Dissertations / Theses on the topic 'Ennis'

Genom att undersöka Djävulens utseende och roll, har jag försökt beskriva hur Djävulen porträtteras i de serietidningar jag valt ut. Djävulen avbildas på en rad olika sätt i serietidningsform i vårt till stor del sekulariserade samhälle. Vissa av dessa avbildningar har religiösa föregångare, vissa har föregångare i annan litteratur och vissa är helt nya. De tyder på att man inte använder Djävulen alltför lättvindigt i serietidningar och att man ofta är medveten om de kulturella konnotationer han för med sig. Han är en karaktär som ofta framställs som en negativ karaktär, vilket inte är lustigt med tanke på hans roll inom religion och litteratur. Tack vare de förutfattade tankar som finns om honom är han lätt att använda för att skapa effekter inom serierna, antingen genom att spela på den negativa inställningen eller genom att ställa läsarens förväntningar på ända. Han framställs främst i tre större roller: som tragisk, skrämmande eller komisk. Det är inte ovanligt att flera av dessa roller används till samma karaktär. I de serier jag analyserat har han alltid ställts som en kontrast till seriens protagonist, även om han inte alltid är serietidningens antagonist. Djävulens utseende speglar hans roll i serierna på så sätt att han, när han ska vara skrämmande eller antagonist, har ett mer monstruöst utseende än vad han har när han har en tragisk roll. När han ska vara komisk har han ett utseende som kan ses som löjeväckande, men är inte mänsklig för den saken skull. En gemensam faktor är att samtliga djävlar hade någon form av skräckskapande element till sin karaktär. Sammanfattningsvis kan man säga att Djävulen framställs på minst sagt olika sätt i de olika serierna, vilket tyder på att det kan vara svårt att säga något klart generellt om hur denna karaktär porträtteras i serietidningsmediet.

At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture

The Annales of the Roman poet, Quintus Ennius, was not an isolated example of an historical epic. Other poets before Ennius' time had written epics of various types, and different sorts of poems that dealt with historical or national material, and some of these influenced Ennius. This study will consider Ennius' relationship to the Homeric epics, and show how he imitated them in form and style. The writings of other Greek poets who preceded Ennius will be examined to determine whether they might also have influenced the Roman poet. The works of the two Roman poets who wrote before Ennius will be looked at, and some observations made about other historical materials that may have been available for the poet to use in his work. Finally, the place of Quintus Ennius and his Annales in the historiography of Rome will be discussed. The Annales seems to have been unique in that it was an epic poem which encompassed the whole history of the Roman people from the earliest times right down to the period in which the poet lived. Other poets before Ennius had dealt with some aspects of their cities' backgrounds, including mythological and legendary material. Ennius was the first to combine ancient legends and more recent history into one coherent epic poem, his Annales.
Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate

