Tesi: "Tables, 1906"

1

Thomas, Brandon Paul. "At my kitchen table". College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8998.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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2

Jabbari, E. "Thermodynamic calculations with TK!Solver". Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/90944.

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The objective of this research was to apply the TK!Solver program for thermodynamic calculations. The TK!Solver program is equation-solving software that can solve both linear and non-linear sets of equations. To achieve the above objective, six programs have been developed. Program ESTATE.TK calculates volumetric properties of compounds using the ideal gas law, Pitzer correlation, van der Waals, Redlich-Kwong, Dieterici, or Berthelot equation of state. The volumetric properties include temperature, pressure, volume, and compressibility factor. Program RESIDUAL.TK calculates residual and total properties of compounds as a function of temperature and pressure using the Pitzer correlation, van der Waals, or Redlich-Kwong equation of state. The residual and total properties include residual volume, residual internal energy, residual enthalpy, and residual entropy. Program FRENERGY.TK calculates standard free energy of formation, standard enthalpy of formation, and standard entropy of formation for a compound or a reaction as a function of temperature. This program also calculates the equilibrium constant for a reaction as a function of temperature. Program CHON.TK calculates the equilibrium composition for an adiabatic or non-adiabatic reactor as a function of the temperature and pressure of the reactor, hydrogen-to-oxygen ratio, and nitrogen-to-oxygen ratio in the feed. The feed to the reactor consists of the elements carbon, hydrogen, oxygen, and nitrogen. The products of the reactor are methane, water, carbon monoxide, carbon dioxide, hydrogen, and nitrogen. Program CRITICAL.TK furnishes critical data for more than fifty compounds. The critical data includes critical temperature, critical pressure, critical volume, critical compressibility factor, and the acentric factor. Programs ESTATE.TR and RESIDUAL.TK have access to data file CRITICAL.TK for state property calculations. Program DATBANK1.TK supplies heat capacity data, heat of formation, and entropy of formation data for more than one hundred compounds. Programs RESIDUAL.TK and FRENERGY.TK have access to data file DATBANK1.TK for enthalpy and entropy calculations. These six programs may be considered as a basis for an "expert" system for thermodynamic calculations. Data can be easily added to extend the calculations to include additional compounds.
M.S.

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3

Butler, Marvin, Mike Kilby e Bob Rush. "Hydrogen Cyanamide Trial on Table Grapes, 1985/1986". College of Agriculture, University of Arizona (Tucson, AZ), 1990. http://hdl.handle.net/10150/215708.

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4

Pan, Xuemei. "Factors influencing the mixture index of model fit in contingency tables showing indenpendence". College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/4101.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Measurement, Statistics and Evaluation. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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5

Wu, Chung-Yu. "Predicting water table fluctuations using artificial neural network". College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8826.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.
Thesis research directed by: Fischell Dept. of Bioengineering . Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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6

Becker, Jane A. "Optimizing the touch tablet: the effects of lead-lag compensation and tablet size". Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/94450.

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A major design aspect of touch tablet operation is the display/control (D/C) gain. The primary objective of this research was the development and optimization of a variable D/C gain to improve human performance with touch tablets. This variable gain minimizes the speed-accuracy trade-off problem associated with traditional D/C gains. An additional objective.of this research was to determine the effect of tablet size on human performance. Display/control (D/C) gain is defined as the amount of movement which occurs on the display in response to a unit amount of movement of the control. With traditional D/C gains, there is a trade-off between low D/C gain which enables fine positioning, but results in very slow cursor movement, and high D/C gain which produces quick cursor movement but results in poor fine positioning ability. A lead-lag compensator which ameliorates this trade-off problem was developed. A lead-lag compensator is composed of a pure position gain component plus an additional velocity gain component. The results indicate that a lead-lag compensator greatly increased the target acquisition rate relative to a traditional D/C gain system. Percentage error increased with lead-lag compensation relative to an uncompensated system. The overall error rates were very low in all cases, however. Tablet size did not appear to significantly affect performance; performance on the three tablet sizes was generally consistent.
M.S.

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7

Benge, G. Gregory. "A comparison of thermodynamic models for the prediction of phase behavior in aqueous-polymer two-phase systems". Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/90936.

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Aqueous-polymer two-phase systems consist of various combinations of water, polymer(s), low molecular weight component(s), and salts. These aqueous-polymer systems are comprised of two phases, each of which contains about 90 percent (by weight) water. Due to some very unique properties, these systems have been applied to separations involving biological molecules for at least a quarter of a century. In particular, these systems are inexpensive, efficient, and provide a mild (aqueous) and possibly stabilizing environment for fragile biologically-active molecules. These systems may also be designed for a high degree of selectivity. Although much effort has been expended in the area of polymer solution theory, the theory of why these systems exhibit this extraordinary two-phase behavior that characterizes them as viable liquid-liquid extraction systems for use with biologically-active molecules is not completely understood. A thermodynamic model which could accurately represent the phase equilibria exhibited by these systems would be useful for the design of systems for use in many different applications. A potpourri of thermodynamic models and their underlying theoretical structure have been critically studied for their particular application to predicting the phase behavior of aqueouspolymer two-phase systems. In particular, the Flory-Huggins model is reviewed (with discussion of its inadequacies and subsequent modifications); the theory of Ogston; the model by Heil; several local composition models (NRTL, Wilson, and UNIQUAC); and two group-contribution models (ASOG and UNIFAC) are all discussed. The development of a solvent-electrolyte model (Chen's model) based on local composition theory (in particular the NRTL model) is reviewed, and the subsequent possible modification of this theory for solvent-polymer-electrolyte systems is discussed. The pros and cons of each model are discussed and qualitative results are given. Quantitative comparisons with experimental data are made with several of these models when appropriate data are available. The main conclusions of this work are: 1. A major limitation to the modeling of these aqueous-polymer two-phase systems is the lack of experimental data. Sufficient, accurate data is needed for the reduction of meaningful thermodynamic parameters by which thermodynamic models can be tested for their applicability. There exists a definite need for the generation of accurate, meaningful thermodynamic data from well characterized systems. 2. The most promising model identified in this work is the theory of Ogston. First, the model is based on the virial expansion and is thus quite suitable for dilute solutions. The Ogston model is the simplest theoretically-relevant dilute-solution model. Second, it appears to be easily extended to solvent-polymer-electrolyte solutions. 3. The Flory equation of state approach appears to be promising for representing polymer solutions. The free volume dissimilarity effect on which it is based is extremely important for solvent-polymer solutions. The most important aspect of this theory is its ability to predict lower critical solution temperature (LCST) behavior -- for which the Flory-Huggins theory is totally inadequate.
M.S.

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8

Gray, Marianne. "'Man is a dining animal' : the archaelogy of the English table, c.1750-1900". Thesis, Liverpool Hope University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526940.

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9

Gray, Marianne. "'Man is a dining animal' : the archaeology of the English at table, c.1750-1900". Thesis, University of Liverpool, 2009. http://livrepository.liverpool.ac.uk/1366/.

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This study investigates the role of gender and, within that, class in changing English dining styles in the eighteenth and nineteenth centuries. The period c.1750-1900 has been chosen to cover a major period for dining change, as it is during this time that service à la Russe superseded service à la Française as the dominant formal dining style. This change has been much discussed by food historians and sociologists, but the materiality of change has not hitherto been placed within an archaeologically-informed framework. Equally, while the artefacts of dining are among the most frequently recorded finds in domestic contexts in the historical period, archaeologists have rarely considered them in the context of long-term dining development. Drawing on data from country houses, collections, and published material on middle class and elite settings, this thesis investigates the hypothesis that dining change was driven by women, specifically middle class wives; and that dining-related ephemera must therefore be understood in its relationship with women. It also proposes a narrative of stylistic change using historical archaeological paradigms, introducing the concept of a third, clearly identifiable stage between à la Française and à la Russe. After introducing the data sets and giving a background to dining in the historical period, the first part of the study uses table plans and etiquette, together with depictions of dishes, food moulds and experimental archaeology in the form of historic cookery, to demonstrate the way in which the process of change was driven by middle class women. It argues that à la Russe suited gender and class-specific needs and that, far from being emulative, as has hitherto been assumed, the adaption of à la Russe broke with aristocratic habits. It proposes that a transitional stage in dining style should be recognised, and interprets food design and serving style in the light of this intermediate phase. The setting of dining is explored next, with data on dining décor, plates and physical location interpreted to support the conclusions of the previous section. Following this, the impact of change on food preparation will be used to demonstrate that à la Russe was the result of changes in underlying mentalities which also affected household structure and organisation. The ways women used the materiality of food, including cookbooks, to negotiate status will be demonstrated. A final section will broaden the discussion of gender, class and food. Tea has been chosen as a case study for the further testing of the conclusions drawn from the study of dinner for two reasons: firstly it was, from its introduction, immediately associated with women; and, secondly, tea-related artefacts are among the commonest of archaeological finds, but are rarely understood as engendered and active objects in a domestic context.

