Desarrollo de técnicas de fresado en cinco ejes de engranajes espiro cónicos y posterior metrología.

[ES]El presente Trabajo Fin de Grado tiene como objetivo contribuir al desarrollo de diferentes técnicas de fresado de engranajes espiro cónicos mediante fresadoras genéricas de cinco ejes. El proyecto estará dividido en varias partes que incluirán: el diseño de la geometría de las piezas a mecanizar, el propio proceso de manufactura y su posterior metrología. Durante el transcurso del curso 2014-2015 se documentará y participará activamente en el desarrollo de dichas técnicas de fresado. Proceso que será dirigido por Álvaro Álvarez, doctorando del departamento de Mecánica de la Escuela Superior de Ingeniería de Bilbao. El objetivo principal es llegar a ser capaz de obtener piezas de gran complejidad en su diseño y proceso de fabricación, dentro de los márgenes de calidad exigidos por las normas pertinentes y mediante un proceso novedoso y competitivo a nivel internacional.

Necesidades formativas de t??cnicos y titulados universitarios en Asturias

Identificar las necesidades en competencias empresariales, as?? como sus prioridades a trav??s de las autoevaluaciones de los titulados. Identificar las necesidades en competencias empresariales, as?? como sus prioridades, a trav??s de la evaluaci??n de los empleadores. Diagnosticar las necesidades formativas en competencias empresariales. Programar acciones formativas. 100 empresas distribuidas por zonas, especializaci??n, representatividad intrasectorial y representatividad o peso espec??fico, para que exista una participaci??n amplia y generalizada. Encuestas a titulados: 10 de la poblaci??n de titulados por la Universidad de Oviedo en los seis ??ltimos a??os, excluyendo a los profesores de EGB dado que su salida profesional tiene poco que ver con la empresa. El cuestionario ??tilizado en los dos estudios (empresa y titulados) es b??sicamente el mismo, aunque con distinto formato. El contenido parte de un esquema de competencias adquiribles mediante cursos que estaban agrupados en: 1) habilidades b??sicas como trabajo en grupo y gesti??n de equipos, habilidades de informaci??n y comunicaci??n, de negociaci??n, autoridad y liderazgo, habilidades de toma de decisiones y an??lisis de problemas; 2) ??reas funcionales que respond??an a los conocimientos de las funciones de planificaci??n y control, log??stica y aprovisionamientos, producci??n, comercial y ventas, inform??tica y ofim??tica, finanzas y econom??a, recursos humanos, control de calidad, I+D; 3) herramientas: estad??stica, paquetes inform??ticos, idiomas; 4) ??reas espec??ficas en las que se daban oportunidades para indicar las necesidades espec??ficas de cada ??rea sectorial. Dado el reducido n??mero de protocolos, el tratamiento de la informaci??n ha sido descriptivo, utilizando el paquete SPSS/PC+. Para la selecci??n de muestras se utiliz?? una tabla de n??meros aleatorios. Se exponen los resultados con la misma estructura del cuestionario. Para los titulados, las principales necesidades formativas se dan en los bloques de habilidades, para las empresas en el de conocimientos. A los titulados les interesa mejorar las competencias en investigaci??n y desarrollo, idiomas, inform??tica y ofim??tica y trabajo en grupo, a las empresas la gesti??n comercial y la planificaci??n y control. Cuanto m??s tiempo lleva una persona en una organizaci??n, mayor coincidencia existe entre ambos proyectos, bien porque ha participado en la definici??n del proyecto de empresa, bien porque ha asumido en la pr??ctica dicho proyecto. El diagn??stico de prioridades es el primer paso para la acci??n formativa, posteriormente se pueden organizar y financiar actividades de formaci??n que respondan a las necesidades diagnosticadas.