Pour appréhender le contenu intelligible de l'être (ratio entis), on propose une approche tripartite inspirée de Thomas d'Aquin et d'un scientifique et théologien, Guérard des Lauriers. La découverte en science et en art met à jour un aspect particulier de la connaissance. Le pneumatisme (sens de la question, génie) fonde l'aspect rationnel (discours) et l'aspect intellectif (intuition), et s'explique par la nature de l'esprit utilisant, pour comprendre le monde, l'harmonie de sa propre vie. Ce tact de l'esthétique intelligible anticipe le résultat que la raison confirmera. La phase rationnelle, ouverte par le choc de l'existant, montre que l'analogie est fondée. Les étants sont divers essentiellement, mais se ressemblent proportionnellement et leur structure interne se hiérarchise autour de la substance. La phase intellective met en jeu l'abstraction (saisie du contenu intelligible) et le jugement (affirmation de l'existence). Grâce au pneumatisme, l'être est saisi comme contenu intelligible immanent au jugement par lequel l'esprit affirme que l'être n'est aucune des natures : il est séparable de l'étant en vertu du mode selon lequel il lui est immanent. La phase sapientielle part du fait que la ratio entis, tirée de l'observation, fait question. Multiplicité et changement étonnent car l'esprit saisit, avec la nature de l'être, l'exigence d'identité. La causalité renvoie des étants à un Etant qui est son être : l'étant, par l'être, montre Dieu. Tout étant participe selon l'être à l'Etant par soi : Dieu montre l'être dans l'étant (essence, acte d'être, suppôt)
In order to comprehend the intelligible content of being (ratio entis), we suggest a threefold approach, inspired by Thomas Aquinas and a scientist and theologian, Guérard des Lauriers. Discovery, in science and art as well, reveals a peculiar aspect of knowledge. Pneumatism (sense of question, genius) founds both the rational aspect (discursive thinking) and the intellective aspect (intuition), and can be explained by the nature of the mind which uses, in order to understand the world, the harmony of its own life. This tact of intelligible aesthetics anticipates the result that reason will confirm. The rational phase, opened by the shock of a thing's existence, shows that the analogy is well-founded. Beings are essentially varied, but proportionally alike, and their internal structure is arranged in order around substance. The intellective phase involves abstraction (comprehension of the intelligible content) and judgement (assertion of existence). Thanks to pneumatism, esse is comprehended as an intelligible content, immanent in the judgement by which the mind asserts that esse is none of the natures : it is separable from being, according to the mode by which it is immanent in it. The sapiential phase starts with the fact that the ratio entis, drawn from observation, poses problems. Multiplicity and change are surprising because mind comprehends, together with the nature of being, the necessity for identity. Causality leads from beings to one Being that is its own esse : being, by esse, shows God. According to esse, every being shares in the Being per se : God shows esse in being (essence, existence, subject)

Orientador: Claudiney Rodrigues de Carrasco
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O pensamento musical no cinema exemplificado pela "música aplicada" de Ennio Morricone originou-se em julho de 1992, na ACCADEMIA MUSICALE CHIGIANA, Siena - Itália, onde Ennio Morricone e Sergio Miceli ministraram conjuntamente o Corso de Perfezionamento in Musica per Film. Sucintamente, o curso propôs a possibilidade de uma confluência entre dois pensamentos relacionados à música de cinema, duas abordagens: uma musicológica, histórica e teórica, voltada a apresentar instrumentos idôneos na análise das relações intercorrentes entre música e imagem (a parte de Sergio Miceli); a outra, profissional, artesanal, estritamente relativa a um pensamento e uma praxe compositiva desenvolvida dentro dos vínculos impostos pela própria produção e linguagem cinematográfica (a parte de Ennio Morricone). Mesmo que primariamente distintas, de modo geral, as abordagens percorreram assuntos que, insistentemente, orbitaram em torno de um mesmo problema: qual o contexto da música e do compositor de cinema na história contemporânea? Utilizando inserções musicais das trilhas sonoras das duas trilogias do diretor Sergio Leone e de alguns filmes representativos situados em momentos importantes da trajetória de Ennio Morricone como referência, este trabalho busca apresentar, situar, estender e aprofundar a proposta de confluência estabelecida na Chigiana, acrescida por tópicos importantes e significativos do instrumental teórico da área de música de cinema, principalmente o referenciado no campo acadêmico. O estudo alterna entre uma vertente mais geral, percorrendo panoramicamente momentos decisivos da vida e da obra de Ennio Morricone, com outra mais particularizada, aprofundando-se em momentos significativos, onde são estabelecidas instâncias reveladoras de seu pensamento musical aplicado no objeto audiovisual
Abstract: Musical Thought in Cinema exemplified by Ennio Morricone's "Applied Music" originated in July 1992 at Accademia Musicale Chigiana, in Siena - Italy, where Ennio Morricone and Sergio Miceli ministered, together, the Corso di Perfezionamento in Musica per Film. Succinctly, the course raised the possibility of a confluence between two approaches related to film music: a musicological, historical and theoretical view aimed to present suitable instruments for the analysis of the reciprocal relations between music and image (Sergio Miceli's focus), and a professional, compositional perspective developed within the constraints imposed by its creation and cinematic language (advocated by Ennio Morricone). Even though primarily distinct, in general, both approaches seem to converge to the same problem: what is the context of film music and composer in history? Using fragments of Sergio Leone's two trilogies and other representative film scores in the career of Ennio Morricone as reference, this study aims to present, situate, expand and deepen the proposed confluence, established originally at Chigiana, by considering various well-known theoretical lenses. This work will alternate between a panoramic overview of decisive moments in Ennio Morricone's life and work and an in depth analysis of key extracts which reveal his applied musical thought in the relationship between the audiovisual object and the soundtrack
Doutorado
Doutor em Música