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10

Subramanian, Ganeshkumar A. "Coating studies and video imaging of the flow patterns of tablets in a semi-circular fluidized bed". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1901.

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Thesis (M.S.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains xiv, 159 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 118-122).

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11

Di, Gregorio Dante Dominic. "Human capital, social capital, and executive compensation how does the slice of pie executives appropriate compare to what they bring to the table? /". College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2060.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Business and Management. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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12

Malakhova, Olga. "Du tableau à l'installation : la construction du paysage en Tunisie, de l'époque coloniale à nos jours". Paris 8, 2013. http://octaviana.fr/document/179727419#?c=0&m=0&s=0&cv=0.

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Cette thèse porte sur l’étude d’une vision plastique de l’espace paysager tunisien allant du tableau à l’installation. Couvrant la période de l’époque coloniale à nos jours, elle part de l’hypothèse que le paysage se construit et est une vision mentale. Ce travail se situe à l’intersection de deux champs de notre recherche : l’itinéraire historique et le parcours analytique. Pour la recherche, le parcours historique a été choisi car l’élaboration du paysage et son appréhension dépendent à la fois d’étapes humaines, comme la venue de Paul Klee en quête de la lumière mais aussi des événements, comme la naissance de l’École de Tunis, l’Indépendance, les revendications nationales, la quête de soi, de l’identité tunisienne. Mais, le fil de l’histoire ne suffit pas à fonder une problématique. La thèse a donc voulu offrir un état des lieux, tout en décelant ce qui nourrit et fonde la thématique du paysage pictural tunisien. La notion du paysage existe-t-elle dans l’histoire de l’Art tunisien ? Sur la base de cette problématique la thèse scrute le devenir du paysage qui est passé d’une simple fenêtre encadrant le réel à l’omnipaysage. Cette appropriation totale du réel comme passage du local au global alimentés par les œuvres elles-mêmes et les illustrations, constituent la pertinence d’un nouveau discours sur le paysage. Le paysage est non seulement une réalité caractéristique de la peinture tunisienne mais un art ayant acquis sa singularité voire sa spécificité. La Tunisianité n’est qu’un vocable pour traduire cette réalité déterminant l’originalité tunisienne. C’est par l’existence du paysage que se caractérise un véritable enjeu propre au paysage tunisien. Cette recherche permet de mettre en valeur la naissance et le développement de la construction paysagère à partir d’échange entre les deux cultures : l’Orient et l’Occident. Cet échange a permis, entre autre, l’affirmation d’une identité et d’une originalité dépassant le local et tendant vers l’universel
This thesis focuses on the study of a plastic vision of the Tunisian landscape space from the table to the installation. Covering the period from colonial times to the present day, it starts from the assumption that the landscape is built and is a mental vision. This work is located at the intersection of two fields of our research: the historic route and the analytical path. For searching, the historic route was chosen because the development of landscape and its apprehension depend on both of human steps, such as the coming of Paul Klee search light, but also of events, like the birth of the school of Tunis, independence, national claims, the quest of self, of the Tunisian identity. But the thread of the story is not enough to base a problem. The thesis thus wanted to offer a State of the art, identifying what feeds and founded the Tunisian pictorial landscape theme. Is the concept of landscape in the history of Tunisian Art? On the basis of this problem thesis examines the fate of the landscape that is passed a simple window framing reality to the omnipaysage. This total appropriation of the real as the powered local to global crossing by the works themselves and illustrations, are the relevance of a new discourse on the landscape. The landscape is not only a characteristic fact of Tunisian painting but an art having acquired its uniqueness or even its specificity. The Tunisianite is only a Word to reflect this reality determining the Tunisian originality. It is through the existence of the landscape that characterized a real challenge to the Tunisian landscape. This research allows to highlight the birth and development of landscape construction from Exchange between two cultures: the East and the West. This exchange allowed, among other things, the assertion of identity and originality exceeding local and tending towards the universal

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13

Torres, Mariuxi Lorena Gómez. "Estudos bioecológicos de Tamarixia radiata (Waterston, 1922) (Hymenoptera: Eulophidae) para o controle de Diaphorina citri Kuwayama, 1907 (Hemiptera: Psyllidae)". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/11/11146/tde-15042009-073937/.

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Desde 2004 foram detectadas, nas áreas citrícolas paulistas, as bactérias responsáveis pela principal doença de citros no mundo, o huanglongbing ou greening. A ampla distribuição no Brasil do psilídeo vetor, Diaphorina citri e a presença do patógeno nas áreas citrícolas é um fator limitante à produção. Tamarixia radiata é o principal agente de controle biológico de D. citri. Assim, os objetivos do presente estudo foram: a) realizar o levantamento populacional de T. radiata nas regiões citrícolas do estado São Paulo; b) caracterizar o policromismo em populações do parasitóide provenientes das principais regiões citrícolas do estado; c) estudar a biologia de T. radiata em condições de laboratório; d) avaliar a capacidade de parasitismo em diferentes temperaturas; e) determinar, mediante liberações em pomares cítricos comerciais, a eficiência de T. radiata para o controle de D. citri; f) determinar a ocorrência e efeitos no parasitismo da associação T. radiata - Wolbachia; g) realizar o zoneamento agroecológico de D. citri e T. radiata com base nas exigências térmicas e higrométricas para o estado de São Paulo. As populações de T. radiata coletadas em Itirapina, Pederneiras, Piracicaba e São Carlos apresentaram variações cromáticas em relação à espécie típica, sendo que as regiões ITS1 e ITS2 do rDNA das populações analisadas apresentaram de 98 a 99% de identidade. Assim, estas variações cromáticas estão relacionadas à plasticidade fenotípica intra-específica, própria de populações que se encontram em processo de adaptação ecológica. Em 24 horas, o maior parasitismo foi obtido nas temperaturas de 25 e 30°C. Este parasitóide desenvolveu-se na faixa térmica de 15 a 35°C, sendo que 25°C foi a temperatura mais adequada por proporcionar maior viabilidade do período ovo-adulto e os maiores valores da taxa liquida de reprodução (Ro) e da razão finita de aumento (). No município de Araras, oito dias após a liberação, a porcentagem de parasitismo de T. radiata se manteve entre 51,57 e 72,75%. Nos municípios de Cordeirópolis e Limeira, após três liberações, a porcentagem de parasitismo variou entre 30 e 60%. As populações coletadas em Cafelândia, Ribeirão Bonito e Piracicaba apresentaram infecção múltipla por Wolbachia. O limite térmico inferior de desenvolvimento (Tb) foi de 7,13°C e a constante térmica de 188,7GD. Mediante um Sistema de Informação Geográfica, foram obtidos mapas de distribuição do desenvolvimento de T. radiata e D. citri. Assim, ao longo do ano podem ocorrer, na região norte, de 10 a 13 ciclos de D. citri e de 31 a 35 ciclos de T. radiata; na região nordeste, o número de ciclos pode variar de 6 a 10 e de 24 a 31 para a praga e para o parasitóide, respectivamente; nas regiões sudoeste e sudeste, o número de gerações pode variar de 3 a 10 e de 19 a 31 para D. citri e T. radiata. Verificando estes aspectos da interação T. radiata e D. citri, os dados obtidos no presente trabalho poderão auxiliar para a implementação de um programa de controle biológico, como parte do manejo de D. citri, em regiões ecologicamente distintas do estado de São Paulo.
Since 2004, have been detected in citrus-growing areas of São Paulo, the bacterias that are responsible for the main disease of citrus worldwide, known as greening or huanglongbing. The widespread distribution in Brazil of the vector psyllid, Diaphorina citri and the presence of the pathogen in citrus-growing areas is a limiting factor for production. Tamarixia radiata is the most important biological control agent against D. citri. Therefore, the objectives of this study were to: a) conduct a population survey of T. radiata in the citrus-growing regions of the State of São Paulo; b) characterize polychromism in populations of the parasitoid from the main growing regions in the State of São Paulo; c) study the biology of T. radiata under laboratory conditions; d) evaluate the parasitism capacity at different temperatures; e) determine, by means of releases in commercial citrus orchards, the effectiveness of T. radiata for the control of D. citri; f) determine the occurrence and effects on parasitism of the T. radiata - Wolbachia association; g) prepare an agroecological zoning of D. citri and T. radiata for the State of São Paulo based on their temperature and humidity requirements. T. radiata populations collected in Itirapina, Pederneiras, Piracicaba, and São Carlos showed chromatic variations in relation to the typical species; the ITS1 and ITS2 rDNA regions of the populations analyzed had between 98 and 99% identity. Consequently, these chromatic variations are related to the intraspecific phenotypic plasticity characteristic of populations that are undergoing a process of ecological adaptation. In a 24-hour period, the highest parasitism of T. radiata was obtained at 25 and 30°C. This parasitoid developed in the temperature range from 15 to 35°C; the most suitable temperature was 25°C, since it gave the highest viability for the egg-adult period, and the highest net reproductive rate (Ro) and finite rate of increase values (). In the municipality of Araras, T. radiata parasitism percentage values eight days after release remained between 51.57 and 72.75%. In the areas selected in the municipalities of Cordeirópolis and Limeira, the parasitism percentage of T. radiata after three releases ranged between 30 and 60%. The populations collected in Cafelândia, Ribeirão Bonito, and Piracicaba showed multiple infections by Wolbachia. The parasitoids lower temperature development threshold (Tb) was 7.13°C, with a thermal constant of 188.7 GDD. Distribution maps for T. radiata and D. citri development in the State of São Paulo were obtained by means of a Geographic Information System (GIS). According to those, from 10 to 13 D. citri cycles and from 31 to 35 T. radiata cycles may occur in the northern region over the course of one year; in the northeastern region, the numbers of cycles may vary from 6 to 10 and from 24 to 31 for the pest and the parasitoid, respectively; in the southwest and southeast regions the numbers of generations may vary from 3 to 10 and from 19 to 31 for D. citri and T. radiata. Based on these aspects of the T. radiata × D. citri interaction, the data obtained in this work can be useful for the implement a biological control program as part of D. citri management in ecologically distinct regions of the State of São Paulo.

