Polimorfismos nos genes DGAT-1 e A2M e suas associações com produção e qualidade do leite de búfalas da raça Murrah

Pós-graduação em Genética e Melhoramento Animal - FCAV

Estudo do efeito da composição e da nanoestrutura de nanopartículas de 'PT''NI' suportadas em carbono na eletrocatálise da reação de redução do oxigênio

Pós-graduação em Química - IQ

Estudo da interação entre camadas de super-redes supercondutor/isolante/ferromagneto

Pós-graduação em Ciência e Tecnologia de Materiais - FC

Herivelto Brandino e a obra mensagem para marimba solo: discussão do processo composicional e performance

This article points out some elements required for comprehending the work mensagem for marimba solo (2011) by Herivelto Brandino in regard to its compositional process and performance. The text shows how various materials have been chosen for the confection of the work - mainly those related to the act of writing texts - and approaches the composer's queries about the non-necessity, and even the uselessness of composition, performance and artistic objects themselves. At the end we conclude that regardless such a supposed non-necessity of any musical object it is possible to construct a coherent piece based on similar paradoxes that, at first, served to make any compositional work useless.

Memória, culpa e angústia nas narrativas de Alice Munro e Clarice Lispector

This study analyses two writers from different nationalities and cultures, the Brazilian Clarice Lispector and the Canadian Alice Munro, to demonstrate the common treatment that both writers give to the childhood theme. The central aim is to examine, with the support of Freud‘s psychoanalytic studies, how childhood is important to understand the writers‘ fiction, or when a narrative voice revisits experiences lived in that period, or when the narrative is dominated by a childlike voice. In both events, memory is the central element in this anamnesis process. We seek to prove that even when dealing with different cultures, it is possible to develop a comparative study to show similar strategies applied by the writers. The selected narratives show relevant information concerning the chosen theme and enable to reveal the mode of composition and the concept of literary creation of each author. The analytical study of the narrative categories, especially the narrator, time and space, will be examined to show how they influence on the construction of the theme. Other features will provide support for the analysis, such as internalized narrative, the open end, the constant temporal and spatial distortions, the use of contradictory figures of speech such as oxymoron, unusual metaphors and antitheses, the portrayal of a paradoxical world and the concern with existential questions, all of which are shared by the authors, in addition to the theme, which allow the comparative work

O percurso da memória nos romances de Antônio Torres: a constituição do eu na fronteira entre o sertão e a cidade

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Distribuição espacial das assembleias de peixes em dois trechos do alto rio Paranapanema e lagoas marginais associadas: composição e estrutura

Ichthyofaunistic studies aims to broad the knowledge of composition, abundance and distribution of species in certain areas, and when possible, to infer patterns of distribution, as well as extrinsic factors that affect these patterns in space and time. The Paranapanema River suffers the impact of the construction of hydroelectric power plants in cascade system along its main channel, changing the characteristics of lotic to lentic and semi-lentic. These changes affect the entire biocenosis and the surroundings of the reservoir and, in particular, the fish fauna. In this context, the aim of this study was to characterize the fish assemblage in two lakes and stretches of the main channel, located near the outfall of the Paranapanema River, Jurumirim reservoir area, comparing them to their composition and structure, using ecological indices as tools. Fish were caught every three months from April 2011 to January 2013, using gill nets of various mesh openings in four stretches: Environment 1 - Calha Sete Ilhas, Environment 2 - Calha Poço da Pedra, Environment 3 - Lagoa Sete Ilhas and Environment 4 - Lagoa Poço de Pedra. After the capture, the specimens were identified and biometric analysis was performed (total and standard length weight). We captured 4,006 individuals belonging to four orders and 34 species, 31 native species and three non-native species. In abundance (n) and number of species (S), there was a predominance of Characiformes (57 %) followed by Siluriformes (31%). Overall, most of the species was constant concerning the frequency of capture. The five most representative species in abundance were Schizodon intermedius, Cyphocarax modestus, Pimelodus maculatus, Hoplosternum littorale and Serrasalmus maculatus, contributing with 60% of total individuals captured. Regarding the stretches, these species present diversity (H'), evenness (E), dominance (D) and richness (d) of similar species, since the abundance was higher in ...