No author from antiquity has had more influence on modern perceptions of the ancient poet, Ennius, than the late-Republican orator, Cicero. Indeed, Cicero helped transform the image of Ennius from that of a poet to an auctor, an authoritative source. Likewise, at the hands of Cicero, Ennius’ Annales was portrayed in a variety of ways, ranging from a work with scientific credibility, to a text actively involved in the transmission of Roman culture. This thesis aims to explore the ways in which Cicero constructed the authority of Ennius and his Annales through a close analysis of the citations in his philosophical works. As a result of this examination I hope to shed light on the different authority-building techniques with which Cicero crafted Ennius into a formidable source of auctoritas, while also considering his motives and the consequent image of Ennius that arises.

Texte remanié de: Diss.--Kulturwissenschaften--Tübingen--Eberhard-Karls-Universität, 1990.
Contient les textes grecs des fragments de l'Andromède de Sophocle et d'Euripide, les textes latins des fragments de l'Andromède de Livius Andronicus, d'Ennius et d'Accius, les témoignages grecs et latins correspondants et un commentaire en allemand. Bibliogr. p. 377-404. Index.

Esta tesis doctoral se ha centrado en el estudio experimental de la ciclación catalizada por oro de 1,5-eninos con un grupo electroatractor en la posición alílica que permite obtener selectivamente 1,4-dienos o biciclo[3.1.0]hexenes modulando la electrofilia del catalizador. Mecanísticamente es una ciclación 5-endo-dig en la que se forma un ciclopropil carbeno de Au como intermedio, que a su vez puede reaccionar in situ con nucleófilos como H2O, ROH, aldehídos ó nucleófilos carbonados. También se estudió la adición de nucleófilos carbonados a los intermedios en la migración 1,2 y 1,3 de carboxilatos propargílicos catalizada por Au(I). Por otro se ha demostrado que la reacción intermolecular entre alquenos y alquinos catalizada por Au(I) es factible si se utilizan ligandos voluminosos de modo que el oro se coordine selectivamente al alquino. Es una reacción muy general y limpia que abre camino al desarrollo de nuevos procesos intermoleculares catalizados por oro.

In this work, we have studied the gold(I)-catalyzed cyclization of 1,5-enynes bearing an electron-withdrawing group at the allylic position that allows to control its reactivity: 1,4-dienes or bicycle[3.1.0]hexenes can be obtained by tuning the electrophilicity of the gold catalyst. The proposed mechanism begins by 5-endo-dig cyclization to form gold(I) cyclopropyl intermediates that can be trapped in situ with nucleophiles like H2O, ROH, aldehydes or carbon nucleophiles (electron rich arenes and 1,3-dicarbonyl compounds). The addition of carbon nucleophiles to the intermediates of 1,2- and 1,3-rearrangement of propargyl carboxilates catalyzed by gold(I) has been also studied in this work. We also have shown that the intermolecular reaction between allenes and alkynes is feasible using gold(I) complexes with bulky ligands that selectively activate alkynes in the presence of alkenes, which opens opportunities for the development of new gold-catalyzed intermolecular processes.

Le thème choisi - la métaphysique de F. Suarez - me permet, je pense, une grande ouverture, tant vers la scolastique, que vers la modernité. Dans cette perspective, F. Suarez peut être considéré comme un lanus Bifrons. Mon projet viserait la réalisation d'une thèse bâtie en trois parties. Ces trois parties sont délimitées par l'angle sous lequel j'aborde l’œuvre de F. Suarez. Il s'agit d'une perspective i)historique, ii) critique et iii) réflexive. La perspective historique consisterait dans une analyse diachronique, afin de surprendre la nouveauté du moment suarézien dans la métaphysique scolastique. La perspective critique me permettra d'entamer l'analyse proprement dite le système suarézien de la métaphysique. La perspective réflexive résidera dans un questionnement du projet suarézien à la lumière de la théologie byzantine. Le biais serait le problème de l'analogie.Dans cette thèse je voudrais montrer ce qu'on gagne et ce qu'on perd à partir du "moment F. Suarez"
I chose to approach this theme - F. Suarez's metaphysics - because it gives me the opportunity of a great opening, both to scholasticism and to modernity. From this point of view,Suarez may be considered a lanus Bifrons. My project aims at achieving a triadic structured thesis. It is about a: 1) historical ; 2)critical and 3) reflexive perspective. The historical perspective consists in a diachronic analysis,in trying to grasp the novelty of the Suarezian moment in scholastic metaphysics. The critical perspective allows me to analyze properly the metaphysical system elaborated by Suarez, at the same time trying to interpret the unpublished elements proposed by the Jesuit in Disputationes Metaphysicae. The reflexive perspective consists in problematizing the Suarezian project in the light ofthe Byzantine theology. The leading wire is represented by the analogy.Through this thesis, I wanted to have the opportunity to say what is won and what is lostonce with "the F. Suarez moment"

