Presidentes da Câmara dos Deputados : 20º - Carlos Luz

Resumo da vida pública de de Carlos Coimbra da Luz.

Riesgo cardiovascular de trabajadores de una empresa de hidrocarburos. 2014

Objetivo: Determinar el riesgo cardiovascular de los trabajadores de una empresa de hidrocarburos (E.H) mediante la aplicación de la escala Framingham REGICOR durante el año 2014. Métodos: Se realizó un estudio descriptivo tipo corte transversal a partir de los registros de 700 trabajadores de una empresa de hidrocarburos que tenían una historia clínica laboral con información completa. Resultados: La edad promedio fue de 33,6 años (σ 9,1). Se encontró una prevalencia de HTA (1,4%), tabaquismo (5,7%), hábito de tomar licor (66,4%) y exceso de peso (61,6%). La prevalencia de hipertensión arterial y tabaquismo fue de 1.71% y 5.7% respectivamente, de hipercolesterolemia el 39,00%, de hipertrigliceridemia del 30,14% y el 20,00% de los trabajadores son obesos. El 3,00% (21) de los trabajadores fueron clasificados como de riesgo moderado de sufrir un evento isquémico o hemorrágico en un periodo de 10 años. A pesar que ningún trabajador fue clasificado como riesgo alto, se recomienda se realicen actividades tendientes a que a los trabajadores generen conciencia sobre los riesgos de desarrollar un evento cardiovascular si no se modifican los estilos de vida.

Aportes literarios de Louis Ferdinand Céline y Albert Camus a la construcción de posiciones políticas en Francia

Explora la relación entre política y literatura. Se hace énfasis en la construcción de posiciones políticas en Francia por medio de los escritos de Albert Camus y Louis Ferdinand Céline, durante la Segunda Guerra Mundial y la IV República.

Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the “pulps,” that gave birth to the realism of the Hardboiled School. Taking seriously Chandler’s obsession with the art of murder, I engage with how authors pre-empt their readers’ knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.

The oat plant : its histology and development /

Bibliography: p. 111-112.

Piano atlas; contains names of piano, dates of manufacture, and serial numbers.

"This atlas lists 6580 names of pianos."

Gypsy down the lane,/

Maps on lining-papers.

Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the “pulps,” that gave birth to the realism of the Hardboiled School. Taking seriously Chandler’s obsession with the art of murder, I engage with how authors pre-empt their readers’ knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.

Pliegues de luz. Sobre la arquitectura de Juan Carlos Sancho y Sol Madridejos. Sancho-Madridejos architecture office. Madrid

Juan Carlos Sancho and Sol Madridejos are at the forefront of Madrid's contemporary architectural scene.