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14

Leroy-Paris, Anne-Marie. "Le tableau et son spectateur". Paris 8, 1993. http://www.theses.fr/1993PA080741.

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Le tableau et son spectateur : duo ou duel? qui se fait "machine de vision" : l'oeil ou le tableau?. . . Une rencontre authentique (vision, perception, reception) entre l'oeuvre picturale "a-topique" (cependant mise en spectacle) et le regardant soumis a de multiples conditionnements ou influences exterieurs et inherents a sa personne, ne releve-t-elle pas del'utopie? ou se joue la liberte de celui qui contemple, si la peinture s'empare de la visibilite, impose des circuits au regard, attire, seduit, fascine et dupe, etant par essence illusionniste ou trompe-l'oeil? l'intentionnalite duregard etant remise en cause, qu'en est-il de la place, du role du spectateur (peintre ou simple contemplateur) s'il est tenu a distance et connait une "mise a nu" qui frole la "mise a mort" ? sera-t-il spectre ou acteur?. . . De l'espace entoile a l'ecran de l'ordinateur, l'oeuvre dite "ouverte" lui permettra-t-elle d'entrebailler les trappes interieures du visible pour voyager dans l'epaisseur des choses?
The painting and the admirer : duo or duel? is it the eye or the painting that becomes the "motor of vision"?. . . A first authentic contact (vision, perception, reception) between the pictoral a-topical masterpiece (nonetheless displayed) and the admirer submitted to multiple self conditionings or exterior influences inherent to his person, is this not already utopic? where in fact is the liberty of the person who is contemplating, if the painting controls the admirer's attention, imposes visual circuits, attracts, seduces, fascinates, and dupes, being essentially illusionist or an eye-teaser? the intentions of the on-looker are being put into question, in as much as the position or the role of the spectator (painter or simoly meditator) if he is held at a distance and experiences a "nakedness" which brushes "past death"? is he spectre or actor?. . . From the canvased space to the computer screen, the masterpiece considered "open" will it allow him, the admirer, to slip through the interior windows of the visible in order to journey into the thickness of things?

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15

Mousset, Kilian. "La mode du ping-pong de 1901 à 1939 : d’un jeu de salon mondain à un sport moderne". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20046/document.

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Du jeu de société dans les salons mondains au début du XXe siècle au sport couru des années 1932 et 1933, ce jeu de balle casse une représentation réductrice et vestimentaire de la mode. Le ping-pong, qui est à l’origine une simple boîte de jeu, connaît deux forts engouements au cours de la première moitié du XXe siècle. En 1902, la mode est au divertissement de salon prétexte à la distinction sociale. Prenant place après les dîners de la Haute bourgeoisie, la droiture du corps est de rigueur. Le jeu respecte un code de galanterie qui en fait un jeu lent. Sa mode s’estompe dès 1903 lorsque le jeu se démocratise à la petite et moyenne bourgeoisies. Vivotant en tant que jeu de salon anodin, le ping-pong réapparaîtcomme une nouveauté en 1932 et 1933. Il est décrit comme un spectacle sportif à l’image de ses champions, de leurs prouesses techniques et des efforts physiques. Il prend également la forme d’une mode populaire en gonflant les rangs du sport ouvrier. Cette reconnaissance sportive dans les représentations sociales est effective quelques années après soninstitutionnalisation. Discours monolithique, la mode cache et relance aussi d’autres vogues. Une réminiscence bourgeoise en fait un jeu prisé des lieux de villégiature. Il se développe également au travers des cafés. L’apogée passée, le ping-pong « sport » perd des effectifs dans les fédérations au milieu des années 1930. Son image sportive chancelle. Elle s’explique par la place difficilement mesurable du jeu informel qui contente les pratiquants. Ce divertissement est alors autant perçu comme un jeu de détente qu’il constitue une manière informelle de faire du sport en dehors des institutions
From the board game in the worldly salons in the beginning of the 20th century to the sought-after sport in 1932 and 1933, this ball game breaks a reductive representation of fashion, mostly about clothing. Ping-pong, which is originally a simple game box, knows two major popular movements during the first half of the 20th century. In 1902, the trend is about salon entertainment, a pretext for social distinction. Taking place after diners in the wealthy bourgeoisie, straightness of the body is required. This game respects the gallantry code, which makes is a slow game. Its popularity is the upper class fades from 1903 when the game knows a democratisation in the petty bourgeoisie and the middle class. Eking out as a trivialsalon game, ping-pong reappears as a novelty in 1932 and 1933. It is described as a sporting show magnified by its champions, their technical feats and physical efforts. It also gains in popularity as it enters the habits of the working class. This sporty recognition in social representations is effective a few years after its institutionalisation. Monolithic vision, fashionalso hides and revives other tendencies. A bourgeois reminiscence makes it a popular game in the holiday destinations. It also expands in the coffee shops. Once passed its height, pingpong as a « sport » loses members in the federations in the middle of the 1930s. Its sporty image falters. This phenomenom explains itself by the hardly mesurable place of the informalgame, which satisfies the players. This entertainment is perceived as a relaxing game, as an informal way to practice sport out of the institutions

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16

Cho, Sung Moon. "La céramique et la verrerie de table en France à l’époque de Jean Luce, 1910-1960 : de la conception à la réception des œuvres". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL101.

