O sistema fluvio-estuarino da Baía de Sepetiba preservado na estratigrafia rasa da plataforma continental interna adjacente (RJ)

A análise de dados de reflexão sísmica monocanal boomer (Hz ~ 700-4,000; penetração ~ 70 ms) adquiridos na plataforma continental interna-média (até ~ 50-60 m de profundidade) ao largo do sistema estuarino baía de Sepetiba, no Estado do Rio de Janeiro, Brasil, revelou a ocorrência de uma sucessão sedimentar preservada 15-20 m, sismicamente interpretada como representando ambientes fluvio-estuarinos para marinhos rasos. Estas séries são sotopostas à inconformidade regional mais superior reconhecida na escala de plataforma, chamada superfície S3. Esta superfície é erodida por numerosas incisões fluviais, que sugerem processos erosivos associados à prolongada exposição subaérea da plataforma continental durante o estágio isotópico marinho 2 (MIS 2), globalmente datada em ~ 20 ka A.P.. A preservação de tais unidades de corte e preenchimento estuarinho presumíveis Pleistoceno Superior-Holoceno na plataforma interna-média (até ~ 30 km da costa) evidencia pela primeira vez na área a existência de um paleo sistema fluvial bastante desenvolvido e processos dominantes de denudação na bacia hidrográfica a montante que atualmente alimenta a baía de Sepetiba. Bem como que, uma série de elementos arquiteturais sísmicos dentro desta sucessão estuarina, como canais de maré retrogradantes, registram a evolução do paleo sistema estuarino de um sistema aberto à um sistema parcialmente protegido durante a transgressão Holocênica. A formação e erosão de uma sucessão de ilhas barreira isoladas e canais de maré durante a transgressão persistiu até o desenvolvimento de uma superfície estratigráfica superior na área, interpretada como a superfície de máxima inundação (MFS) no registro estratigráfico. A ilha barreira atual (restinga da Marambaia) prograda sobre a MFS como uma feição deposição regressiva, apontando para uma idade mais jovem do que cerca de ~ 5 ka A. P., idade da transgressão máxima na área, de acordo com a literatura disponível.

Transgression and the everyday : art and fashion in the 1970s

Former Sex Pistols manager Malcolm McLaren has said that punk fashion truly began in New York. In the 1970s, New York was home to the burgeoning punk scene, Fluxus artists and Andy Warhol’s ‘Factory’. Trace the connections between designers, artists and the musicians who became fashion icons such as Robert Mapplethorpe, Patti Smith, Malcolm McLaren, Richard Hell, Lou Reed, and Andy Warhol with Alice Payne (PhD candidate).

A descriptive study of wandering-related boundary transgression in persons with severe dementia in residential aged care

This thesis described the characteristics of wandering-related boundary transgression in people with severe dementia in residential aged care. To explore all aspects of this common dementia-related behaviour that takes the person who wanders into out of bounds and hazardous areas, a two phase study with an interpretive and an observational phase was conducted. Study findings have provided evidence that will be used to develop strategies to help dementia carers to more effectively manage this behaviour in the future while maintaining the mobility and dignity of the person with dementia.

Transgression in Carson McCullers The Ballad of the Sad Café

Este trabalho tem como objetivo principal discutir a obra The Ballad of the Sad Café, publicada em 1951, pela escritora norte-americana Carson McCullers, que abordou temas polêmicos, como a sexualidade, papéis sociais e suas respectivas e muitas vezes concomitantes transgressões. Em tal discussão serão analisadas as presenças do Gótico, do Grotesco e de outros elementos literários que se mostram eficazes ao lidarmos com a subversão dos valores patriarcais construídos socialmente. Como pontos cruciais deste trabalho, será traçado um paralelo entre a sociedade vitoriana e a sociedade do Sul norte-americano de meados do século XX, enfocando também a protagonista Miss Amelia Evans, que desafia o modelo da heroína gótica tradicional

Marriage, transgression and death: Wuthering heights and The awakening

Esta dissertação tem como objetivo analisar a situação da vida da mulher durante o século XIX, na Inglaterra e nos Estados Unidos da América, através de duas obras do século XIX: Wuthering Heights (1847) de Emile Brontë e The Awakening (1889) de Kate Chopin. Objetivamos, na presente dissertação, apontar a crítica dos discursos patriarcal e das práticas de poder social que tornaram o contexto social das mulheres representadas nos romances citados, propício para a anulação da expressão erótica e repressão. O objeto da análise restringiu-se às duas personagens principais dos romances, Catherine Earnshaw e Edna Pontellier; personagens cujas subjetividades foram reprimidas através da imposição e desempenho de papéis sociais que não as satisfaziam como mulheres

The change of characteristics of tidal wave in the Changjiang River mouth area since the post-glacial transgression maximum

During the period of the post-glacial transgression maximum (PGTM), there was a huge trumpet estuary in the modern Changjiang River Delta area. The location and the shape of the Paleo-Changjiang River Estuary (PCRE) were much different from those of the present Changjiang River Estuary. The study on the change of characteristics of tidal wave in the Changjiang River mouth area since the PGTM can help to understand better the dynamic development of the Changjiang River Delta. The course curves of tidal level and tidal current velocity during a single tidal cycle for 35 points are calculated, and characteristics of tidal waves in the PCRE and its adjacent area are compared with those of tidal waves in the modern Changjiang River mouth area. The results show that the tidal waves within the PCRE and in its adjacent area during the period of the PGTM belonged to standing wave or a mixture of standing wave and progressive wave. Since then, the tidal wave in the Changjiang River mouth become gradually to be progressive wave with the PCRE being filled and the Changjiang River mouth shifting southeastwards.

