Pesagem em movimento e caracterização do tráfego ferroviário com uso da técnica B-WIM

Nesta dissertação é apresentado o desenvolvimento de algoritmos para aplicação do método Bridge-Weigh In Motion (B-WIM) para a pesagem em movimento de trens e para a caracterização do tráfego ferroviário, permitindo-se obter informações sobre a velocidade de passagem dos trens, número e espaçamento entre eixos. Os sistemas B-WIM a partir de uma simples instrumentação permitem determinar as cargas por eixo de veículos em movimento, eliminando o efeito dinâmico. Foram implementados os algoritmos para a determinação dos valores referentes a geometria do trem e das cargas, que foi validado a partir de um exemplo teórico, onde se simulou a passagem de um trem de características conhecidas sobre a ponte e as cargas por eixos foram determinadas com 100% de exatidão. Além disso, foi feito um exemplo numérico em elementos finitos, de um viaduto em concreto armado para aplicação do método, onde foi feita a determinação das cargas por eixo para diferentes velocidades de passagem do trem. A fim de reduzir o tempo de processamento nas análises do exemplo numérico, foi desenvolvido um algoritmo para a geração de cargas nodais no modelo numérico que reduziram o tempo de processamento em até 96% quando comparado com a análise de múltiplos passos (“Multi-Step”), que simula automaticamente a passagem do trem sobre a estrutura. Finalmente, o método foi testado em um caso real a partir de monitorações realizadas em um viaduto de concreto armado da Estrada de Ferro Carajás. Apesar de não ter sido possível a determinação das cargas por eixo da locomotiva, foi possível medir precisamente o peso bruto total da locomotiva quando se utilizou o modelo constitutivo de Collins & Mitchell (1991) para o concreto.

Taxa de passagem em caprinos submetidos ou não à restrição alimentar

Pós-graduação em Zootecnia - FCAV

Parâmetros ruminais e produtivos de cabras alimentadas com cana-de-acúcar e ou silagem de milho

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

Formas não-golpistas de presença militar no estado

Conforme nossa percepção, a esperada retirada dos militares dos locais de poder e de decisão no Estado, pelos dúbios processos de transição à democracia, não apenas ficou incompleta, mas também, em muitos casos, tem retrocedido, colocando a democracia no limite de sua definição quando não aquém dela. Propomos um modelo tipológico que pretende facilitar o tes-te de algumas variáveis das relações entre civis e militare, permitindo diag­nosticar, classificar e ordenar os fenômenos desse tipo de relacionamento; assim, o esquema funcionaria como um termômetro da saúde das incipientes democracias latino-americanas.

Fermentação, cinética e degradação ruminal em ovinos alimentados com fontes de carboidratos associadas ao óleo

The objective this work was to evaluate the degradation, fermentation and kinetics of passage rumen fluid en sheep fed diets containing different carbohydrate associated with the oil. Four rumen cannulated sheep were allotted in 4 x 4 latin square. The treatments consisted of diets with high neutral detergent soluble fiber and diets with high starch associated or not with 4,2% of oil. Incubation times were 3, 6, 12, 24, 48, 72, 96 and 120 hours and ruminal fluid was collected at 0, 2, 4, 6, 8, 10, 12, and 24 hours after feeding. Diets high neutral detergent fiber soluble resulted in greater degradation of dry matter, crude protein, neutral detergent fiber soluble and starch, and higher pH values, butyric acid production, dilution rate and ruminal recycling compared with diets high starch content. The inclusion of 4,2% oil the different carbohydrate sources had no influence on the fermentation kinetics and degradation of the fiber. High content of neutral detergent soluble fiber in the diet favors the ruminal fermentation compared to the high starch content.

A doutrina do método na terceira Crítica

The Doctrine of the method of the Critique of judgement concerns the faculty of teleological judgement (§ 79-91). In the beginning of this Appendix (§ 79), Kant aims on clarifying how teleological thought, according to the principle of final cause, interprets the essence and the phenomena of nature. However he makes clear: teleology is not a science, it does not belong to a doctrine, and it does not belong to theology as a part of it, for its object is not God, though in theology may be made the most important use of teleology (KU AA 05: 416). If teleology does not belong to theology and is not a science, why is there a necessity of a Doctrine of the method to the teleological judgement? Answering this incognito is the purpose of this text. And we will look for attaining it having as supposition that teleology, though if not having the doctrinal character of science that requires a Methodenlehre, may be seen as a critical science of passage, because it can intermediate the ambits of nature and freedom, and, as such, oscillate between natural science and theology.