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À partir du fonds inédit du musée des Arts décoratifs de Paris consacré à Jean Luce (1895-1964), cette thèse éclaire l’histoire du service de table français entre 1910 et 1960. Bien que rarement considéré par les historiens de l’art, cet objet du quotidien reflète pourtant remarquablement les évolutions des arts visuels de ce demi-siècle. La création de Luce témoigne ainsi de toute la diversité du style Art déco puis de l’avènement du design dans l’immédiat après-guerre. Par ailleurs, il a réinventé le métier de créateur-éditeur de services de table, en dessinant des formes et des motifs aussi bien pour la céramique que pour la verrerie, en les faisant fabriquer par une chaîne industrielle et en les diffusant lui-même dans son magasin parisien de la rue La Boétie. Si son travail constitue notre point de départ, nous avons également considéré le rôle des dessinateurs industriels, des manufacturiers de porcelaine, de faïence et de verre ainsi que des commerçants car tous ces acteurs participent aux choix esthétiques effectués dans le cadre d’une production de masse. Il s’agit donc d’interroger les mécanismes à l’œuvre dans le développement et la propagation d’un style lors de la création, de la production et de la diffusion des services de table. Plus largement, l’évolution formelle de ce bien de consommation destiné à l’usage courant est aussi influencée par les mutations de la vie quotidienne et de la sociabilité. Par conséquent, notre enquête sur le service de table mobilise, en plus des outils de l’histoire de l’art, ceux de l’histoire socio-culturelle
This thesis sheds light on the history of the French tableware between 1910 and 1960 by examining the unexplored collection devoted to Jean Luce (1895-1964) at the Musée des Arts Décoratifs of Paris. These everyday objects are rarely studied by art historians, even though they remarkably capture the evolution of visual arts over that half-century. Luce’s creations exemplify the diversity of the Art Deco style in the inter-war period and the advent of design in the immediate post-war period. Furthermore, Luce reinvented the figure of the creator-editor specialized in this field by designing forms and motifs for both crockery and glassware, having them produced by an industrial chain and distributing them personally in his Parisian store on rue La Boétie. His work is our starting point, but we are also interested in the work of industrial designers, manufacturers of porcelain, earthenware and glass as well as tableware retailers, all of whom, in a mass production context, influenced aesthetic choices. From this, we look at how a style develops and spreads as we study the stages of creation, production and distribution of the tableware. More broadly, the evolution of these consumer goods was shaped by new manners of socializing and other changes in daily life. Consequently, our survey uses, in addition to the tools of art history, those of socio-cultural history

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Escalante, Simone Bordallo de Oliveira. "O uso do tablet como recurso de apoio ao processo de ensino e aprendizagem: a percep????o de jovens e professores do ensino m??dio". Universidade Cat??lica de Bras??lia, 2013. https://bdtd.ucb.br:8443/jspui/handle/tede/1986.

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The present study aimed at investigating the perception of first grade students in a private school in Brasilia, Distrito Federal - DF, on the use of the tablet in the development of their studies. It intended to analyze, from the point of view of young students, the challenges, the difficulties, and the conveniences of using the tablet in carrying out their activities in the classroom. This evaluation was conducted with 186 (one hundred eighty-six) young people aged between 14 and 17 years. Also participating in the research were fifteen (15) teachers, the Pedagogical Director of the school, and the teacher responsible for the project which inserted the tablet in the classroom activities. A qualitative and quantitative research was chosen, using the following techniques to collect data: questionnaires, focus groups, and semi-structured interviews. Given the results expressed therein, it was found that the tablet, from the perspective of students, was basically used as a digital book. The results showed that the use of the tablet may contribute to increased students??? performance, to the extent that the functions and available resources are exploited and used in the classroom, in order to set up a pedagogical resource in the teaching and learning process of young students along their school years.
O presente trabalho investigou a percep????o dos alunos da 1?? s??rie do ensino m??dio em uma escola particular de Bras??lia, Distrito Federal ??? DF, sobre o uso do tablet no desenvolvimento de seus estudos. Intencionou-se analisar, do ponto de vista dos jovens estudantes, os desafios, as dificuldades e as facilidades na utiliza????o do tablet na realiza????o de suas atividades em sala de aula. O estudo foi realizado com 186 (cento e oitenta e seis) jovens da faixa et??ria entre 14 e 17 anos. Participaram, tamb??m, da pesquisa, 15 (quinze) professores, a Dire????o Pedag??gica da escola e o professor respons??vel pelo projeto de inser????o do tablet em sala de aula. Optou-se pela realiza????o de uma pesquisa quali-quantitativa, com a utiliza????o das seguintes t??cnicas de coleta de dados: question??rios, grupos focais e entrevistas semiestruturadas. Diante dos resultados expressos neste trabalho, verificou-se que o tablet, sob a ??tica dos alunos, foi usado, basicamente, como livro digital. Os resultados obtidos revelaram que o uso do tablet poder?? contribuir para um maior desempenho dos alunos, na medida em que as fun????es e recursos dispon??veis sejam explorados e utilizados, em sala de aula, de forma a configurar um recurso pedag??gico no processo de ensino e aprendizagem dos jovens estudantes durante a trajet??ria escolar.

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Ferrato-Combe, Brigitte. "Écriture et peinture chez Claude Simon : fonction de la description de tableau dans le roman". Paris 4, 1992. http://www.theses.fr/1992PA040133.

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La réflexion sur l'art est au coeur de la poétique du romancier Simon, qui fait de la peinture le miroir de l'écriture. A telle enseigne que certains romans, qui proposent des analyses picturales, confinent parfois à l'essai esthétique, intimement mêlé à la fiction. La description de tableau, omniprésente, apparaît dès lors comme un trait stylistique dominant de ce dialogue de genres. Les romans de Simon renouvellent d'ailleurs les "topoï" de la figure du peintre, de l'atelier, du musée ou des galeries de portraits d'ancêtres, à partir desquels l'imaginaire se déploie, au-delà du sujet, la fiction semble littéralement procéder de la peinture, dans la mesure où la narration est le plus souvent engendrée par des descriptions de tableaux -d'Ucello, Poussin, David, Renoir, Bacon, Dubuffet, Rauschenberg. Et c'est encore en peinture que Simon compose ses oeuvres, recourant aux techniques du collage ou du polyptyque ou encore cherchant à retrouver la dynamique des oeuvres baroques. La peinture n'est pas seulement le modèle épistémologique, mais le principe même de l'écriture
The meditation upon art is essential to Claude Simon's poetics as a novelist, for whom painting is a mirror of writing some of his novels, founded on commentaries about painting intimely linked with fiction, are akin to the literary genre of essay. Describing pictures seems to be a dominant stylistic feature of such a dialogue between genres. Claude Simon's novels renew some pictural "topoi" – the painter as a character, his workshop, museums or galleries of portraits, from which surge an imaginary world. Beyond the subject of these novels, pictures - by Uccello, Poussin, David, as well as by Renoir, Bacon, Rauschenberg generate fiction through descriptions. Further more, Claude Simon composes his works as a painter, since he uses the technique of sticking or challenges the dynamic composition of baroque polyptics. Painting is not only a metaphor or a model of writing, but its principale

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Gambarra, Wanessa Porto Tito. "Toxoptera citricidus (Kirkaldy,1907) (HEMIPTERA : APHIDIDAE) : aspectos biológicos e respostas às ações de bioinseticidas". Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/7654.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Aphids are important pests in agriculture, mainly because they are vectors of phyto-pathogenic virus. One of the ways to control these insects, is the use of botanical insecticides. However in order to the control to be effective it is also necessary to know their biological characteristics. In this context, the aim of the present study was to evaluate the bioactivity of several plant extracts upon Toxoptera citricidus, presently considered one of the most important pests of citric plantations. For this purpose its life cycle has been studies and important metabolic processes as: consumption, production, respiration and excretion were quantified. Based on these data the species life table and energy budget were constructed. The bioactivity of 11 species of plants including a nanoformulation of the neen, Azadirachta indica, was evaluated through acute toxicity tests. T. citricidus was maintained on Citrus limonia under controlled constant conditions in the laboratory. Among these 5 had insecticide activity upon T. citricidus causing mortality to 80 % of the individuals tested or more. The lethal median concentration (CL50 48h) varied from 0.17 to 4.10 mg/mL for the nynphal phases and from 0.30 to 5.01 mg/mL to adults thus evidencing insecticide properties and presenting high to be used in the management of this pest. A magnetic nuclear ressonance of honeydew, the excretion product of this aphid, evidenced the presence of important aminoacids besides carbohydrates allowing an advance in the knowledge on aphid-ants and aphid- host plant. The total energy budget of of T. citricidus varied According to the aphid age. Mean daily energy consumption were 0.3717 cal for nymphs and 0.4761cal for adults. The energy fraction invested in production by T. citricidus was high, with a mean value around 60%, evidencing high efficiency of energy retention. It was concluded that considering its biological characteristics T. citricidus has a relevant role in the energy transference across the ecosystem.
Os afídeos são importantes pragas na agricultura, principalmente por serem vetores de vírus fitopatogênicos. Entre as formas de controle desses insetos, estão incluídos os inseticidas botânicos, no entanto, para que o seu controle seja eficiente é necessário também que se conheçam as suas características biológicas. Nesse contexto, esse trabalho teve como objetivo avaliar a bioatividade de diversos extratos vegetais sobre Toxoptera citricidus, considerado uma das mais importantes pragas das plantações cítricas. Para isso foi estudado o ciclo de vida e quantificados importantes processos metabólicos, como: consumo, produção, respiração e excreção, e com base nestes, determinado o balanço energético e construída a tabela de vida da espécie. A bioatividade de 11 espécies de plantas incluindo uma nanoformulação do nim, Azadirachta indica, foi avaliada por meio de toxicidade aguda. Para isso T. citricidus foi mantida sobre Citrus limonia em condições controladas e contantes de laboratório. Destas, 5 espécies tiveram ação inseticida sobre T. citricidus, causando mortalidade igual ou superior a 80%. A concentração letal mediana (CL50) variou de 0,17 a 4,10 mg/mL para ninfas e de 0,30 a 5,01 mg/mL para adultos, assim evidenciando propriedades inseticidas e apresentando elevado potencial para serem utilizados no manejo dessa praga. Uma análise por ressonância magnética nuclear do honeydew permitiu evidenciar a presença de importantes aminoácidos além de carboidratos permitindo aprofundar o conhecimento sobre as interações afídeo-formiga e afídeoplanta hospedeira. O balanço energético total do T. citricidus variou dependendo da idade do afídeo. O consumo energético diário foi em média 0,3717 cal para as ninfas e de 0,4761 cal para os adultos. A fração energética à produção foi bastante elevada, em média 60%, evidenciando alta eficiência na retenção de energia. Conclui-se que T. citricidus tem importante papel na transferência de energia através dos ecossistemas.

