Impact of Social Responsibility Programmes in Stakeholder Satisfaction: An Empirical Study of Portuguese Managers’ Perceptions

Investigação no âmbito do Projeto de Doutoramento(PhD), especialidade de Gestão Global, Estratégia e Desenvolvimento Empresarial (ISCTE-IUL - 2012, classificação de “Aprovado com Muito Bom”).

Can power laws help us understand gene and proteome information?

Proteins are biochemical entities consisting of one or more blocks typically folded in a 3D pattern. Each block (a polypeptide) is a single linear sequence of amino acids that are biochemically bonded together. The amino acid sequence in a protein is defined by the sequence of a gene or several genes encoded in the DNA-based genetic code. This genetic code typically uses twenty amino acids, but in certain organisms the genetic code can also include two other amino acids. After linking the amino acids during protein synthesis, each amino acid becomes a residue in a protein, which is then chemically modified, ultimately changing and defining the protein function. In this study, the authors analyze the amino acid sequence using alignment-free methods, aiming to identify structural patterns in sets of proteins and in the proteome, without any other previous assumptions. The paper starts by analyzing amino acid sequence data by means of histograms using fixed length amino acid words (tuples). After creating the initial relative frequency histograms, they are transformed and processed in order to generate quantitative results for information extraction and graphical visualization. Selected samples from two reference datasets are used, and results reveal that the proposed method is able to generate relevant outputs in accordance with current scientific knowledge in domains like protein sequence/proteome analysis.

China e Japão - uma análise intercultural contemporânea

Ao longo dos séculos, a China e o Japão foram criando histórias, representações, discursos e identidades que certas vezes se cruzaram e outras vezes se afastaram. Este trabalho é uma reflexão sobre cultura e interculturalidade, porque está relacionado com a produção e a circulação de significados (Hall, 1997:2), numa análise da identidade e da representação da China e do Japão e também das representações que estes dois países têm um do outro. Esta análise integra factos que vão desde a 1ª Guerra Mundial até à actualidade, tornando este estudo contemporâneo. Ao longo do meu trabalho, quando falo em representação, refiro-me à forma como o mundo é socialmente construído e representado por nós e para nós (Chris Barker 2000:8).

The Greatest lover: a post-colonial rewriting of My Fair Lady

INTRODUCTION The popular Hong Kong comedy, The Greatest Lover, re-incarnates one of the most popular western musicals, My Fair Lady. OBJECTIVES 1. To find out in what major ways My Fair Lady was rewritten as the Hong Kong Cantonese movie, Gungzi Docing (The Greatest Lover). 2. To find out the socio-political, socio-linguistic, and gender ideology behind the rewriting. METHODOLOGY 1. To note the similarity of the themes for both works – a creator falling in love with his/her creation, and class prejudice and cross-class romance. 2. To note how the times of The Greatest Lover differ from that of My Fair Lady. 3. To note how the main characters in The Greatest Lover differ from My Fair Lady in terms of profession, gender, etc. 4. To note how the plot of The Greatest Lover differs from that of My Fair Lady. 5. To note how focus on language in The Greatest Lover compares with that in My Fair Lady. 6. To discuss the ideological implications of the differences noted above, e.g. women in Hong Kong today have much higher status than women in Victorian England; the conflict between local Hong Kong people and both legal and illegal immigrants from Mainland China is even more serious than that between the British upper middle class and the lower class during the Victorian period. 7. Andre Lefevere (1992) argues that translation and adaptation are rewriting informed and influenced by the rewriter’s ideology, among other things. 8. Both Aline Remael (1995) and Patrick Cattrysse (1992) think that film adaptation is a kind of translation. 9. Sirkkus Aaltonen (2000) argues that drama translation mirrors the ideologies of the target society. CONCLUSION 1. The Greatest Lover projects local cultural significance onto My Fair Lady by helping us to appreciate an important Western work of art through the Hong Kong Cantonese perspective. 2. Broader issues in translation and intercultural studies are also considered.

Multiprocessor platform using LEON3 processor

The recent advances in embedded systems world, lead us to more complex systems with application specific blocks (IP cores), the System on Chip (SoC) devices. A good example of these complex devices can be encountered in the cell phones that can have image processing cores, communication cores, memory card cores, and others. The need of augmenting systems’ processing performance with lowest power, leads to a concept of Multiprocessor System on Chip (MSoC) in which the execution of multiple tasks can be distributed along various processors. This thesis intends to address the creation of a synthesizable multiprocessing system to be placed in a FPGA device, providing a good flexibility to tailor the system to a specific application. To deliver a multiprocessing system, will be used the synthesisable 32-bit SPARC V8 compliant, LEON3 processor.

Conjecture about global fixed-priority preemptive multiprocessor scheduling of implicit-deadline sporadic tasks: the utilization bound of SM-US(sqrt(2)-1) is sqrt(2)-1

Consider global fixed-priority preemptive multiprocessor scheduling of implicit-deadline sporadic tasks. I conjecture that the utilization bound of SM-US(√2−1) is √2-1.

Bit error models

The use of bit error models in communication simulation has been widely studied. In this technical report we present three models: the Independent Channel Model; the Gilbert-Elliot Model and the Burst-Error Periodic Model.

The logo is not flat: evolving picture marks

From the boom of corporate identity in the 50s, 60 years have passed, and we now see picture marks become more complex and question axioms of identity design, like simplicity or bidimensionality. In these changing times, where access to technology and to information makes it possible for one to see the world as a ‘flat’ place [1], where virtually anyone with a computer can create, it is worth considering how much has changed and how much remains the same in picture marks design. Are the silent designers [2] — the technology and software — growing louder? Are picture marks mimicking each other? Are graphic marks following trendy solutions? It is clear the change of paradigms the new technologies have over the graphic zeitgeist. However, what are the consequences of the transformation in the modus operandi and its result in picture marks evolving solutions? And what does this evolution say about us? Being both a condensation of meaning about a corporation or institution and a rhetorical instrument by which to persuade an audience that a product or entity has distinctive and desirable qualities, picture marks are, therefore, a condensed representation of social identity. They are signs full of signification beyond themselves, representing ourselves and our world and by means of its analysis we can learn a bit more about our role as designers, our relation towards new technologies and foresee our role as designers in the future.