História de vida e formação: educando o olhar e percebendo pesquisa enquanto experiência

Way in the theme of the story of my life and training and electingchildhood as a guide in the works of Benjamin. Narrating a series of reflections on childhood and experience, taking for reading and interpretation of aphorisms that make up my childhood and training as a fellow researcher, a full text simultaneously, is juxtaposed with other texts and authors, intertwining with Benjamin, memory and history in my narrative, in a singular moment, an event. In this course highlight the place ofexperience and their languages, between the know-how, andknowing how to express thinking about childhood and educationevent in the making, which announces the issue of impoverishment and destitution of the experience of life ineducational practice, indicating the possibility resume thembetween school knowledge and practices through different view of childhood and the event, as a teacher. I will continue outliningmy experience in research groups choosing the language and itsinterfaces specifically with art cinema / pictures in the construction of our subjectivity in postmodernity. The methodology is qualitative, will take place within what we call the ethical self. Transcendence is an act and not a process, and yetas an overshooting of history is always historically situated and,therefore, has a concrete context. Using my own journey as an educator / researcher in my path as an area of passage / travel / experience / track / time in the constitution of my subjectivity in my own life story

Requalificação das Praças Monsenhor Sarrion e Nove de Julho e o novo Terminal Urbano de Integração

The Center squares of the middle cities many times don’t have adapted forms to the uses, which change time-to-time, then they turn abased. Through the study case of the Squares Monsenhor Sarrion and Nove de Julho, public squares on Presidente Prudente downtown, where many types of uses occur in the same space with function of organization and reception of several fluxes generated because the centrality caused from downtown. In this context, is necessary re-project the squares, with new purpose of an urban and landscape project, which generates harmonic spaces of passage and permanence, which values the public edifications in the around areas and re-qualified the form of the squares, adapting to the new uses: To organize the public transportation traffic, the urban terminal; to organize the vehicles traffic, the lowering of the Avenue Coronel Marcondes and, mainly, to organize the traffic of pedestrian, the continuity and the physic integration of the squares, through new forms, urban furniture and design to the downtown public spaces

Níveis e tipos de fibra dietética para suínos pesados em restrição alimentar qualitativa

Pós-graduação em Zootecnia - FCAV

Contos de fadas no ensino fundamental I: analisando os recursos empregados e as estratégias que podem ser adotadas pelas/os docentes na desconstrução de estereótipos sexistas

Pós-graduação em Educação Sexual - FCLAR

Ácidos orgânicos em dietas de suínos

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

Storie di vita e rivoluzione. Biografie e autobiografie di comunardi (1871-1886)

Nell'ambito di un'indagine sull'identità del rivoluzionario nel XIX secolo, calata tra gli attivisti coinvolti nella Comune di Parigi, si è trattato di selezionare quelle autobiografie scritte e pubblicate da comunardi come parte integrante della loro attività politica, e così porre il problema del rapporto tra pratica autobiografica e rivoluzione, ovvero chiarire le condizioni del passage au récit, la scelta autobiografica e insieme la mise en intrigue tra esperienze individuali e rivoluzione. Questa ricerca si presenta dunque come un lavoro sulle pratiche autobiografiche all'interno delle pratiche di attivismo politico, ovvero più specificamente sulla relazione tra autobiografia e rivoluzione. In altri termini si analizza il modo in cui i rivoluzionari narravano la loro identità in pubblico, perché lo avessero fatto e cosa veicolavo in termini di stili di vita e convinzioni particolari. In quanto rivoluzionari, l'autobiografia diviene fonte e parte di ciò che essi reputavano in quel momento la propria traiettoria rivoluzionaria, la narrazione di quella che in quel momento ritenevano comunicare al pubblico come propria identità narrativa. La ricerca si articola in tre momenti. Nel primo capitolo analizzo le biografie, o meglio un piccolo gruppo tra la massa di biografie di comunardi edite all'indomani della Comune da parte della pubblicistica tanto ostile quanto partigiana della Comune. Queste narrazioni biografiche diffuse nei mesi successivi alla repressione della rivoluzione comunalista consentono di affrontare una delle condizioni fondamentali del passage au récit autobiografico che si manifesterà solo posteriormente. Il secondo e il terzo capitolo sono dedicati a due progetti autobiografici di diversa natura: la trilogia autobiografica di Jules Vallès (1879, 1881, 1886) e le Mémoires di Louise Michel (1886).