Els compostos orgànics heterocíclics tenen una gran importància dins de la química gràcies a les seves propietats ja que molts d'ells presenten activitat biológica. En aquesta tesi doctoral s'ha investigat mètodes de síntesi de compostos heterocíclics usant diverses aproximacions sintètiques.
Un dels mètodes de síntesi consisteix en la formació de benzo[b]furans mitjançant una reacció de substitució nucleòfila aromàtica d'un àtom de fluor per un anió alcòxid generat a partir de l'obertura d'un epòxid amb una base forta no nucleòfila com el tert-butòxid sòdic.
Els oxirans de partida s'han preparat a partir de acetofenones comercials o fàcilment assequibles, per bromació del carboni a-carbonílic seguit de substitució nucleòfila del brom amb un anell azòlic i posterior metilenació del carboni carbonílic.
S'ha estudiat la reacció d'obertura i posterior ciclació intramolecular de 2-(2'-fluoroaril)-2-(azolilmetil)oxirans. S'ha comprovat que el grup fluoro és millor grup sortint que el grup cloro, quan s'ha assajat la reacció amb cloro com a grup sortint a part d'aïllar-se el producte d'estructura de benzo[b]furan també s'ha obtingut l'alcohol al·lílic intermedi a través del qual transcorre la reacció. S'ha comprovat que la presència de grups azole (imidazole i triazole) afavoreix la reacció d'obertura de l'anell oxirànic, ja que quan s'ha assajat la reacció d'una base forta amb 2-(2'-fluoroaril)-2-metiloxirans no ha estat possible aïllar el producte de ciclació.
A la segona part de la tesi s'utilitza la cada cop més usada reacció de ring-closing metathesis de diens, com un mètode per crear compostos cíclics. Des de l'aparició el 1992 dels catalitzadors desesenvolupats per Grubbs i Schrock, les reaccions de metàtesi de diens s'han convertit en una important eina en la síntesi d'una àmplia varietat de productes.
S'ha investigat la preparació de sals d'indolizini mitjançant reaccions de metàtesi de sals d'N-al·lil-2-vinilpiridini i N-al·lil-2-cinamilpiridini. En cap cas s'ha aconseguit observar la formació del producte de metàtesi. S'ha assajat també la preparació de sals de 3,4-dihidroquinolizini per metàtesi de sals d'N-(3-butenil)-2-cinamilpiridini però tampoc ha estat possible obtenir-les.
S'ha assajat la preparació de sals de piridini amb la presència d'un segon heteroàtom en posició 2 de l'anell piridínic. Quan es va intentar l'al·lilació de la 2-piridona no va ser possible l'obtenció del bromur d'1-al·lil-2-al·liloxipiridini.
El bromur d'N-al·lil-2-al·liltiopiridini i N-(3-butenil)-2-al·liltiopiridini no reaccionen sota condicions de metàtesi probablement per coordinació de l'àtom de sofre al catalitzador de ruteni. S'ha assajat la preparació del bromur d'N-al·lil-2-al·lilsulfonilpiridini, per al·lilació de la 2-al·lilsulfonilpiridina i per oxidació del bromur d'N-al·lil-2-al·liltiopiridini, però no ha estat possible obtenir aquest producte.
Ens vàrem plantejar l'obtenció de 5,8,9,10-tetrahidro-9-aza-4a-azonia-benzociclooctè mitjançant la metàtesi del bromur d'1-al·lil-2-[(al·lil-tert-butoxicarbonilamino)metil]piridini. Quan es va sotmetre aquesta sal diènica a les condicions de metàtesi es va obtenir el producte de desal·lilació en el nitrogen piridínic. La sal de partida es va preparar mitjançant una aminació reductiva del 2-piridincarboxaldehid seguida de protecció del grup amino i al·lilació del nitrogen piridínic.
Mitjançant reaccions de ring-closing metathesis de diens hem aconseguit la preparació de bis(2,5-dihidropirrolil)sulfona i metanona. Aquests composots s'han preparat per metàtesi de la tetraal·lilsulfamida i de la tetraal·lilurea respectivament usant el catalitzador de Grubbs. S'ha estudiat també la reacció d'al·lilació de la sulfamida i de la urea en diverses condicions de reacció usant condicions bàsiques com sota catàlisi per espècies de pal·ladi(0).
