O conceito de denominação de origem: uma opção para o desenvolvimento do setor vitivinícola brasileiro.

1993

Mercado brasileiro de uvas e vinhos.

2000

O Cerrado e o setor florestal brasileiro.

2008

Língua Azul: uma nova doença que pode comprometer o rebanho brasileiro.

2004

A Embrapa e o sucesso do agronegócio brasileiro.

2004

Avaliação de impacto social - o caso do Sistema Brasileiro de Classificação de Solos-SiBCS.

Este documento apresenta os resultados da pesquisa de impactos sociais do Sistema Brasileiro de Classificação de Solos - SiBCS. Observou-se que a contribuição do SiBCS para a sociedade brasileira se mostra de forma muito abrangente, não apenas no ensino das ciências do solo, como nos múltiplos usos do conhecimento gerado, os quais se enquadram no componente da metodologia de avaliação denominado Compromisso Social do Desenvolvimento Agrícola, contribuindo assim para o desenvolvimento sustentável nos múltiplos desdobramentos das suas possibilidades de aplicação.

Ciclo I de seleção na população de milho CMS 52 nos tabuleiros costeiros do nordeste brasileiro.

1998

Ciclo I de seleção na população de milho CMS 453 nos tabuleiros costeiros do nordeste brasileiro.

1998

Ciclo II de seleção na população de milho CMS 52 no nordeste brasileiro.

1998

Ciclo inicial de seleção entre e dentro de progênies de meios-irmãos na produção de milho CMS-35 no Nordeste brasileiro.

1999

Programa Nacional de Melhoramento do Gir Leiteiro: sumário brasileiro de touros: resultado do teste de progênie: 6a prova de pré-seleção de touros - maio 2015.

2015

Programa Nacional de Melhoramento do Gir Leiteiro: sumário brasileiro de touros: resultado do teste de progênie 7a prova de pré-seleção de touros - maio 2016.

2016

Milton and romance: vernacular romance and chivalric traditions in Paradise Lost

The thesis examines Milton's strategic use of romance in Paradise Lost, arguing that such a handling of romance is a provocative realignment of its values according to the poet’s Christian focus. The thesis argues that Milton's use of romance is not simply the importation of a tradition into the poem; it entails a backward judgement on that tradition, defining its idealising tendencies as fundamentally misplaced. The thesis also examines the Caroline uses of romance and chivalry in the 1630s to provide a vision of British unification, and Milton's reaction to this political agenda.

The Evolution of the Russian Romance Through the Nineteenth and Twentieth centuries

This performance dissertation traced the evolution of the Russian romance from 1800 to the present. The Russian romance is a relatively unknown and greatly neglected genre of classical art songs. It is commonly believed that the Russian romance began with Dargomizhsky and Glinka proceeding directly to Tchaikovsky and Rachmaninoff. Forgotten are the composers before Dargornizhsky and Glinka, the bridge composers, and the post-Tchaikovsky and post-Rachmaninoff composers. This may be, in part, because of the difficulties in obtaining Russian vocal scores. While most of the musical world is acquainted with the magnificent Russian instrumental music, the "true soul" of the Russian people lies in its romances. I presented examples of the two different schools of composition, reflecting their philosophical differences in thinking that came about in the 1860s: (1) Russian National school, (2) Western European school. Each school's influence on generations of Russian composers and their pupils have been represented in the recital programs. Also represented was the effect of the October Revolution on music and the voice of the Russian people, Anna Akhmatova. The amount of music that could be included in this dissertation greatly exceeds the amount of available performance time and represents a selected portion of the repertoire. The first recital included repertoire from the beginning of the romance in the early nineteenth century to the beginning of the twentieth century and the second recital focused on the music of the twentieth century, pre and post, the October Revolution. Finally, given the status of Anna Akhmatova and her contributions, the third recital was devoted entirely to her poetry. The "Russian soul" is one of deep, heartfelt emotions and sorrow. Happiness and joy are also present, but always with a touch of melancholy. The audience did not simply go through a musical journey, but took a journey through the "Russian soul". With the strong response of the audience to these recitals, my belief that this repertoire deserves a prominent place in recital programming was confirmed.