Tecnica, stile e ideologia nella musica sinfonica in video: la Quinta Sinfonia di Beethoven

Oggetto di questo lavoro è un’analisi dettagliata di un campione ristretto di riprese televisive della Quinta Sinfonia di Beethoven, con l’obiettivo di far emergere il loro meccanismo costruttivo, in senso sia tecnico sia culturale. Premessa dell’indagine è che ciascuna ripresa sia frutto di un’autorialità specifica che si sovrappone alle due già presenti in ogni esecuzione della Quinta Sinfonia, quella del compositore e quella dell’interprete, definita perciò «terza autorialità» riassumendo nella nozione la somma di contributi specifici che portano alla produzione di una ripresa (consulente musicale, regista, operatori di ripresa). La ricerca esamina i rapporti che volta a volta si stabiliscono fra i tre diversi piani autoriali, ma non mira a una ricostruzione filologica: l’obiettivo non è ricostruire le intenzioni dell’autore materiale quanto di far emergere dall’esame della registrazione della ripresa, così com’è data a noi oggi (spesso in una versione già più volte rimediata, in genere sotto forma di dvd commercializzato), scelte tecniche, musicali e culturali che potevano anche essere inconsapevoli. L’analisi dettagliata delle riprese conferma l’ipotesi di partenza che ci sia una sorta di sistema convenzionale, quasi una «solita forma» o approccio standardizzato, che sottende la gran parte delle riprese; gli elementi che si possono definire convenzionali, sia per la presenza sia per la modalità di trattamento, sono diversi, ma sono soprattutto due gli aspetti che sembrano esserne costitutivi: il legame con il rito del concerto, che viene rispettato e reincarnato televisivamente, con la costruzione di una propria, specifica aura; e la presenza di un paradigma implicito e sostanzialmente ineludibile che pone la maggior parte delle riprese televisive entro l’alveo della concezione della musica classica come musica pura, astratta, che deve essere compresa nei suoi propri termini.

Visual symptoms in Parkinson's disease and Parkinson's disease dementia

Visual symptoms are common in PD and PD dementia and include difficulty reading, double vision, illusions, feelings of presence and passage, and complex visual hallucinations. Despite the established prognostic implications of complex visual hallucinations, the interaction between cognitive decline, visual impairment, and other visual symptoms remains poorly understood. Our aim was to characterize the spectrum of visual symptomatology in PD and examine clinical predictors for their occurrence. Sixty-four subjects with PD, 26 with PD dementia, and 32 age-matched controls were assessed for visual symptoms, cognitive impairment, and ocular pathology. Complex visual hallucinations were common in PD (17%) and PD dementia (89%). Dementia subjects reported illusions (65%) and presence (62%) more frequently than PD or control subjects, but the frequency of passage hallucinations in PD and PD dementia groups was equivalent (48% versus 69%, respectively; P = 0.102). Visual acuity and contrast sensitivity was impaired in parkinsonian subjects, with disease severity and age emerging as the key predictors. Regression analysis identified a variety of factors independently predictive of complex visual hallucinations (e.g., dementia, visual acuity, and depression), illusions (e.g., excessive daytime somnolence and disease severity), and presence (e.g., rapid eye movement sleep behavior disorder and excessive daytime somnolence). Our results demonstrate that different "hallucinatory" experiences in PD do not necessarily share common disease predictors and may, therefore, be driven by different pathophysiological mechanisms. If confirmed, such a finding will have important implications for future studies of visual symptoms and cognitive decline in PD and PD dementia.

