A poesia ibero-americana de José de Anchieta

El poeta José de Anchieta, a través de sus poesías, contribuyó para la formación de la literatura en suelo brasileño. Con eso, él proporcionó un encuentro entre los dos mundos lo Nuevo y lo Viejo, América y Europa representados en la unión entre los pares antagónicos que son constantes en la poética anchietana, como lo sagrado y lo profano, la muerte y la vida, lo simple y lo erudito. Su poética traduce, por lo tanto, las huellas de la antropofagia cultural, en que el indio y el blanco son uno sólo; el pagano y el cristiano, juntos, caminan para el centro de sus ideologías concebidas por la catequesis y por el popular. En esa amalgama entre las culturas, él construye un nuevo código cultural-lingüístico-literario, formando una nueva identidad para la tierra brasileña, abriendo las puertas para el barroco. Sus poemas están en cuatro lenguas: portugués, tupí, latín y español. Y de ese conjunto, nuestra disertación analiza el corpus en lengua española, que en el suelo americano deja de ser española y se vuelve ibero-americana. Como fuentes de estudio crítico-teórico, nos basamos, como ejemplos, en las obras de Haroldo de Campos, Severo Sarduy, Eugênio D Ors, Lezama Lima, Oswald de Andrade, Alfredo Bosi, Massaud Moisés. Así, esta disertación muestra, por el medio de la poesía iberoamericana de José de Anchieta el rasgo del inicio de nuestra literatura así como del barroco americano y, además, conjuga su poesía dentro del espacio de los Clásicos una vez que se comunica con estos desde el proceso de su producción. En esa intercomunicación, José de Anchieta promueve una apertura para la consciencia poética que hace parte de los grandes poetas de la Literatura Universal. Él une el Brasil, con sus matas vírgenes, con su primitivismo, al Mundo, con su censura desmedida ante la visión del Paraíso

Modelos de sobrevivência com fração de cura e omissão nas covariáveis

In this work we study the survival cure rate model proposed by Yakovlev (1993) that are considered in a competing risk setting. Covariates are introduced for modeling the cure rate and we allow some covariates to have missing values. We consider only the cases by which the missing covariates are categorical and implement the EM algorithm via the method of weights for maximum likelihood estimation. We present a Monte Carlo simulation experiment to compare the properties of the estimators based on this method with those estimators under the complete case scenario. We also evaluate, in this experiment, the impact in the parameter estimates when we increase the proportion of immune and censored individuals among the not immune one. We demonstrate the proposed methodology with a real data set involving the time until the graduation for the undergraduate course of Statistics of the Universidade Federal do Rio Grande do Norte

Avaliação genética da eficiência reprodutiva em vacas pardo-suíças por meio da análise de sobrevivência

Among the traits of economic importance to dairy cattle livestock those related to sexual precocity and longevity of the herd are essential to the success of the activity, because the stayability time of a cow in a herd is determined by their productive and reproductive lives. In Brazil, there are few studies about the reproductive efficiency of Swiss-Brown cows and no study was found using the methodology of survival analysis applied to this breed. Thus, in the first chapter of this study, the age at first calving from Swiss-Brown heifers was analyzed as the time until the event by the nonparametric method of Kaplan-Meier and the gamma shared frailty model, under the survival analysis methodology. Survival and hazard rate curves associated with this event were estimated and identified the influence of covariates on such time. The mean and median times at the first calving were 987.77 and 1,003 days, respectively, and significant covariates by the Log-Rank test, through Kaplan-Meier analysis, were birth season, calving year, sire (cow s father) and calving season. In the analysis by frailty model, the breeding values and the frailties of the sires (fathers) for the calving were predicted modeling the risk function of each cow as a function of the birth season as fixed covariate and sire as random covariate. The frailty followed the gamma distribution. Sires with high and positive breeding values possess high frailties, what means shorter survival time of their daughters to the event, i.e., reduction in the age at first calving of them. The second chapter aimed to evaluate the longevity of dairy cows using the nonparametric Kaplan-Meier and the Cox and Weibull proportional hazards models. It were simulated 10,000 records of the longevity trait from Brown-Swiss cows involving their respective times until the occurrence of five consecutive calvings (event), considered here as typical of a long-lived cow. The covariates considered in the database were age at first calving, herd and sire (cow s father). All covariates had influence on the longevity of cows by Log-Rank and Wilcoxon tests. The mean and median times to the occurrence of the event were 2,436.285 and 2,437 days, respectively. Sires that have higher breeding values also have a greater risk of that their daughters reach the five consecutive calvings until 84 months

Testes em modelos weibull na forma estendida de Marshall-Olkin

In survival analysis, the response is usually the time until the occurrence of an event of interest, called failure time. The main characteristic of survival data is the presence of censoring which is a partial observation of response. Associated with this information, some models occupy an important position by properly fit several practical situations, among which we can mention the Weibull model. Marshall-Olkin extended form distributions other a basic generalization that enables greater exibility in adjusting lifetime data. This paper presents a simulation study that compares the gradient test and the likelihood ratio test using the Marshall-Olkin extended form Weibull distribution. As a result, there is only a small advantage for the likelihood ratio test

Les lauriers sont coupés: a exibição do pensamento e da linguagem

Ce travail a comme point de départ l’oeuvre Les lauriers sont coupés, de l’écrivain Edouard Dujardin. Le livre, écrit en 1887, n’est devenu connu qu’en 1924, lorsque James Joyce a déclaré s’inspirer de cette œuvre pour écrire le monologue de Molly Bloom, personnage d’Ulysse, en utilisant une technique nommée monologue intérieur, qu’aucun écrivain n’avait jusqu’alors utilisée. Dujardin s’est proposé d’écrire un livre où le personnage dévoile sa pensée avant même de subir une quelconque censure. Ecrit à la fin du siècle, Les lauriers sont coupés présente des caractéristiques du symbolisme: la synesthésie, la musicalité, le jeu de mots et la subtitution du sentiment, propre aux romantiques, par les sens. Pour une génération d’écrivains ayant vécu à Paris à la fin du siècle, la métaphore est remplacée par la métonymie. Dans ce sens, notre auteur se trouve inséré dans son temps, c’est-à-dire, à la fin du XIXe siècle, subissant l’influence de Mallarmé et de Wagner dans l’écriture de son oeuvre. A Canção dos Loureiros, titre de la traduction en portugais d’Élide Valarini (1989), de l’oeuvre Les lauriers sont coupés, a été analysée, en essayant à la fois d’identifier les éléments du Symbolisme et de montrer que l’auteur, en écrivant cette œuvre, suppose que le lecteur, partage la pensée du personnage principal en employant la technique du monologue intérieur. Outre cette analyse, nous faisons la traduction en portugais d’un essai de Dujardin, qui n’avait pas été traduit jusqu’à présent et où il a pu lui-même revoir son œuvre et où il explique comment il a eu l’idée de travailler la technique adoptée ainsi que la réception de cette œuvre auprès de ses contemporains.

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.