S'ha aconseguit l'oxidació de la bis(2,5-dihidropirrolil)sulfona fins a bis(pirrol-1-il)sulfona utilitzant 2,3-dicloro-5,6-dicianoquinona com a agent oxidant. Sorprenentment s'ha aïllat el producte d'oxidació d'un dels dos anells de dihidropirrol i ha estat necessari augmentar la temperatura i el temps de reacció per poder aconseguir l'oxidació del segon anell heterocíclic.
S'ha desenvolupat una nova via de preparació de tetrahidro[1H]azepines, per metàtesi de dial·lilamines usant el catalitzador de Grubbs. Amb aquest objectiu es buscava la preparació de tetrahidro[1H]azepines substituïdes amb l'estereoquímica dels centres quirals controlada.
Abans d'assajar la reacció de metàtesi amb amines quirals, s'ha assajat la reacció a partir de la 5-hexen-2-ona comercial. Aquest compost es va sotmetre a condicions d'aminació reductiva en presència d'al·lilamina, cianoborhidrur sòdic i àcid acètic. L'amina obtinguda no reacciona sota condicions de metàtesi en presència del catalitzador de Grubbs pel que va ser necessari protegir el grup amino en forma de carbamat. Amb l'amina protegida la reacció de metàtesi va tenir lloc amb bon rendiment.
S'ha investigat la preparació de 5-hexen-2-ones substituïdes per al·lilació de acetoacetat d'etil i mitjançant una transposició de Claisen-Ireland d'ester crotílics d'acetoacetats.
A la part final de la tesi s'ha estudiat l'aplicació de les reaccións de metàtesis a enins, que sota catàlisi per complexes de ruteni formen un compost heterocíclic amb un sistema diènic exocíclic.
S'ha assajat la reacció de metàtesi, utilitzant complexos de ruteni com a catalitzador, de 2-vinil-1-propargiloxibenzè i 2-etinil-1-al·liloxibenzè que han estat preparats segons mètodes descrits a la literatura a partir del salicilaldehid. En cap dels dos casos s'ha observat la formació del producte de metàtesi. L'addició d'un dienòfil per tal d'atrapar in situ el diè format tampoc ha permès aïllar el producte de metàtesi.
Els intents de metàtesi de la 2-(2-feniletinil)-N-trifluoroacetil-N-al·lilanilina han portat a la recuperació del producte de partida, mentre que s'ha observat la formació del producte de metàtesi quan aquesta reacció s'ha assajat amb la 2-etinil-N-trifluoroacetil-N-al·lilanilina. En els dos casos els enins s'han prepartat a partir de la o-iodoanilina mitjançant una reacció de Sonogashira amb fenilacetilè i trimetilsililacetilè, respectivament, seguida de protecció del grup amino i de reacció amb bromur d'al·lil.
S'ha desenvolupat un métode de preparació de derivats tri i tetracíclics de benzoxepines mitjançant una seqüència "one-pot" de metàtesi d'enins seguida d'una reacció de Diels-Alder.
Els enins de partida s'han preparat per reacció de bromur de propargil amb o-al·lilfenols comercials o que s'han preparat mitjançant una transposició [3,3]-sigmatròpica d'éters al·lil arílics obtinguts per al·lilació de fenols.
Els enins han estat sotmesos a condicions de metàtesi amb el catalitzador de Grubbs en diclorometà a temperatura ambient. Després de 5 hores de reacció s'observa que ja no queda producte de partida, s'afegeix un dienòfil i s'augmenta la temperatura a reflux per tal d'atrapar la 3-vinil-2,5-dihidrobenzo[b]oxepina formant el producte de cicloaddició. S'han usat com a dienòfils la maleimida, l'anhídrid maleic, la 1,4-quinona, l'azadicarboxilat de dietil i l'acetilendicarboxilat de dimetil. S'ha aconseguit la preparació dels cicloadductes amb rendiments que oscil·len entre el 8 i el 60%.
