virtuel » et « physique » pour prendre en compte des contraintes fonctionnelles et ainsi aboutir à la mise en place d'un nouveau concept de génération de trajectoires d'usinage. Les lignes de frottements, signature hydrodynamique de l'hélice, sont suggérées pour supporter les trajectoires d'usinage. La complexité de ces données d'une part et celle de la géométrie hélice d'autre part nécessitent le développement d'une nouvelle stratégie de génération de trajectoires d'usinage. Ainsi, basés sur le formalisme de Bézier, des algorithmes d'interpolation sont proposés pour aboutir à des trajectoires continues au bord d'attaque, contrainte fonctionnelle incontournable et, chose essentielle, exploitables en usinage. Le passage par le bord d'attaque, lieu où la cavitation ne doit pas apparaître sous peine de se propager à l'ensemble de la pale, est l'objet de toutes les attentions. Les contraintes fonctionnelles insuffisantes en cet endroit sont, dans le cadre d'une approche multimétier, suppléées par des contraintes géométriques et des contraintes liées à la cinématique du centre d'usinage. Le trajet outil étant déterminé, une analyse de sa pertinence hydrodynamique est menée ; un découpage de la pale en zones d'application pertinente de la méthode est défini. Suite à cela, un modèle d'hélice de patrouilleur P400 de la Marine nationale est retenu comme cas d'étude. A partir de celui-ci, une étude expérimentale en bassin est mise en place en vue d'analyser, par comparaison avec une pale d'hélice étalon polie miroir, les effets de stries d'usinage orientées sur le comportement du fluide au voisinage d'une pale usinée selon la stratégie développée. Un fluide différent de celui d'évolution et une caméra rapide sont utilisés pour observer les modifications de comportement du fluide dues à l'état de surface dirigé. Les résultats de la campagne d'essais, qui reposent sur les techniques de traitement d'images, sont détaillés et analysés pour conclure sur les apports de la méthode en terme de coût et de temps de fabrication.

Pour classifier les courbes gauches (localement de Cohen Macaulay mais pas nécessairement lisses) en géometrie algébrique, on étudie le schéma de Hilbert H_d,g qui paramètre les familles de courbes de degré d et genre g. Dans cette thèse, nous étudions ce schéma, que l'on note alors X_d, dans le cas g = (d-3)(d-4)/2, qui est le premier cas intéressant en genre grand. Pour étudier le schéma de Hilbert H_d,g, M. Martin-Deschamps et D. Perrin ont proposé dans plusieurs articles une philosophie qui repose sur un invariant algébrique des courbes qu'on appelle le module de Rao. Leur philosophie consiste a stratifier ce schéma de Hilbert par les sous-schémas a cohomologie constante sur lesquels on dispose d'un morphisme lisse qui à une courbe associe son module de Rao. Pour commencer, nous montrons que le module de Rao de toute courbe de X_d est de "Koszul" grâce à des résultats de P. Ellia et S. Nollet, et nous donnons pour chaque valeur de d tous les modules de Rao obtenus avec les courbes de X_d. Cela constitue l'étape du bas de la philosophie évoquée ci-dessus. L'étape intermédiaire qui est la suivante, consiste a passer de ces modules aux sous-schémas a cohomologie constante de X_d, via le morphisme ci-dessus. Nous montrons que ces sous-schémas sont tous irréductibles, lisses et nous calculons leurs dimensions. Nous déduisons ensuite les composantes irréductibles de X_d et nous décrivons leurs courbes génériques. Enfin, la partie la plus difficile de la thèse correspond à l'étape du haut, et consiste à étudier les spécialisations entre les différents sous-schémas à cohomologie constante de X_d en utilisant la notion de triade récemment introduite par R. Hartshorne, M. Martin-Deschamps et D. Perrin, ce qui permet notamment de montrer la connexité de X_d. Cela revient a construire des familles de courbes qui joignent ces sous-schémas, ce qui est parfois long et complexe. Nous proposons pour cela une démarche permettant de réaliser pratiquement les constructions.