O papel dos fatores ambientais e espaciais sobre a fauna de Ephemeroptera (insecta) em riachos de mata atlântica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Articulações territoriais: uma cartografia da atenção à população em situação de rua

Pós-graduação em Psicologia - FCLAS

O narrador de Helena de Machado de Assis: ethos modernizador em matéria literária acanhada

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Photopatternable di-ureasil-zirconium oxocluster organic-inorganic hybrids as cost effective integrated optical substrates

Organic-inorganic hybrids containing methacrylic acid (McOH, CH(2)= C(CH(3))COOH)) modified zirconium tetrapropoxide, Zr(OPr(n))(4), classed as di-ureasil-zirconium oxo-cluster hybrids, have been prepared and structurally characterized by X-ray diffraction (XRD), small-angle X-ray scattering (SAXS), Fourier transform infrared (FT-IR) and Raman (FT-Raman) spectroscopies, Si and C nuclear magnetic resonance (NMR), and atomic force microscopy (AFM). XRD and SAXS results have pointed out the presence of Si- and Zr-based nanobuilding blocks (NBBs) dispersed into the organic phase. Inter-NBBs correlation distances have been estimated for the pure di-ureasil and a model compound obtained. by hydrolysis/condensation of Zr(OPr(n))(4):McOH (molar ratio 1: 1): d(Si) approximate to 26 +/- 1 angstrom and d(Zr) approximate to 16 +/- 1 angstrom, respectively. In the case of the di-ureasil-zirconium oxo-cluster hybrids, these distances depend on the Zr relative molar percentage (rel. mol. Zr %) (d(Si) ranges from 18 to 25 angstrom and d(Zr) from 14 to 23 angstrom, as the rel. mol. Zr % increases from 5 to 75), suggesting that the Si- and Zr-based clusters are interconstrained. Complementary data from FT-IR, FT-Raman, (29)Si and (13)C NMR, and AFM support to a structural model where McOH-modified Zr-based NBBs (Zr-OMc) are present over the whole range of composition. At low Zr-OMc contents (rel. mol. Zr % <30) the clusters are well-dispersed within the di-ureasil host, whereas segregation occurs at the 0.1 mu m scale at high Zr-OMc concentration (rel. mol. Zr % = 50). No Zr-O-Si heterocondensation has been discerned. Monomode waveguides, diffractions gratings, and Fabry-Perot cavities have been written through the exposure of the hybrid monoliths to UV light. FT-Raman has shown that the chemical process that takes place under illumination is the polymerization of the methacrylate groups of the Zr-OMc NBBs. The guidance region in patterned channels is a Gaussian section located below the exposed surface with typical dimensions of 320 mu m wide and 88 mu m deep. The effective refractive index is 1.5162 (maximum index contrast on the order of 1 x 10(-4)) and the reflection coeficient of the Fabry-Perot cavity (formed by a grating patterned into a 0.278 cm channel) is 0.042 with a free spectral range value of 35.6 GHz.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Il concetto di sezione nel metodo compositivo di Aldo Rossi.

