Cross-readings and ecoliteracy in children's pop-up books

The purpose of this text is to analyse two recently been published pop-up books aimed at children, by Anouck Boisrobert e Louis Rigaud, Popville (2009) and Dans la forêt du paresseux [Wake up, Sloth!, En el bosque del perezoso] (first published in 2009 and 2012, accompanied with texts by Joy Sorman and Sophie Strady, respectively). These books were published originally in France by Hélium Editions, but they can now be found in several western countries and in many languages (Catalan, French, Dutch, English, German, Italian, Portuguese and Spanish, at least). The objective is to analyse their verbal text and their visual aspects produced by a sophisticated paper engineered to question how they achieve what seems to be one of their goals, the promotion of the readers' ecoliteracy (Orr, 1992) by his involvement in the reading process. This issue seems to be one of the main trends on children's literature in western societies nowadays, transcending the traditional and almost omnipresent role of scenario that nature plays in many children's narratives.

Follow up on the local implementation of an MPA in the small fishing village of San Felipe, Yucatan

Dissertação mest., Biologia Marinha, Universidade do Algarve, 2007

Bottom-up regulation of phytoplankton in the Guadiana estuary

Tese dout., Ciências do Mar (Ecologia Marinha), Faculdade de Ciências e Tecnologia, Univ. do Algarve, 2010

Sind Niedrigenergiehäuser Stand der Technik? Umweltverträglich bauen und energiesparend wohnen

In dem Artikel geht es um die Frage, ob Niedrigenergiehäuser Stand der Technik sind.

Up the Hill due date card

This is a due date card for the book titled Up the Hill. Stamped dates are from 1943.

Spitting Up: Is This Normal?

This document written in English and Spanish discusses the problem of babies spitting up.

Avaliação para as aprendizagens de alunos com necessidades educativas especiais no 1º ciclo de ensino básico : da diversidade da avaliação à avaliação da diversidade

Tese de doutoramento, Educação (Avaliação em Educação), Universidade de Lisboa, Instituto de Educação, 2014

Pharmacotherapy follow-up in the prevention of cardiovascular disease

Cardiovascular diseases are the leading cause of death in Portugal, alike what is verified in the remaining western countries. There are factors that increase the risk of its occurrence, that do not usually emerge isolated, tending to group in the individual. This coexistence results in a combined effect which is larger than the one expected from the sum of its individual effects. The global cardiovascular risk is defined as the percentage change of developing a cardiovascular event over a given period of time (generally 10 years). The purpose of global cardiovascular risk assessment is to identify the individuals who should be counseled and receive treatment to prevent a cardiovascular disease, as well as to establish the therapeutics aggressiveness level.

Pharmacotherapy follow-up of patients with diabetes mellitus in a Primary Health Care Unit

Background: Diabetes mellitus is one of the major causes of chronic morbidity and loss of quality of life, and it seems to be increasing in the coming decades. Overall prevalence of diabetes in Portugal in 2010, according to the latest National Observatory of Diabetes Report, was 12.4%, which corresponds to a total of approximately 991 thousand individuals aged between 20 and 79 years. The level of control of diabetes mellitus, as measured by glycosilated haemoglobin A1c(HbA1c) influences the long-term risk of macrovascular and microvascular complications. Given the frequent association of diabetes with hypertension/dyslipidemia/overweight, managing these risk factors is a crucial part of the diabetes control.

Curricular Unit: Pharmacotherapy Follow-Up

Objectives: Pharmaceutical care is a patient-centered philosophy of assistential practice in which the pharmacist, as a health care team member, has responsibilities in patient medication. The correct use of medicines will significantly decrease the negative outcomes of pharmacotherapy, namely untreated health problem..

Links Between Special Schools and Mainstream Schools: a Follow-up Survey

This article reports the findings from a survey of special schools in England and Wales regarding their links with mainstream schools. This survey was a follow-up of two previous surveys undertaken in mid-1987 and 1993 respectively. Data were elicited about visits made by pupils, teachers and support assistants both from special schools to mainstream schools and from mainstream schools to the special schools. Over two-thirds of special schools in England and Wales responded, the sample reflecting the distribution of types of special schools nationally. Findings indicated that the degree of link activity has been maintained over the years but it is relatively restricted in terms of the number of pupils and staff involved, and there does not seem to be evidence of the strategic use of placements.

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

Growing Up in Taiwan: Counterfactual Models of Part-Time Work, Romantic Relationships, and Crime among Taiwanese Youth

Thesis (Ph.D.)--University of Washington, 2015

Genetic programming for the minimum time swing up and balance control acrobot problem

This work describes how genetic programming is applied to evolving controllers for the minimum time swing up and inverted balance tasks of the continuous state and action: limited torque acrobot. The best swing-up controller is able to swing the acrobot up to a position very close to the inverted ‘handstand’ position in a very short time, shorter than that of Coulom (2004), who applied the same constraints on the applied torque values, and to take only slightly longer than the approach by Lai et al. (2009) where far larger torque values were allowed. The best balance controller is able to balance the acrobot in the inverted position when starting from the balance position for the length of time used in the fitness function in all runs; furthermore, 47 out of 50 of the runs evolve controllers able to maintain the balance position for an extended period, an improvement on the balance controllers generated by Dracopoulos and Nichols (2012), which this paper is extended from. The most successful balance controller is also able to balance the acrobot when starting from a small offset from the balance position for this extended period.