Educaci??n no formal en el ??mbito local : compartir, comprometerse, disfrutar : comunicaciones de las Jornadas sobre Educaci??n No Formal en el ??mbito Local, XI Encuentro T??cnicos de Juventud, alcobendas, 25 y 26 de noviembre de 2004

Se recogen las comunicaciones de las Jornadas sobre Educaci??n No Formal en el ??mbito Local, en el XI Encuentro de T??cnicos de Juventud Alcobendas, 25 y 26 de Noviembre de 2004. Se recogen las ponencias en las que se trata el tema de la formaci??n de animaci??n sociocultural y de tiempo libre. Con la colaboraci??n de t??cnicos de educaci??n no-formal, se exponen las experiencias sobre la pr??ctica de la formaci??n, sobre las fortalezas y debilidades de la educaci??n no formal en el ??mbito local y la que se realiza desde el ??mbito juvenil.

Materiales: la traducci??n de textos t??cnicos y cient??ficos en ELE : portugu??s- espa??ol, espa??ol-portugu??s

Resumen basado en el de la publicaci??n

Tres problemas b??sicos para el profesor en la expresi??n oral en ELE : fundamentos t??cnicos para su soluci??n

Resumen basado en el de la publicaci??n

Directivos y docentes de educaci??n b??sica : las implicaciones de su funci??n con la eficacia de los consejos t??cnicos escolares

Resumen tomado de la publicaci??n

Racionalidad instrumental y pr??cticas de gesti??n en jefes t??cnicos de liceos de la Araucan??a

Resumen basado en el de la publicaci??n

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Avaliação por meio da tomografia computadorizada de feixes cônicos e radiografia cefalométrica lateral do espaço aéreo faríngeo em indivíduos submetidos à cirurgia ortognática

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Estudos cênicos híbrídos e o corpo em [des]territorialização no processo de urbanização

Pós-graduação em Artes - IA

Cenografia teatral: uma análise dos aspectos cênicos da peça Bê-a-Bá Brasil - memória, sonho e fantasia

The main objective of this project step is the evolution of scenery matter on the occidental theater media, related to space and technical possibilities of the theatrical building and space on history of contemporary arts. The main point is that scenery must communicate with a specific matter. Something in touch with the plot speeches. Something that makes all the plot elements to communicate. Acting has an specific message to deliver, and that message is what really matter to the viewer of the show. “It’s never late to state that scenery is not a decoration, or just an interior composition. Scenery is not a painting or a sculpture: it’s an integrated art form. It’s never too repetitive to say that scenery is a result from the composition with lights, shadows, shapes, lines and volumes, in balance and on harmony as a whole, that create movement and contrast” (Dias, 2001) On the second step of the project, the objective is to analyze the building process and the scenery aspects of the “Be-a-bá Brasil” show, using illustrations, pictures and analysis data of the context the show was inserted on

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Panhelenismo y cosmopolitismo en el pensamiento griego antiguo

La idea de globalización, asumida hoy en día desde numerosos ámbitos de la sociedad moderna, tiene sus propios referentes teóricos en la Grecia Antigua. A lo largo de la historia de la literatura y pensamiento griegos puede apreciarse un progresivo desplazamiento desde la idea de comunidad cerrada, dominante en la época arcaica, a la doctrina panhelenista de la época clásica y la doctrina de la polis universal, desarrollada en la época helenística e imperial.

Bloke eskala modalitateak (Boulder) dituen eskakizunen azterketa eta bere entrenamenduan kontuan hartu behar ditugun aspektuak

Bloke eskalada modalitatea bere osotasunean aztertzea oso erabilgarria izango da entrenamenduaren planifikazioa modu egokian egiteko. Badaude gai honi buruzko zenbait liburu eta artikulu, baina modalitateko eskakizun guztiak batzen dituen eta zientzian oinarritzen den bat faltan botatzen da. Lanean, eskakizun fisiko, tekniko eta psikologikoak aztertzen dira. Bloke eskaladan gaitasun fisikoak dira gehien aztertutako faktoreak, elementu ezberdinen inguruan datuak eskainiko ditut ondorioz. Arlo tekniko eta batez ere psikologikoan datu gutxiago daude, baina ondorio baliagarriak ateratzeko balio izan dit. Ondorio aipagarrienak atera ditut hurrengo atalean, aipatutako informazioak erlazionatuta bait daude. Bukatzeko, bloke eskaladaren entrenamendurako aspektu garrantzitsuenak identifikatzen dira, modalitate honetako entrenatzaileei literatura zientifikoan oinarritutako zenbait entrenamendu helburu eskaintzeko asmoz.