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Laktim, Mariana Costa. "Cama, mesa e banho: desenvolvimento de materiais e processos têxteis, design e moda no Brasil (1976 - 2017)". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-31102018-172203/.

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O enxoval é conhecido desde a antiguidade e tem passado por uma série de modificações, refletidas no tipo de tecido, confecção, design, moda e na participação do mercado. Estas mudanças também foram influenciadas pela mudança da posição da mulher na sociedade. A presente pesquisa objetivou em estudar o desenvolvimento do setor de cama, mesa e banho no Brasil, ocorrido de 1976 a 2017, em termos de aspectos de mercado, materiais e processos têxteis, design e moda. A metodologia consistiu em pesquisa das revistas Casa Vogue Brasil e Casa Cláudia de 1977 a 2017 para estudo e análise de materiais têxteis, designs e marcas do setor de cama, mesa e banho a partir das imagens e textos. Em adição, foi efetuada, em base dos principais relatórios relacionados à indústria têxtil e de confecção e demais literatura, pesquisa dos processos e maquinários para a produção de cama, mesa e banho e aspectos de mercado desse setor. Por fim, foram realizadas entrevistas com empresas do setor de cama, mesa e banho. Os materiais e designs têxteis clássicos são nítidos na preferência da apresentação de estilo. Em relação ao comércio, ocorreram grandes mudanças no mercado brasileiro dos anos 1976 aos 2017. No início desse período o destaque eram lojas de departamento e, com o passar dos anos, as empresas foram criando seu espaço com destaques nas marcas. As marcas com maior apresentação nas últimas duas décadas (anos 2000 e 2010) da revista Casa Vogue Brasil foram Trousseau, Trussardi e a loja de departamento de multimarcas Mundo do Enxoval (essas marcas tem o destaque para o público de maior poder aquisitivo no Brasil). Na revista Casa Cláudia, foram Buddemeyer, Trousseau e MMartan. Com o avanço tecnológico, tornou-se mais acessível a compra dos produtos de cama, mesa e banho industrializados e aumentou assim a exportação brasileira. As evoluções dos maquinários e todo o processo envolvido, auxiliaram à obtenção de produtos com valores mais acessíveis, melhor qualidade e padronagem dos produtos acabados. Constata-se que, o setor avança e se desenvolve constituindo um importante papel na produção têxtil. No entanto, os padrões clássicos predominam com destaque para a cor branca e o tecido de algodão nos produtos de cama, mesa e banho, sendo o bordado o ornamento de destaque do estilo desses produtos. A manutenção desses padrões por parte dos fabricantes brasileiros é interessante para manter vendas no mercado interno, mas um limitante para produtos de exportação destinados a públicos com valores e gostos estéticos distintos e com maior oferta de itens com variedade de designs de superfície
The trousseau has been known since antiquity and has undergone a series of modifications, reflected in the type of fabric, confection, design, fashion and market share. These changes were also influenced by the changing position of women in society. The present study aimed to study the development of the bed, table and bathroom sector in Brazil, from 1976 to 2017, in terms of market, materials and textile processes, design and fashion. The methodology consisted of a survey of Casa Vogue Brasil and Casa Claudia magazines from 1977 to 2017 for the study and analysis of textile materials, designs and brands in the bed, table and bathroom sector based on images and texts. In addition, on the basis of the main reports related to the textile and clothing industry and other literature, research was carried out on the processes and machinery for the production of bed, table and bath and market aspects of this sector. Finally, interviews were conducted with companies in the bed, table and bathroom sector. The classic textile materials and designs are crisp in style presentation preference. In terms of trade, there were major changes in the Brazilian market from 1976 to 2017. At the beginning of this period the highlights were department stores and, over the years, companies were creating their space with highlights in the brands. The most prominent brands in the last two decades (2000 and 2010) of Casa Vogue Brasil magazine were Trousseau, Trussardi and the multi-brand department store Mundo do Enxoval (these brands have the highlight for the most affluent public in Brazil). In the magazine House Claudia, were Buddemeyer, Trousseau and MMartan. With the technological advance, it became more accessible the purchase of products of bed, table and bath industrialized and thus increased the Brazilian export. The evolutions of the machinery and the whole process involved, helped to obtain products with more accessible values, better quality and standardization of the finished products. It is observed that, the sector advances and develops playing an important role in the textile production. However, classic patterns predominate with white and cotton in bed, table and bath products, with embroidery being the most outstanding ornament of the style of these products. The maintenance of these standards by the Brazilian manufacturers is interesting to maintain sales in the domestic market, but a limitation for export products destined to audiences with different values and aesthetic tastes and with a greater supply of items with a variety of surface designs

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Teo, Nikki Jern-Li. "Developing Countries at the Double Taxation Negotiating Table and the United Nations’ False Start at Global Tax Coordination: The Fiscal Commission Years (1946–1954)". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25867.

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This thesis is an archive-based research on the UN’s initial efforts at global tax coordination under its Fiscal Commission in succeeding the mantle of the Fiscal Committee of the League of Nations. It focuses on explaining, within the context of international relations and global political economy, the progress, or lack thereof, of double taxation matters by the UN during the first decade of the American-led post-WWII world order. The narrative reveals, firstly, developing countries’ fierce contention in guarding and asserting source taxation rights to advance their economic development, and secondly, the UN Secretariat’s attempts to broker new equitable tax rules for relations between developed and developing countries, and to secure its position as the overarching international organisation for fiscal matters. This activism was heavily resisted by developed countries, particularly the United States and United Kingdom, leading them to divest the UN of its originally broad fiscal competence and to dissolve the Commission to forestall the development of policies and principles unfavourable to their interests. The narrative also addresses a prehistory in the wartime work of the League’s Princeton Mission that facilitated the premature and questionable induction of Latin America into double taxation questions as well as the creation of the Fiscal Commission despite underwhelming international support. This thesis revises prevalent understandings in the literature on international tax history and demonstrates that international tax coordination between developed and developing countries is more nuanced than a straightforward negotiation of technical rules, involving an interplay of hegemonic influences, power imbalances, global governance and private business pressures.

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Mehlecke, Clarissa de Mattos. "Um estudo do contexto histórico das contribuições de Mendeleev para construção da tabela periódica em livros didáticos de química para o ensino médio e inserção deste contexto em sala de aula". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27042.