Purpose of this research is to deepen the study on the section in architecture. The survey aims as important elements in the project Teatro Domestico by Aldo Rossi built for the XVII Triennale di Milano in 1986 and, through the implementation on several topics of architecture, verify the timeliness and fertility in the new compositional exercises. Through the study of certain areas of the Rossi’s theory we tried to find a common thread for the reading of the theater project. The theater is the place of the ephemeral and the artificial, which is why his destiny is the end and the fatal loss. The design and construction of theater setting has always had a double meaning between the value of civil architecture and testing of new technologies available. Rossi's experience in this area are clear examples of the inseparable relationship between the representation of architecture as art and design of architecture as a model of reality. In the Teatro Domestico, the distinction between representation and the real world is constantly canceled and returned through the reversal of the meaning and through the skip of scale. At present, studies conducted on the work of Rossi concern the report that the architectural composition is the theory of form, focusing compositional development of a manufacturing process between the typological analysis and form invention. The research, through the analysis of some projects few designs, will try to analyze this issue through the rules of composition both graphical and concrete construction, hoping to decipher the mechanism underlying the invention. The almost total lack of published material on the project Teatro Domestico and the opportunity to visit the archives that preserve the drawings, has allowed the author of this study to deepen the internal issues in the project, thus placing this search as a first step toward possible further analysis on the works of Rossi linked to performance world. The final aim is therefore to produce material that can best describe the work of Rossi. Through the reading of the material published by the same author and the vision of unpublished material preserved in the archives, it was possible to develop new material and increasing knowledge about the work, otherwise difficult to analyze. The research is divided into two groups. The first, taking into account the close relationship most frequently mentioned by Rossi himself between archeology and architectural composition, stresses the importance of tipo such as urban composition reading system as well as open tool of invention. Resuming Ezio Bonfanti’s essay on the work of the architect we wanted to investigate how the paratactic method is applied to the early work conceived and, subsequently as the process reaches a complexity accentuated, while keeping stable the basic terms. Following a brief introduction related to the concept of the section and the different interpretations that over time the term had, we tried to identify with this facility a methodology for reading Rossi’s projects. The result is a constant typological interpretation of the term, not only related to the composition in plant but also through the elevation plans. The section is therefore intended as the overturning of such elevation is marked on the same plane of the terms used, there is a different approach, but a similarity of characters. The identification of architectural phonemes allows comparison with other arts. The research goes in the direction of language trying to identify the relationship between representation and construction, between the ephemeral and the real world. In this sense it will highlight the similarities between the graphic material produced by Ross and some important examples of contemporary author. The comparison between the composition system with the surrealist world of painting and literature will facilitate the understanding and identification of possible rules applied by Rossi. The second part of the research is characterized by a focus on the intent of the project chosen. Teatro Domestico embodies a number of elements that seem to conclude (assuming an end point but also to start) a curriculum author. With it, the experiments carried out on the theater started with the project for the Teatrino Scientifico (1978) through the project for the Teatro del Mondo (1979), into a Laic Tabernacle representative collective and private memory of the city. Starting from a reading of the draft, through the collection of published material, we’ve made an analysis on the explicit themes of the work, finding the conceptual references. Following the taking view of the original materials not published kept at Aldo Rossi's Archive Collection of the Canadian Center for Architecture in Montréal, will be implemented through the existing techniques for digital representation, a virtual reconstruction of the project, adding little to the material, a new element for future studies. The reconstruction is part of a larger research studies where the current technologies of composition and representation in architecture stand side by side with research on the method of composition of this architect. The results achieved are in addition to experiences in the past dealt with the reconstruction of some of the lost works of Aldo Rossi. A partial objective is to reactivate a discourse around this work is considered non-principal, among others born in the prolific activities. Reassessment of development projects which would bring the level of ephemeral works most frequented by giving them the value earned. In conclusion, the research aims to open a new field of interest on the part not only as a technical instrument of representation of an idea but as an actual mechanism through which composition is formed and the idea is developed.

Johannes Driessler - Leben und Werk

Die vorliegende Arbeit über den Komponisten Johannes Driessler besteht aus einer Biographie, Werkanalysen und einem Werkverzeichnis inklusive Verlagsangaben. Johannes Driessler - geboren am 26. Januar 1921 in Friedrichsthal, gestorben am 4. Mai 1998 in Detmold - entfaltet, neben seiner pädagogischen Tätigkeit als Kompositionslehrer an der Nordwestdeutschen Musikakademie in Detmold, zwischen 1946 und 1971 ein reiches kompositorisches Schaffen. Sein Werk umfaßt geistliche und weltliche Chormusik - A-cappella-Werke, Kantaten, Oratorien, Opern, eine Messe - Liedkompositionen, Kammermusik, Klavier- und Orgelmusik, Orchesterwerke und Symphonien. Johannes Driesslers Werk ist in der geistlichen Musik verwurzelt, er entwickelt eine eigene Tonsprache: Die Gestaltung von Werken aus einer Grundidee, der Bogen, der Ostinato, das Kontrapunktische im Kanon, in der Fuge, in der Passacaglia und eine ungebundene Harmonik sind Elemente seines intellektuellen Kompositionsstils. Johannes Driesslers ureigenes Feld liegt im Vokalbereich. Hier gibt es hervorragende Werke wie zum Beispiel das erste Oratorium Dein Reich komme. Die zyklischen geistlichen Werke durch das Kirchenjahr sind wichtige Bausteine in den Gattungen Orgelmusik und Evangelienspruch im 20. Jahrhundert. Die frühe Kammermusik und die Opern des Komponisten sollten neu entdeckt werden. Auch die didaktisch wertvolle Musik in den Lehrwerken für Schüler und Studierende hat Bestand.

