José Antonio Gómez’s Ynvitatorio, Himno y 8 Responsorios : historical context and music analysis of a manuscript ; José Antonio Gómez y Olguín, Ynvitatorio, Himno y 8 Responsorios, orchestral score

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Efeitos do sistema âncora sobre o controle postural de idosos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Controle postural de idosos: efeito da perturbação visual com o uso do sistema âncora

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Plasma anti-mullerian hormone: an endocrine marker for in vitro embryo production from Bos taurus and Bos indicus donors

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

Desempenho de movimentos cíclicos e discretos realizados em tarefa de Fitts simulada em computador

Performance of cyclical and discrete movements executed in Fitts’ task simulated by computer Abstract This study compared the performance of cyclical and discrete movements in Fitts’ task simulated by a computer. Twenty male adults, between 25 and 30 years old, participated as volunteers in the study. The software Discrete Aiming Task (v.2.0) simulated the Fitts’ task, in the discrete and cyclical conditions, and provided the movement time (TM). It was manipulated 4 target widths and 3 distances between the targets to provide index of difficulties (ID) from 1 to 6 bits. The ANOVA TWO WAY, 3 (Conditions) x 6 (ID), with repeated measures in the last factor, compared the TM in the different conditions. Regression analysis verified the relationship between TM x ID. There were no significant differences between the conditions; the virtual environment and the mouse were used to explain such results. All movement conditions showed a straight relationship between TM x ID with R²>0.990. Therefore, Fitts’ law showed to be consistent, independently of the movement strategy performed.

La physique de l'encensoir

Depuis sept siècles, un mécanisme ingénieux fait osciller un encensoir géant dans la cathédrale de Saint-Jacques-de-Compostelle. Ce dispositif témoigne des connaissances empiriques des mécaniciens du Moyen Age.

Carte du chemin de fer de Paris à Strasbourg et du canal de la Marne au Rhin

dressée par A.R. Frémin, Géographe.

Suite pour flûte, hautbois et clarinette (en si bémol) avec piano /

Publisher's no.: Wilhelm Hansen edition no. 1078