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Este trabalho visa a análise dos livros didáticos brasileiros de química de ensino médio em relação à temática de História e Filosofia da Ciência (HFC), e a inserção da História da Ciência em sala de aula, no tópico de tabela periódica. Para esta pesquisa num primeiro momento, foram selecionados os livros de química do Programa Nacional do Livro Didático de Ensino Médio (PNLEM) e para analisá-los foram utilizados critérios propostos por Niaz em uma pesquisa realizada na Venezuela em livros didáticos de química geral do Ensino Superior. Após esta etapa, foi realizada uma pesquisa em sala de aula para verificar como os alunos percebem a História da Ciência quando utilizada como estratégia de ensino para melhorar o entendimento do conteúdo de tabela periódica. Na análise dos livros didáticos percebemos que eles trazem informações sobre a história da ciência, porém, estas são apresentadas de uma forma desintegrada do conteúdo específico, as informações que se encontram nos livros são meramente ilustrativas, não sendo utilizadas como recurso didático. Em sala de aula percebemos que os alunos demonstraram receptividade por conhecer a origem da tabela periódica, mas não demonstram acreditar que isso interfere no seu aprendizado. No entanto foi verificado nos questionários realizados após o estudo de sala de aula, utilizando o contexto histórico de construção da tabela periódica que os alunos demonstraram facilidade na compreensão nos estudos sobre a estrutura da tabela periódica.
The aim of this work is to analyze Brazilian didactic books for intermediate education concerning the subject of History and Philosophy of Science (HPC) and the insertion of History of Science in the classroom within the periodic table topic. The first part of this research was the selection of chemistry books from the “Programa Nacional do Livro Didático de Ensino Médio” (PNLEM) (National Didactic Book Program for High school) and as analysis criteria it was used Niaz’s from a research carried out in Venezuela on chemistry didactic books used in Higher Education. Subsequently, that stage, a research was conducted out in classroom to assess how students perceive History of Science when it was used as a teaching strategy to improve understanding of the periodic table. From the analysis of the didactic books, it can be seen that they show information concerning history of science, however it is presented in a way that is detached from the specific content, all pieces of information found in the books are merely for illustrative purposes and are not used as a didactic resource. In the classroom it can be perceived that students show receptiveness in knowing the origin of the periodic table, but do not seem to believe that it interferes with their learning. However, it was found through questionnaires applied after the study in classroom, using the historic context of the construction of the periodic table, that students showed (more) gabbiness when studying the structure of the periodic table.

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Cendoya, Jessica. "Le Guernica : un tableau-monument en expositions. Support de réactivation et d’actualisation des mémoires de la Guerre Civile espagnole (1936-1939)". Thesis, Avignon, 2018. http://www.theses.fr/2018AVIG1192.

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La recherche se donne pour objectif de définir comment la construction des régimes de valeurs artistiques, mémorielles et historiques du Guernica - œuvre d’art réalisée par Pablo Picasso en 1937 - participe à l’écriture patrimoniale du tableau-monument, d'une part, et devient opératoire dans la réactivation ou l’actualisation de la mémoire des événements auxquels il réfère, dans le cadre de la visite muséale, d'autre part. Trois niveaux de recherche ont été pensés. Le premier a été de circonscrire l’objet Guernica en tant qu’objet d’art en posant un socle d’analyse de l’objet détaché de tout contexte, et ce, afin de mieux appréhender ceux par lesquels il existe en tant qu’objet culturel signifié dans des contextes temporels et géographiques. Dans un deuxième temps, l’analyse des différentes mises en exposition du Guernica ont permis de saisir les différentes valeurs d’usage qui lui ont été attribuées et comprendre ainsi comment il s'est construit en tant qu’objet patrimonial. Enfin, dans un troisième temps, au regard d’une analyse détaillée de la mise en exposition du Guernica au MNCARS en 2009 et 2013, 60 entretiens menées selon une méthodologie qualitative après la visite ont été analysé afin de comprendre les valeurs d’usage que mobilisent les espagnols lors de la réception et pour quelles raisons. L’intérêt de l’enquête est d’avoir révélé qu’il existait un éventail de mémoires et d’appréhensions afférentes à l’objet Guernica. Les enquêtes ont été analysées sous le prisme de la sensibilité politique (Républicains et Nationalistes), mais surtout sous celui du prisme générationnel, et pour lequel quatre générations sont identifiées. Les résultats d’analyse par générations, permettent de distinguer deux types de rapport au Guernica : réactivation et actualisation. Les notions de réactivation et d’actualisation (Georgescu-Paquin, 2013) s’insèrent dans une logique de rupture-continuité, nécessaire à tout processus de patrimonialisation (Davallon, 2006). Dans ce cas d’étude, le MNCARS propose un cadre portant sur un versant de l’histoire qui, à défaut d’apaiser les tensions, les ravivent pour certains (Nationalistes) ; tandis que d’autres, se retrouvent dans un processus entamé depuis peu (Républicains), suite à la Loi dite de « mémoire historique » (2007). En revanche, les nouvelles générations présentent un regard apaisé et distancié qui leur permet de rendre opératoire l’écriture patrimoniale du Guernica
The research aims to define how the construction of regimes of artistic, memorial and historical values of Guernica - a work of art made by Pablo Picasso in 1937 - participates in the patrimonial writing of the painting-monument, on the one hand, and becomes operative in the reactivation or updating of the memory of the events to which it refers, as part of the museum visit, on the other hand. Three levels of research have been thought out. The first was to circumscribe the Guernica object as an art object by placing a base of analysis of the object detached from any context, and this, in order to better understand those by which it exists as a cultural object signified in temporal and geographical contexts. In a second step, the analysis of the different exposures of Guernica made it possible to grasp the different values of use which were attributed to him and this to understand how it was constructed as a patrimonial object. Finally, in a third step, in the light of a detailed analysis of the exhibition of Guernica at MNCARS in 2009 and 2013, 60 interviews conducted according to a qualitative methodology after the visit were analyzed in order to understand the use values that mobilize the spaniards at the reception and for what reasons. The interest of the investigation is to have revealed that there was a range of memories and apprehensions related to the Guernica object. The surveys were analyzed under the prism of political sensitivity (Republicans and Nationalists), but especially under that of the generational prism, and for which four generations are identified. The results of analysis by generations, allow to distinguish two types of report to Guernica: reactivation and actualization. The notions of reactivation and actualization (Georgescu-Paquin, 2013) are part of a logic of rupture-continuity, which is necessary for any heritage-making process (Davallon, 2006). In this case of study, the MNCARS proposes a framework on a side of the history which, if not soothing the tensions, revives them for some (Nationalists); while others, find themselves in a process started recently (Republicans), following the so-called law of "historical memory" (2007). On the other hand, the new generations present a calm and distanced glance which allows them to make operative the patrimonial writing of Guernica

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Noejovich, Chernoff Héctor Omar. "Jorge, ROJAS; Las Políticas Comerciales y Cambiarias en el Perú: 1960- 199.5. Lima, Pontificia Universidad Católica del Perú, Fondo Editorial, 290 páginas; contiene gráficos y tablas". Economía, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/118059.

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25

Megne, M'Ella Oscar. "Esthétique et Théorie de l'Obscène dans la modernité littéraire négro-africaine : les cas de Places des fêtes et de Hermina de Sami Tchak". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030178/document.

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Si l’on accepte l’idée qu’à la différence du roman moderne, le roman contemporain ne cherche pas absolument à reconstituer la figure de l’humain, mais la pense plutôt comme une image « trans-individuelle » de l’humain, la prise en compte de l’Obscène dans le contexte de la Littérature Négro-africaine de ces 30 dernières années prend sens. La rupture grotesque avec la linéarité, le recours au langage comme activité de défoulement face aux tabous et à la tradition, permettent de dire autrement un avenir qui de plus en plus nous échappe. Nous proposons de comprendre l’irruption de l’Obscène dans les nouvelles écritures romanesques africaines comme un symptôme de contemporanéité et une nouvelle approche de la part des écrivains de la quatrième génération, de réquisitionner véritablement le sens du mot individu dans le contexte négro-africain dominé par le pouvoir. Si, selon le dictionnaire Petit Larousse, l’Obscène est « ce qui blesse ouvertement la pudeur par des représentations d’ordres sexuelles », il a des conséquences éthiques profondes dans un contexte Négro-africain où existent des tabous culturels forts sur la mise en scène de l’intimité sexuelle. Nous chercherons à expliquer à quel prix l’Obscène peut s’ériger en élément de littérarité ou en une théorie capable de nourrir le sujet qui la pratique. Cependant, une communauté est-elle encore possible par delà le bouleversement des valeurs éthiques entraîné par une éventuelle esthétique de l’Obscène?
If we accept the idea that unlike modern novel, contemporary novel does not absolutely seek to recreate the human figure, but rather thinks of it as a « trans-individual » image of the human being, then the taking into account of the Obscene in the « Negro-African » literature's context of these last 30 years makes sense. The ludicrous break with the linearity and the use of language as cathartic effect enable to express differently a future which is more and more beyond our control.We are trying to understand the upsurge of the Obscene in the new african fiction writings as a contemporary symptom and a new approach on the part of tthe authors of the fourth generation, to truly comandeer the sense of the word « individual » in the « Negro-African » context.If, according to the Petit Larousse dictionary, the Obscene is « what offends openly the modesty through sexual representations », it has deep ethical consequences in a « Negro-African » context where strong cultural taboos on sexual initmacy productions exist. We will try to explain at what cost the Obscene can set itself up as an element of literarity or as a theory able to sustain the subject practising it. However, is a community still possible beyond the disruption of the ethical values caused by a possible aesthetic of the Obscene ?