Phasenverhalten von Polyethylen in Mischsystemen

Die vorliegende Arbeit beschäftigt sich mit dem Phasenverhalten von Polyethylen (PE) in nicht-reaktiven und in reaktiven Systemen. Von drei eng verteilten Polyethylenen (Mw = 6,4, 82 bzw. 380 kg/mol) in n-Hexan sowie für das System 2,2-Dimethylbutan / PE 82 wurde die Entmischung in Abhängigkeit von der Zusammensetzung, dem Druck und der Temperatur experimentell bestimmt. Die Modellierung der Trübungskurven erfolgte nach der Theorie von Sanchez und Lacombe. Dieser Ansatz beschreibt die Ergebnisse qualitativ und kann in einem engen Temperatur- und Druckbereich für gegebenes Molekulargewicht die kritische Temperatur und den kritischen Druck quantitativ vorhersagen. Durch Extrapolation der kritischen Temperatur der verschiedenen Lösungen von PE in n-Hexan auf unendliches Molekulargewicht nach Shultz-Flory wurde im Druckbereich von 20 bis 100 bar und im Temperaturbereich von 130 bis 200 °C eine Grenzlinie bestimmt. Diese Linie trennt unabhängig vom Molekulargewicht des Polymers und der Zusammensetzung der Mischung das Zweiphasengebiet vom homogenen Bereich. Im Fall des Mischlösungsmittels n-Hexan / 2,2-Dimethylbutan wurde für eine annähernd kritische Polymerkonzentration die Abhängigkeit der Entmischungsbedingungen von der Zusammensetzung untersucht. Durch einfache Erweiterung der Sanchez-Lacombe-Theorie und Einführen eines Fitparameters konnte das ternäre System beschrieben werden. An einer breit verteilten PE-Probe wurden Experimente zur Fraktionierung von PE in n-Hexan durchgeführt. Die Analyse der in den koexistenten Phasen enthaltenen Polymere lieferte Informationen über die Konzentration und die Molekulargewichtsverteilung des PE in diesen Phasen sowie die kritische Zusammensetzung der Mischung. Von verschiedenen PE-Lösungen (Mw = 0,5 kg/mol) wurde die polymerisationsinduzierte Phasenseparation in Isobornylmethacrylat mit und ohne Vernetzer untersucht. Mit 15 Gew.-% PE und in Abwesenheit von Vernetzer findet die Entmischung erst bei hohen Umsätzen statt. Die Charakterisierung der resultierenden Proben zeigte, dass sich etwas mehr als 5 Gew.-% PE im Polyisobornylmethacrylat lösen. Die Glasübergangstemperaturen der Polymermischungen steigen mit steigender Vernetzer- und sinkender Polyethylenkonzentration. Bei Proben mit 15 Gew.-% PE zeigte sich folgendes: 5 Gew.-% Vernetzer führen zu großen PE-Bereichen (150 - 200 nm) in der Matrix und der Kristallinitätsgrad ist gering. Bei der Polymermischung mit 10 Gew.-% Vernetzer bilden sich sehr kleine Polyethylenkristalle (< 80 nm) und der Kristallinitätsgrad ist hoch. Ohne Vernetzer hängt der Kristallinitätsgrad - wie bei reinem PE - von der Abkühlrate ab, mit Vernetzer ist er von ihr unabhängig.