988 resultados para Cultural evolution
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Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em História da Arte Contemporânea
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A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics
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This paper describes the process and problems that had to be faced during the elaboration of a digital interactive narrative for the Instory project (http://img.di.fct.unl.pt/InStory/) implanted in «Quinta da Regaleira», Sintra, Portugal, and classified as World Heritage by Unesco. It also explores some of the practical and theoretical issues in what regards the literary terminology and strategies involved.
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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Estudos Norte-Americanos
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Trabalho de Projecto apresentado para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Práticas Culturais para os Municípios
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Revista do IHA, N.4 (2007), pp.28-53
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Dissertation presented to obtain the PhD degree in Computational Biology.
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The medical records of 27 patients with hantavirus pulmonary syndrome were analyzed according to the need for invasive mechanical ventilation in relation to the following data up on hospital admission: age, gender, fever, cough, dyspnea, systolic arterial blood pressure, heart rate, levels of hemoglobin, hematocrit, leukocytes, lymphocytes, platelets, creatinine and arterial blood gases. The volume infused during the first 24 hours after admission, the use of inotropic agents, the use of corticosteroids and the patient outcomes were also evaluated. A favorable outcome was related to systolic blood pressure³ 100mmHg, heart rate lower than 100 beats per minute, creatinine below 1.6mg/dl, arterial blood pH³ 7.35, bicarbonate higher than 15mEq/dl, oxygen saturation higher than 84.1%, lower rehydration volume in the first 24 hours of hospitalization and no use of inotropic agents. Absence of clinical and laboratory signs of circulatory shock up on admission was associated with a favorable outcome of the patients.
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The European Union, as a regional actor and an example of stability and well-being, has embraced a set of principles it has stood for and which constitute its own identity. The diffusion of these values among third countries is one of the objectives of EU’s External Policy. Democracy can be found among the principles that are sought to be exported through comprehensive and complex strategies within different frameworks, such as neighbourhood relations, trade partnerships and the accession process. Focusing on the latter, candidates are object of an intensive process of Europeanisation that operates through different mechanisms like socialisation and conditionality. Turkey, on the other side, has decided to apply for full membership several decades ago and, ever since, it has been pressured to Europeanise, which includes improving its unstable democracy. This case, however, is different from all other previous enlargements; for its special socio-cultural and civilisational features, Turkey constitutes a more complex novelty for the European Union. Therefore, this thesis aims to study the influence of the European Union on the democratisation process of Turkey, focusing on the period ranging between 1999, the year the European Council recognised Turkey’s candidacy status, and 2009 that marks the 10-year period of that condition. It is the intention of this project to assess the impact of the European Union at that level through the study of the democratic evolution of the country and its co-relation with other variables related to the presence or pressure of the EU. As this is a challenging objective, it will require a deep reflection upon central concepts like democracy and democratic consolidation, and a diversified use of methodological techniques, such as statistical analysis and mathematical co-relations, historical analysis, literature review and in-depth interviews. This study will privilege a Constructivist approach, emphasising the social construction of reality and the role of the ideational aspects – identity, perceptions and the broader socio-cultural dimension – in Turkey-EU relations.
Evolution of Diplodocid Sauropod dinosaurs with emphasis on specimens from Howe Ranch, Wyoming (USA)
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Diplodocidae are among the best known sauropod dinosaurs. Several species were described in the late 1800s or early 1900s. Since then, numerous additional specimens were recovered in the USA, Tanzania, Portugal, as well as possibly Spain, England, and Asia. To date, the clade includes about 12 to 15 different species, some of them with questionable taxonomic status (e.g. ‘Diplodocus’ hayi or Dyslocosaurus polyonychius). However, intrageneric relationships of the multi-species, iconic genera Apatosaurus and Diplodocus are still poorly known. The way to resolve this issue is a specimen-based phylogenetic analysis, which was done for Apatosaurus, but is here performed for the first time for the entire clade of Diplodocidae. New material from different localities and stratigraphic levels on the Howe Ranch (Shell,Wyoming, USA) sheds additional light on the evolution of Diplodocidae. Three new specimens are described herein, considerably increasing our knowledge of the anatomy of the group. The new specimens (SMA 0004, SMA 0011, and SMA 0087) represent two, to possibly three new diplodocid species. They preserve material from all parts of the skeleton, including two nearly complete skulls, as well as fairly complete manus and pedes, material which is generally rare in diplodocids. Thereby, they considerably increase anatomical overlap between the sometimes fragmentary holotype specimens of the earlier described diplodocid species, allowing for significant results in a specimenbased phylogenetic analysis. Furthermore, clavicles and interclavicles are identified, the latter for the first time in dinosaurs. Their presence seems restricted to early sauropods, flagellicaudatans, and early Macronaria, and might thus be a retained plesiomorphy, with the loss of these bones being synapomorphic for Titanosauriformes and possibly Rebbachisauridae. The new material allows to test previous hypotheses of diplodocid phylogeny. In order to do so, any type specimen previously proposed to belong to Diplodocidae was included in the study, as are relatively complete referred specimens, in order to increase the degree of overlapping material. For specimens subsequently suggested to be non-diplodocid sauropods, their hypothesized sister taxa were included as outgroups. The current phylogenetic analysis thus includes 76 operational taxonomic units, 45 of which belong to Diplodocidae. The specimens were scored for 477 morphological characters, representing one of the most extensive phylogenetic analyses done within sauropod dinosaurs. The resulting cladogram recovers the classical arrangement of diplodocid relationships. Basing on a newly developed numerical approach to reduce subjectivity in the decision of specific or generic separation, species that have historically been included into well-known genera like Apatosaurus or Diplodocus, were detected to be actually generically different. Thereby, the famous genus Brontosaurus is resuscitated, and evidence further suggests that also Elosaurus parvus (previously referred to Apatosaurus) or ‘Diplodocus’ hayi represent unique genera. The study increases our knowledge about individual variation, and helps to decide how to score multi-species genera. Such a specimen-based phylogenetic analysis thus proves a valuable tool to validate historic species in sauropods, and in paleontology as a whole.