Becoming most fully ourselves : gender, voice, and ritual in dissertations

The writing and defense of the dissertation serve both as demonstration one is able to do the work of a scholar and as a rite of initiation. In contrast to much academic writing, dissertations generally adhere to narrowly conceived notions of academic discourse. I explore this within the context of an academic community in which under-representation remains a serious issue. This dissertation is about women writing dissertations. I draw from conversations with fifteen women, in or beyond, the process; friends’ anecdotes; published accounts; and, autobiographically, my experience. I suggest the dissertation’s initiatory role is at least as important as its scholarly role; during the process one establishes a sense of self as scholar, writer, and researcher. Students come to the dissertation with some notion of self as writer and scholar – a culturally negotiated sense that is more, or less, congruent with the culturally established self required for successful completion of the dissertation. The degree of congruence (or alternatively, harmony and dissonance) shapes the process of doing a dissertation. I argue that both the community and the language in which dissertations must generally be written are gendered masculine. Negotiating a voice that is acceptable in a dissertation while maintain fidelity to a sense of who one is seems more problematic as one’s distance from the center of dominant culture increases. Believing that agency lies in altering the reiteration of such processes, I worked with my committee to find ways to alter the process yet still do a dissertation I write in a variety of voices – essay and poetry as well as analytical – play with visual qualities of text, and experiment with non-verbal interpretations. These don’t exhaust possibilities, but do give a sense of how the rich variety of expression found in academe cam be brought into the dissertation. I thus demonstrate that one need not reconstitute herself through characteristic academic discourse in order to be initiated into the community of scholars. I suggest both the desirability of encouraging flexibility in the language, form, and process, of dissertations, and the theoretical necessity for such flexibility if the academic community is to become diverse. The writing and defense of the dissertation serve both as demonstration one is able to do the work of a scholar and as a rite of initiation. In contrast to much academic writing, dissertations generally adhere to narrowly conceived notions of academic discourse. I explore this within the context of an academic community in which under-representation remains a serious issue. This dissertation is about women writing dissertations. I draw from conversations with fifteen women, in or beyond, the process; friends’ anecdotes; published accounts; and, autobiographically, my experience. I suggest the dissertation’s initiatory role is at least as important as its scholarly role; during the process one establishes a sense of self as scholar, writer, and researcher Students come to the dissertation with some notion of self as writer and scholar – a culturally negotiated sense that is more, or less, congruent with the culturally established self required for successful completion of the dissertation. The degree of congruence (or alternatively, harmony and dissonance) shapes the process of doing a dissertation. I argue that both the community and the language in which dissertations must generally be written are gendered masculine. Negotiating a voice that is acceptable in a dissertation while maintain fidelity to a sense of who one is seems more problematic as one’s distance from the center of dominant culture increases. Believing that agency lies in altering the reiteration of such processes, I worked with my committee to find ways to alter the process yet still do a dissertation I write in a variety of voices – essay and poetry as well as analytical – play with visual qualities of text, and experiment with non-verbal interpretations. These don’t exhaust possibilities, but do give a sense of how the rich variety of expression found in academe cam be brought into the dissertation. I thus demonstrate that one need not reconstitute herself through characteristic academic discourse in order to be initiated into the community of scholars. I suggest both the desirability of encouraging flexibility in the language, form, and process, of dissertations, and the theoretical necessity for such flexibility if the academic community is to become diverse. The writing and defense of the dissertation serve both as demonstration one is able to do the work of a scholar and as a rite of initiation. In contrast to much academic writing, dissertations generally adhere to narrowly conceived notions of academic discourse. I explore this within the context of an academic community in which under-representation remains a serious issue. This dissertation is about women writing dissertations. I draw from conversations with fifteen women, in or beyond, the process; friends’ anecdotes; published accounts; and, autobiographically, my experience. I suggest the dissertation’s initiatory role is at least as important as its scholarly role; during the process one establishes a sense of self as scholar, writer, and researcher Students come to the dissertation with some notion of self as writer and scholar – a culturally negotiated sense that is more, or less, congruent with the culturally established self required for successful completion of the dissertation. The degree of congruence (or alternatively, harmony and dissonance) shapes the process of doing a dissertation. I argue that both the community and the language in which dissertations must generally be written are gendered masculine. Negotiating a voice that is acceptable in a dissertation while maintain fidelity to a sense of who one is seems more problematic as one’s distance from the center of dominant culture increases. Believing that agency lies in altering the reiteration of such processes, I worked with my committee to find ways to alter the process yet still do a dissertation I write in a variety of voices – essay and poetry as well as analytical – play with visual qualities of text, and experiment with non-verbal interpretations. These don’t exhaust possibilities, but do give a sense of how the rich variety of expression found in academe cam be brought into the dissertation. I thus demonstrate that one need not reconstitute herself through characteristic academic discourse in order to be initiated into the community of scholars. I suggest both the desirability of encouraging flexibility in the language, form, and process, of dissertations, and the theoretical necessity for such flexibility if the academic community is to become diverse. The writing and defense of the dissertation serve both as demonstration one is able to do the work of a scholar and as a rite of initiation. In contrast to much academic writing, dissertations generally adhere to narrowly conceived notions of academic discourse. I explore this within the context of an academic community in which under-representation remains a serious issue. This dissertation is about women writing dissertations. I draw from conversations with fifteen women, in or beyond, the process; friends’ anecdotes; published accounts; and, autobiographically, my experience. I suggest the dissertation’s initiatory role is at least as important as its scholarly role; during the process one establishes a sense of self as scholar, writer, and researcher Students come to the dissertation with some notion of self as writer and scholar – a culturally negotiated sense that is more, or less, congruent with the culturally established self required for successful completion of the dissertation. The degree of congruence (or alternatively, harmony and dissonance) shapes the process of doing a dissertation. I argue that both the community and the language in which dissertations must generally be written are gendered masculine. Negotiating a voice that is acceptable in a dissertation while maintain fidelity to a sense of who one is seems more problematic as one’s distance from the center of dominant culture increases. Believing that agency lies in altering the reiteration of such processes, I worked with my committee to find ways to alter the process yet still do a dissertation I write in a variety of voices – essay and poetry as well as analytical – play with visual qualities of text, and experiment with non-verbal interpretations. These don’t exhaust possibilities, but do give a sense of how the rich variety of expression found in academe cam be brought into the dissertation. I thus demonstrate that one need not reconstitute herself through characteristic academic discourse in order to be initiated into the community of scholars. I suggest both the desirability of encouraging flexibility in the language, form, and process, of dissertations, and the theoretical necessity for such flexibility if the academic community is to become diverse.