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26

Milani, Paulo Giacomo. "Um sistema de gerenciamento de software para o controle de órbita e atitude de satélites, baseado em tabelas de decisão, para um centro de controle multimissao". Instituto Nacional de Pesquisas Espaciais (INPE), 1986. http://urlib.net/sid.inpe.br/iris@1905/2005/07.27.03.17.

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Propõe-se uma estrutura para o software de controle de missões espaciais, utilizando um conceito de gerenciamento baseado em Tabela de Decisão, convertida em sua Arvore de Decisão associada. Inicialmente, faz-se um estudo sobre Tabelas de Decisão e a sua correspondente conversao para Árvores de Decisão. Apresentam-se em seguida os módulos que compõem o sistema através de uma decomposição "top-down", com todas as entradas e saídas explicitadas no ultimo nível da decomposição. A seguir, apresenta-se o gerenciamento baseado em Tabela de Decisão, o qual é de composto até o nivel de suas rotinas componentes, A estrutura apresentada mostrou-se aplicável a centros de controle multimissão, com boas características de adaptabilidade a novas missões.
A structure for the control of space missions is proposed utilizing a management concept based on Decision Table converted to its associated Decision Tree. A study is initially made on Decision Tables and its corresponding conversion to Decision Trees. The modules that compose the system are presented afterwards through a top-dowm decomposition, with every input and output made explicit at the last level of decomposition. Then the management structure (based on Decision Table) is presented down to the level of its component routines. The structure showed to be applicable to multimission control centers and presented good characterístics of adaptability to new missions.

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27

Vasquez, Monica. "Le lieu de l’échange invisible entre le regard du spectateur et le tableau dans l’œuvre de Francis Bacon". Paris 8, 2013. http://www.theses.fr/2013PA083904.

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La bouche ouverte dans un cri représentée dans l’œuvre "Étude" d’après le portrait du Pape Innocent X par Vélasquez, 1953, est l’élément pictural par lequel nous nous sommes intéressés à l’œuvre de l’artiste peintre Francis Bacon. Elle a été aussi le moyen par lequel nous rentrons dans l’espace fictif du tableau. Elle apparaît de manière inattendue au regard du spectateur. Elle introduit une première énigme, car isolée par notre regard dans la toile, elle neutralise et laisse au second plan, les autres éléments picturaux. Elle est un élément essentiel, car elle convoque et capture notre regard, nous fixant dans la toile. Cette expérience insolite du regard, nous amène à penser à l’existence d’un point précis dans l’œuvre, à savoir, un lieu d’échange invisible entre le regard du spectateur et le tableau par lequel nous rentrons dans l’espace fictif des toiles. Nous l’avons appelé « le point d’accroche à l’œuvre ». Il a été le pivot, le fil conducteur dans cette recherche. Il a été articulé à trois axes également fondamentaux : l’étude de ce que l’œuvre donne à voir, notre regard de spectateur et artiste, et certains concepts de la psychanalyse. Cette articulation a permis de nous débarrasser de stéréotypes liés depuis longtemps à l’œuvre, car elle ne peut pas s’expliquer simplement aux sentiments d’effroi, et d’étrangeté qu’elle suscite. Cette articulation a permis d’approfondir, de contourner, de configurer, de réorienter, d’analyser et de regarder autrement les toiles de l’artiste. Pour ce faire, nous avons avancé quatre hypothèses afin d’aller à la rencontre du « point d’accroche à l’œuvre » et ainsi comprendre comment et pourquoi le spectateur est affecté par celle-ci
The screaming open mouth represented in the work Study after Velasquez’s portrait of Pope Innocent X, 1953, is the pictorial element which aroused our interest in the work of the painter Francis Bacon. It is also the means by which we enter the fictitious space of the painting. It presents itself unexpectedly to the spectator’s eyes. It introduces a first enigma as, isolated by our look into the canvas, it neutralizes the other pictorial elements and relegates them to a position of secondary importance. It is an essential element as it summons and captures our look and anchors us to the canvas. This unusual experience of the look brings us to think of the existence of a precise point in the work, namely, a place of invisible exchange between the spectator’s look and the painting through which we enter the fictitious space of paintings. We have called this place “the point that hooks one to the work”. It was the pivot, the vital lead in this research. It has been articulated according to three axes which are equally fundamental: the study of what the work offers to the sight, the way we look at it as spectators and artists, and certain concepts of psychoanalysis. This articulation has allowed us to get rid of stereotypes long linked to the work, as the latter cannot just be explained through the feelings of fear and strangeness it arouses. This articulation has made it possible to deepen, bypass, configure, reorient, analyze and watch in a different way the artist’s paintings. To do so, we have advanced four hypotheses in order to be able to meet “the point that hooks one to the work” and thus understand how and why the spectator is affected by this work

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28

Delbaere, Denis. "Table rase et paysage : projet d'urbanisme et contextualité spatiale dans le Plan Voisin de Le Corbusier (1925) et la cité Concorde de Le Maresquier (1954)". Paris, EHESS, 2004. http://www.theses.fr/2004EHES0144.

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On explore ici le "degré zéro de la contextualité en urbanisme" dans deux projets contrastés, bâtis tout deux sur une table rase : le Plan Voisin (Le Corbusier, 1925), la cité Concorde (Le Maresquier, 1954). Textes et figures sont étudiés du point de vue de leur histoire (le débat urbanistique des années 20 et la politique des grands ensembles dans les années 50), puis de leurs "scènes énonciatives". On montre comment les règles d'un "traité d'urbanisme" (Plan Voisin), ou d'un "dossier de concours (Concorde) énoncent la contextualité des deux projets. La recherche considère aussi la "scénographie" manifestée par l'iconographie. Des outils d'analyse des figures sont mis en place. On découvre, au-delà des différences, une contextualité commune anticipant sur l'inadéquation entre projet et lieu, par la création d'un infralieu, moyen terme virtuel créé par le jeu de la figuration, au terme d'un processus discret d'évitement, de translation et d'inversion des aspects sélectionnés du lieu
In this work, we are exploring what we call "the minimum de gree of contextuality in urbanism" with the study of two contrasted projects, both built on a "tabula rasa" : the Plan Voisin in Paris (Le Corbusier, 1925) and the Concorde housing district in Lille (Le Maresquier, 1954). The texts and the figures are studied first from the point of view of their history and then of their "stating scene". We show how the rules for a "treatise on urbanism" (Plan Voisin) or the rules for an "architectural contest's file" (Concorde) are stating both project's contextuality. Tools are set up for the analysis of figures, And, beyond differences, a comon contextuality appears which is anticipating the inadequation between the project and the place it's located on. This is achived by creating an "infralieu", meaning a virtual middle course issued by the figuration, after a discreet process of avoiding, transfering and reversing selected aspects of the place chosen for the project

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29

Salvo, Rossi Andrea. "L’uso politico delle fonti : Tito Livio nei Discorsi di Niccolò Machiavelli". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080143.

