SOCIAL REPRESENTATIONS OF BASICS LIFE SUPPORT

Victims of cardiac arrest need immediate Basic Life Support, in order to preserve as much as possible, the flow of blood to the brain and heart and other vital organs, it is essential to gain time pending differentiated help, performing simple acts and practical (BLS) to save lives. Learn how to perform RPC is an interactive process that requires knowledge and skills, but at the same time an act of solidarity, social responsibility, civic consciousness, and a duty of citizenship. Because no one revives alone, it requires a coordinated work of a team, all citizens must join forces in a single goal: Save Lives, the massification of the BLS (RPC, 2014). We conducted an exploratory study that aimed to identify the social representations of basic life support in the general population. We used the technique of free association of words through a short questionnaire, we obtained a sample of 45 participants. The results show that participants were mostly female and 27 that fashion of age was in the age group 40 to 59 years. With regard to social representations, we find an organized structure follows the core: help, help to revive, and save is giving life, are in fact structural and consensual elements in basic life support. In more peripheral elements we find extremely important elements, which can be worked in a way so that the core is more efficient such as to act coordinately as a team in face of an accident, it can thus be successful in practice. The social representation of basic life support does not differ from that referred in the literature on the subject, but it is common knowledge that these skills can only be acquired if they are systematically trained, because they obey an algorithm that if it is not settled theoretical and instrumentally it is not effective in practice.

The fingerprinting of the materials used in portuguese illuminated manuscripts: origin, production and specificities of the 16th century Anttiphonary paints from the Biblioteca Pública de Évora

This thesis focuses on the characterization of materials utilized within the illuminations of Codex 116c of Manizola, a large 16th century antiphonal housed in the Biblioteca Pública de Évora (BPE). Using various spectroscopic techniques (XRF, FTIR, Raman and SEM-EDS), a selection of illuminations were analyzed for pigment and binder identification. The manuscript was further analyzed using fiber optic reflectance spectroscopy (FORS), a non-invasive and portable analysis method ideal for use in illuminations. Using historical documentation and results gained from more extensive analysis of the manuscript, a collection of reference paint samples were created to be analyzed using this method. These samples serve as a reference not only to assist in the identification of pigments used within the manuscript, but also for future studies on similar materials allowing for a better understanding of manuscript production during the 16th century; RESUMO: O presente trabalho é dedicado à caracterização dos materiais utilizados na produção das iluminuras do Codex 116c da Manziola do espólio da Biblioteca Pública de Évora (BPE). Trata-se de um antifonário de grandes dimensões produzido no séc XVI que deverá ter pertencido à Livraria de São Bento de Cástris. A identificação dos materiais utilizados na produção das iluminuras pode ser feita através de análises científicas. No entanto, alguns dos componentes das tintas utilizadas, especialmente os pigmentos orgânicos (lacas) e algumas misturas, apresentam obstáculos à sua identificação por métodos não invasivos. Através de várias técnicas espectroscópicas (XRF, FTIR, Raman e SEM-EDS), foi analisado um conjunto representativo de iluminuras, de modo a identificar os pigmentos e os ligantes presentes nas tintas. O manuscrito foi também analisado por FORS, um método portátil e não invasivo, ideal para a análise de iluminuras. Com base em documentos históricos e nos resultados analíticos, foi criado um conjunto de amostras de referência para ser analisado com FORS. Com esta abordagem, pretende-se que estas amostras, especialmente as de lacas, sirvam de referência não só na identificação dos pigmentos no manuscrito como em estudos sobre materiais semelhantes, contribuindo para um conhecimento mais aprofundado sobre a produção de manuscritos no séc XVI.