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The efficacy of treatment with nifurtimox and/or benznidazole among adults with chronic Chagas disease with no previous electrocardiographic disturbances was evaluated over a mean follow-up of 21 years, by means of conventional serology, xenodiagnosis, clinical examination, electrocardiograms and chest X-ray. One hundred and eleven patients, between 17 and 46 years old, were studied: 54 underwent treatment (nifurtimox 27, benznidazole 27) and 57 remained untreated (control group). Xenodiagnosis was performed on 65% of them: 36/38 of the treated and 9/34 of the untreated patients had previous positive xenodiagnosis. Post-treatment, 133 xenodiagnoses were performed on 41 patients, all resulting negative. In the control group, 29 xenodiagnoses were performed on 14 patients; 2 resulted positive. Sera stored during the follow-up were simultaneously analyzed through conventional serology tests (IHA; DA-2ME; IIF). The serological evolution in the treated group was: a) 37% underwent negative seroconversion (nifurtimox 11, benznidazole 9); b) 27.8% decreased titers (nifurtimox 9, benznidazole 6), 9 showed inconclusive final serology (nifurtimox 7, benznidazole 2); c) 35.2% remained positive with constant titers (nifurtimox 7; benznidazole 12). The control group conserved the initial antibody levels during the follow-up. In the clinical evolution, 2/54 (3.7%) of the treated and 9/57 (15.8%) of the untreated patients showed electrocardiographic disturbances attributable to Chagas myocardiopathy, with a statistically relevant difference (p<0.05). Treatment caused deparasitation in at least 37% of the chronically infected adults and a protective effect on their clinical evolution.
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Esta nossa proposta pretende reflectir sobre a importância dos fenómenos artísticos dos anos 60 aos nossos dias na formação do animador cultural. É nossa intenção demonstrar que a relação do animador cultural com as práticas artísticas contemporâneas, em articulação com o de outros profissionais ligados à produção artística, pode contribuir para uma maior aproximação do público em relação às obras de arte. A distância e incompreensão do público conduziu à formação de alguns mitos, na maior parte com origem na falta de formação estética e artística das populações em relação à arte e à obra de arte, à ausência de interesse em participar na discussão sobre O que é a arte? e, em particular na questão O que é a obra de arte hoje? Este é outro dos objectivos desta intervenção: justificar esta especificidade cronológica, ou seja, porque é que as obras de arte produzidas a partir dos anos 60 a esta parte exigem mecanismos de fruição e participação por parte do público distintos dos exigidos em obras de arte produzidas até aos finais do séc. XIX. O animador cultural tem, neste âmbito, um papel significativo porque a sua maior ou menor familiarização com as práticas artísticas da contemporaneidade vai orientar também os seus projectos, no sentido em que contribui para alargar os tipos de público com que trabalha e contextualizar a participação dos vários intervenientes. Neste âmbito, serão apresentadas de forma muito breve algumas obras de arte e lançadas pistas de abordagem para a sua problematização, de modo a promover uma aproximação participativa e crítica às práticas artísticas contemporâneas do animador e dos públicos com que ele trabalha.