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Mon travail porte sur les usages politiques des sources de l'antiquité (notamment de l'historiographie de Tito Livio) dans les Discorsi de Niccolò Machiavelli.Une partie préliminaire de ce travail a été la tentative de comprendre quel genre d'objet culturel les Ab urbe condita pouvaient concrètement représenter pour un lecteur de la première partie du seizième siècle à Florence. Cette analyse a constitué le premier chapitre de mon travail dans lequel j'ai pris en examen les étapes principales de la diffusion des oeuvre de Livio pendant l'Humanisme à partir de l'enseignement de Francesco Petrarca qui avait, pendant le siècle précédent, recueilli en premier les décades rescapées des Ab urbe condita. La deuxième partie de mon travail porte sur les opérations effectué par Machiavel sur l'oeuvre de Livio. Cette section de ma thèse consiste en trois chapitres:⦁ Les citations latines dans les Discorsi. Ce chapitre essaye de construire une typologie de la citation chez Machiavel, en mettant en relief la centralité de l'outil syntactique de l'oratio recta dans les Discorsi. ⦁ Les traductions: ce chapitre est développé à partir d'un résumé des loci du Machiavel traducteur de Livio, dans l'atteinte de démontrer que les opérations de Machiavel se préoccupent de "politiser" l'histoire romaine, à savoir de rendre les épisodes de l'histoire antique utiles à la compréhension du présent et à sa transformation.⦁ Les réécritures: ce chapitre porte sur les lieux des Discorsi dans lesquels Machiavel abandonne délibérément la lettre du texte des Ab urbe condita, afin de se dédier à une véritable réécriture de l'œuvre
My work focuses on the political uses of the sources of antiquity (notably the historiography of Titus Livy) in the Discorsi by Niccolò MachiavelliA preliminary part of this work was the attempt to understand what kind of cultural object the Ab urbe condita could concretely represent for a reader of the first half of the sixteenth century in Florence. This analysis constituted the first chapter of my work in which I took into consideration the main stages of the diffusion of the books of Livy during Humanism from the teaching of Francesco Petrarca who had, during the previous century, collected first, the surviving decades of Ab urbe condita.The second part of my work deals with Machiavel's operations on Livy's work. This section of my thesis consists of three chapters:1. Latin quotations in the Discorsi. This chapter attempts to construct a typology of citation in Machiavelli, highlighting the centrality of the syntactic tool of oratio recta in the Discorsi.2. Translations: this chapter is developed from a summary of the loci of Machiavelli as translator of Livio, in the attempt to demonstrate that the operations of Machiavelli aim to "politicize" Roman history, namely to make the episodes of ancient history useful for understanding the present and its transformation.3. Rewritings: this chapter deals with the chapters of Discorsi in which Machiavelli deliberately abandons the letter of the text of Ab urbe condita, in order to devote himself to a real rewrite of the work

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30

Galliot, Anne. "Unification et différences : identités et identités sexuelles dans les romans arthuriens de Mary Stewart et Marion Bradley". Paris 7, 2000. http://www.theses.fr/2000PA070101.

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Notre recherche est une critique littéraire à base féministe des romans arthuriens de deux auteurs féminins contemporains, Mary Stewart et Marion Bradley. Nous définissons le genre de ces romans et notons les impératifs narratifs qui s'appliquent aux traditions arthuriennes dont les auteurs se font les émules. Nous définissons ensuite les concepts de l'identité et de l'identité sexuelle, concluant qu'ils reposent moins sur des réalités biologiques que sur des assomptions socioculturelles. Nous voyons comment des règles socioculturelles sont inscrites dans les textes anglais et français des traditions arthuriennes médiévales et du 19ème siècle. Nous remarquons que ces règles influencent les façons dont sont définies l'identité et l'dentité sexuelle. Nous proposons que les romans arthuriens de Mary Stewart et Marion Bradley tentent de déconstruire les définitions arthuriennes traditionnelles de l'identité et l'dentité sexuelle. Nous explorons les façons dont elles remettent en question ces concepts par l'analyse par l'analyse de leurs structures narratives et des structures sociales qu'elles décrivent. Nous remarquons que ces deux auteurs utilisent un schéma narratif et des structures de définition traditionnels qui reproduisent les binarismes s'appliquant précédemment aux concepts de l'dentité et de l'identité sexuelle. Nous concluons que les impératifs narratifs de la tradition arthurienne que nous avons définie sont incompatibles avec la déconstruction du binarisme sexuel que propose le féminisme de notre époque
This study is an exercise of feminist literary criticism applied to selected Arthurian novels written by two contemporary female writers, Mary Stewart and Marion Bradley. In including these writers in an evolving Arthurian tradition, we offer a definition of an Arthurian genre and we survey the narrative and structural constraints it requires. We outline the concepts of identity and that of sexual identity in an attempt to define the terms of our study. We conclude, in line with a feminist argument, that the construction of identity and sexual identity is based less on biological difference than on sociocultural conventions. We note that, in medieval and 19th-century Arthurian traditions, such sociocultural conventions are inscribed in the texts and restrict the definitions of identity and sexual identity to a system of binarisms. We suggest that, in their Arthurian novels, Mary Stewart and Marion Bradley attempt to define identities and sexual identities beyond the restrictions of binarisms by developing difference and differences. They attempt to include differences in the narrative structures of their novels as well as in the social structures they depict. However, we note that their reliance on the Arthurian tradition demands that both authors have to reproduce previous binarisms. We conclude that the narrative and structural constraints of the Arthurian tradition we define in our introduction are incompatible with the requirements of feminism today

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31

Leppard, P. (Phillip I. ). "An analysis of population lifetime data of South Australia 1841-1996". 2002. http://web4.library.adelaide.edu.au/theses/09SM/09sml598.pdf.

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Accompanying CD-ROM is part of the appendix. It includes computer programs, data files and output tables. Bibliography: leaves 166-170. The average length of life from birth until death in a human population is a single statistic that is often used to characterise the prevailing health status of the population. It is one of many statistics calculated from an analysis that, for each age, combines the number of deaths with the size of the population in which these deaths occur. This analysis is generally known as life table analysis. Life tables have only occasionally been produced specifically for South Australia, although the necessary data has been routinely collected since 1842. In this thesis, the mortality pattern of South Australia over the period of 150 years of European settlement is quantified by using life table analyses and estimates of average length of life. System requirements for accompanying CD-ROM: IBM compatible computer. Other requirements: Winzip. Adobe Acrobat Reader is required to view or print the PDF files.

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32

Ingram, Rebecca Elizabeth. "Spain on the Table: Cookbooks, Women, and Modernization, 1905-1933". Diss., 2009. http://hdl.handle.net/10161/1600.

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What does it mean in Spain to talk about national cuisine? This dissertation examines how three of Spain's most prominent intellectuals of the early twentieth century—Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón—confronted that question in their writing in cookbooks at a pivotal moment in Spain's history. Pardo Bazán, a feminist writer and novelist, authored two cookbooks, La cocina española antigua (1913) and La cocina española moderna (1914). Burgos, a teacher, newspaper columnist, and novelist, authored La cocina moderna (1906), ¿Quiere usted comer bien? (1916), and Nueva cocina práctica (1925). Marañón, a physician and statesman as well as a writer, penned the prologue to Basque chef and restaurant-owner Nicolasa Pradera's 1933 cookbook La cocina de Nicolasa. These authors were active during a period that saw enormous changes in Spain's political structure and demographics, and in social and gender roles, and each of them engaged with the debates about Spain and the modern nation that consumed intellectual thinkers of the time. And yet each of these authors chose to write about cooking and food in a genre intended for the use of middle-class women in their homes.

Their writing in cookbooks, I posit, offered Pardo Bazán, Burgos, and Marañón the opportunity to address directly the middle-class female readers who stood at the nexus of their anxieties regarding Spain's modernization. These anxieties were generated by shifting social structures as women gained access to education and to paid employment outside of the home, and as a newly mobilizing working class threatened the social order through political and labor organization, as well as with violence and unrest. By teasing out the contradictions in their cookbook prologues, I show how these intellectuals use Spanish cuisine to promote a vision of Spain's modernization that corrects for the instabilities generated by those same modernization processes.

In Chapter One, I demonstrate how Pardo Bazán uses Spain's cocina antigua, catalogued in La cocina española antigua (1913), to "write the nation into existence" (Labanyi). By positioning cooking and cuisine in parallel to the dominant masculine nation-building discourses of the period, Pardo Bazán maps a role for her women readers, and for herself as a woman writer, in the task of building a modern Spanish nation. In Chapter Two, I focus on Pardo Bazán's second cookbook, La cocina española moderna (1914), and show how she uses Spain's modern cuisine to inculcate her female readers with the middle-class values that she believes will serve as a bulwark against the increasing unrest of the working class. In contrast to Pardo Bazán, who designates a conventional role for middle-class women in return for protection against the working class, Carmen de Burgos argues that there is no contradiction between women's domestic roles and having a public role and an intellectual life. Chapter Three analyzes how she uses a strategy of "double writing" (Zubiaurre) to show the importance of cuisine to the public sphere and to criticize the still extant obstacles to women's public activity. Chapter Four focuses on Gregorio Marañón's construction of Basque chef and restaurateur Nicolasa Pradera in his prologue to her cookbook. Marañón uses the prologue to promote a palatable version of Spain and its modernity to outsiders. Yet his version of Spain's modernity depends on reinscribing figures like Pradera into traditional, anti-modern gender and class roles.

At a moment in which the international media identify in Spanish cuisine "the new source of Europe's most exciting wine and food" (Lubow 1), this project historicizes the notion of "Spanish cuisine" at the center of Spanish haute cuisine. It also represents a foundational study in food cultural studies in Spain, offering a critical examination of cookbooks as a genre and as crucial texts in the oeuvres of Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón.

Dissertation

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Tesi sul tema "Tables, 1906"

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