Haptic Sensation and Instrumental Transgression

Anyone who has ever played a musical instrument will certify the development of a particular type of relationship between the instrument and the performer. This relationship goes beyond a convenient coupling that is optimized for sound production. Every musical instrument defines ways in which to be touched, felt, activated. Music performance is dependent on bodily involvement that goes beyond the auditory and the sense of hearing. This article investigates the role of haptic sensation in the context of the performer-instrument relationship and draws on the writings of Georges Bataille to illuminate a discussion of the erotic in performance.

Towards the development of a questionnaire of post transgression motives and behaviours /

The primary purpose of this study was to develop a questionnaire that assesses both forgiveness-seeking motives and behaviours. This questionnaire was based on the premise that, following the commitment of an offense in the context of a relationship, a perpetrator will be motivated to reduce the damage that has taken place. The . ' questionnaire examined several motives that a perpetrator might have for seeking forgiveness. These motives were divided into five proposed domains of posttransgression concerns: God, Self, Victim, Others/Society, and Relationship. Within these domains, the following more specific types of concern were explored: Avoidance of punishment, concern about public image, emotional well-being, self-image, sense of fairness/justice, loss of relationship, loss or gain of power, and loss of ability to trust. The questionnaire also assessed which behaviours (approach and avoidance) a perpetrator might use in order to address these concerns. In addition, this study explored whether or not the severity of the situation and the personality of the perpetrator influenced post transgression motives and behaviours. Participants were 221 individuals from the community and Brock University. They filled out a questionnaire package that assessed personality traits, social desirability, and forgiveness-seeking motives and behaviours. In order to answer items assessing motives and behaviours, participants were asked to imagine themselves as perpetrators in three hypothetical transgression scenarios. These scenarios ranged in severity fi^om low to high. Participants were asked to rate their motives and behaviours both in an immediate time frame (immediately following the transgression) and in the long-term (in order to move on from the situation). Results indicated that the motivation items could be classified into the following subscales:Concern about God, Damaged Self-worth Concerns, Justice Concerns, Impression Management Concerns, Victim and Others Concerns, and Relationship Concerns. The behaviour items formed the following subscales: Approach, Avoidance, Denial and Hiding, and Groveling. Results also indicated differences in motivations and behaviours based on the severity of the situation as well as the personality (assessed using the HEXACO inventory) of the perpetrator.

Bodies, Saracen giants, and the medieval romance : transgression, difference, and assimilation

Bodies, Saracen Giants, and the Medieval Romance: Transgression, Difference, and Assimilation explore le traitement des corps de trois géants Sarasins dans les romances de Roland and Vernagu (c. 1330), Sir Beues of Hamtoun (c. 1330), et The Taill of Rauf Coilyear (c. 1513-42).Grâce à une étude de la représentation de ces trois géants Sarasin, la signification du corps humain au Moyen Age, et des pratiques de la Chrétienté an accord avec les discours et idéologies envers le Proche-Orient qui existaient dans l’Occident médiéval, ce mémoire de maîtrise juxtapose le géant Sarasin et le héros de la romance pour indiquer une similarité apparente entre leur deux corps et leur religion respective. La romance démontre avec hésitation un désir d’assimiler le géants Sarasin dans le code héroïque ainsi que dans la religion chrétienne, mais souvent rejette avec suspicion le corps du géant par sa mort sur le champ de bataille. Malgré sa mort ou son assimilation dans le code héroïque et la Chrétienté, le corps du géant Sarasin demeure toujours important dans le contexte de la Romance, puisqu’il contribue à la construction de l’identité du héros, de sa foi, et de sa société.

La Transgression dans Dracula de Stoker et Frankenstein de Shelley : infection du corps et de l'esprit humains

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

De la transgression comme pratique esthétique dans les romans de Sami Tchak

Cette thèse a pour objectif d’examiner l’œuvre romanesque du Togolais Sami Tchak (de son vrai nom Sadamba Tcha Koura). Parmi les écrivains africains francophones dits de la nouvelle génération, il se distingue par une esthétique qui s’inscrit essentiellement dans une dynamique transgressive et transculturelle. À travers un recours systématique au matériau de la sexualité, Sami Tchak construit une poétique, qui, au-delà de son audace transgressive, de son aspect délibérément choquant et provocateur, s’attache à interroger l’existence humaine, à mettre en évidence les misères et les faiblesses de l’Homme. En outre, cette poétique de la sexualité est porteuse de sens du social : elle sert de prétexte à l’auteur pour dépeindre l’existence de ceux qu’il appelle des « vies sans horizon », des « vies sans relief », mais aussi pour déconstruire la doxa. Mû par le désir de s’imposer comme une voix individuelle, de s’éloigner du dogme enfermant de l’africanité, Sami Tchak choisit de marquer son propre territoire littéraire par le biais d’une démarche transculturelle, en ancrant son œuvre dans la mémoire de la littérature. Cet ancrage se double d’une construction polysémique de l’espace. La présente étude s’appuie sur une triple approche, intertextuelle, sociocritique et transculturelle. Par exemple, elle montrera que, contrairement à une certaine critique qui le soupçonne de tourner le dos à l’Afrique, le projet romanesque de Sami Tchak procède d’une conscience à la fois africaine et universelle : même dans les romans qui se déroulent dans l’espace latino-américain, on remarquera que l’auteur possède l’art d’évoquer l’Afrique, surtout à travers des discours allusifs, implicites.