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In his Answer to the Question: What is Enlightenment (1784), Kant puts forward his belief that the vocation to think freely, which humankind is endowed with, is bound to make sure that “the public use of reason” will at last act “even on the fundamental principles of government and the state [will] find it agreeable to treat man – who is now more than a machine – in accord with his dignity”. The critical reference to La Mettrie (1747), by opposing the machine to human dignity, will echo, in the dawn of the 20th century, in Bergson’s attempt to explain humor. Besides being exclusive to humans, humor is also a social phenomenon. Freud (1905) assures that pleasure originated by humor is collective, it results from a “social process”: jokes need an audience, a “third party”, in order to work and have fun. Assuming humor as a social and cultural phenomenon, this paper intends to sustain that it played a role in the framing of the public sphere and of public opinion in Portugal during the transition from Absolute Monarchy to Liberalism. The search for the conditions which made possible the critical exercise of sociability is at the root of the creation of the public sphere in the sense developed by Habermas (1962), whose perspective, however, has been questioned by those who point 2 out the alleged idealism of the concept – as opposed, for example, to Bakhtin (1970), whose work stresses diversity and pluralism. This notwithstanding, the concept of public sphere is crucial to the building of public opinion, which is, in turn, indissoluble from the principle of publicity, as demonstrated by Bobbio (1985). This paper discusses the historical evolution of the concept of public opinion from Ancient Greece doxa, through Machiavelli’s “humors” (1532), the origin of the expression in Montaigne (1580) and the contributions of Hobbes (1651), Locke (1690), Swift (1729), Rousseau (1762) or Hume (1777), up to the reflection of Lippman (1922) and Bourdieu’s critique (1984). It maintains that humor, as it appears in Portuguese printed periodicals from 1797 (when Almocreve de Petas was published for the first time) to the end of the civil war (1834) – especially in those edited by José Daniel Rodrigues da Costa but also in O Piolho Viajante, by António Manuel Policarpo da Silva, or in the ones written by José Agostinho de Macedo, as well as in a political “elite minded” periodical such as Correio Braziliense –, contributed to the framing of the public sphere and of public opinion in Portugal.
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RESUMO Introdução e objetivos As organizações internacionais responsáveis pela Qualidade na Saúde e Segurança do doente (Organização Mundial da Saúde, União Europeia), recomendam aos Estados membros a avaliação da cultura de segurança, como condição essencial para se introduzir mudanças nos comportamentos dos profissionais e nas organizações prestadoras de cuidados de saúde, e alcançar melhores níveis de segurança e de qualidade nos cuidados de saúde prestados aos doentes. Constitui objetivo geral deste trabalho contribuir para a implementação da cultura de segurança do doente nos profissionais envolvidos na prestação de cuidados de saúde, concorrendo para a avaliação da cultura de segurança do doente e, consequentemente para a garantia da qualidade dos cuidados prestados. Metodologia 1ª fase – pré-estudo: através da revisão de literatura identificamos o instrumento mais adequado para avaliar a cultura de segurança do hospital, traduzimos e validámos o instrumento. 2ª fase – desenvolvemos um estudo exploratório-descritivo, transversal, retrospetivo, em 3 hospitais portugueses e um estudo exploratório-descritivo, longitudinal, prospetivo, de investigação-ação, numa unidade de radioterapia. Resultados O Hospital Survey on Patient Safety Culture é o instrumento que revela as adequadas características para a avaliação da cultura de segurança nos hospitais portugueses. No que diz respeito à avaliação da cultura de segurança em três hospitais portugueses, podemos destacar que o trabalho em equipa, a expectativas do supervisor e a aprendizagem organizacional são as dimensões com melhores resultados apesar da frequência das notificações e das respostas ao erro não punitivas apresentarem os piores resultados. Verificou-se que a URT se encontra em franca evolução, o que se torna visível sobretudo na adesão à notificação que aumentou à medida que o tempo foi passando. O envolvimento de todos no desenho da intervenção e nas atividades a decorrer na unidade, foi preponderante para a melhoria da segurança do doente. Conclusões Temos consciência que existem muitas questões por responder e que na realidade não há receitas nem diretrizes que possam afirmar que existem relações de causalidade, confrontando uma determinada ação com a consequente mudança cultural. No entanto, estamos convictos que o envolvimento de todos os membros da organização/unidade, o compromisso forte da liderança, uma comunicação efetiva e uma notificação não punitiva são ingredientes essenciais para a melhoria contínua da cultura de segurança do doente.
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O equipamento cultural de referência para este trabalho de projeto é o Centro Cultural da Malaposta, que constitui um exemplo de investimento autárquico na reabilitação de um edifício para a criação de infraestruturas destinadas à produção e à fruição artística e cultural. Trata-se de um equipamento cultural criado há cerca de 25 anos, que é tutelado pelo município de Odivelas. Descreve-se a evolução da instituição e apresenta-se uma análise da programação cultural deste equipamento, em 6 anos, entre 2007 e 2012.