En el cas que els dienòfils siguin cíclics es poden donar dues possibles orientacions en la reacció de cicloaddició de Diels-Alder, l'orientació endo i l'orientació exo. Mitjançant experiments mono i bidimensionals de ressonància magnètica nuclear de protó i carboni s'han assignat els desplaçaments químics de tots els protons i carbonis de la molècula. La utilització d'experiments nOe ha permès confirmar que s'obtenen els productes de l'aproximació endo en que els protons dels 3 centres quirals estan en disposició relativa cis.
Aquests treballs han estat publicats recentment a Synlett 2001, 1784.
The organic heterocyclic compunds have a great importance in chemistry due to their properties and most of them present biological activity. In this thesis we have studied new approaches to heterocyclic compounds.
The first method consists in the formation of benzo[b]furans by an intramolecular nucleophilic aromatic substitution of a fluorine atom by an alcoxide generated by the opening of an epoxide using a non-nucleophilic strong base such as sodium tert-butoxide.
The starting oxiranes have been prepared from readily available acetophenones. The first step is a bromination of the a-carbonylic position followed by an nucleophilic substitution of the bromine by an azolic ring and a methylenation of the carbonylic bond.
We have studied the secuence of the opening and intramolecular cyclisation of 2-(2'-fluoroaryl)-2-(azolylmethyl)oxiranes. Fluorine is a better leaving group than chlorine, when we have used the chlorine as a leaving group we have obtained the benzo[b]furan and the allylic alcohol. The presence of an azolic ring (imidazole or triazole) improves the reaction of the opening of the oxirane. It is not possible to isolate the desired product when the reaction is carried out with 2-(2'-fluoroaryl)-2-methyloxiranes and a strong base.
In the second part of this Thesis we have studied the ring-closing metathesis of the dienes as a method for the preparation of cyclic compounds. Since the apparition in 1992 of the catalysts developed by Grubbs and Schrock, the metathesis reactions are an important tool in the preparation of a wide range of products.
We have investigated the preparation of indolizinium salts using metathesis reactions of N-allyl-2-vinylpyridinium and N-allyl-2-cinnamylpyridinium. It has not been possible to obtain the metathesis products. We have also investigated the preparation of 3,4-dihydroquinolizinium salts by metathesis of N-(3-butenyl)-2-cinnamylpyridinium salts but it has not been possible to obtain them.
We have attempted the preparation of pyridium salts containing a second heteroatom in the 2-position of the aromatic ring. It has not been possible to achieve the preparation of the 1-allyl-2-allyloxypyridinium bromide by the sequential diallylation of 2-piridone.
N-allyl-2-allyltiopyridinium and N-(3-butenyl)-2-allyltiopyridinium bromide do not react under metathesis conditions, probably due to the coordination of the sulphur atom to the ruthenium catalysts. We have attempted the preparation of the N-allyl-2-allylsulfonylpyridinium bromide by the allylation of the 2-allylsulfonylpyridine and by the oxidation of the N-allyl-2-allyltiopyridinium bromide, but in any case it has not been possible to prepare this compound.
One of the objectives was the preparation of the 5,8,9,10-tetrahydro-9-aza-4a-azonia-benzocyclooctane by the metathesis of the 1-allyl-2-[(allyl-tert-butoxycarbonylamino)methyl]pyridinium bromide. When this salt was reacted under metathesis conditions, the deallylated product was obtained. The starting salt was preparared from 2-pyridinecarboxaldehyde by a reductive amination followed by protection of the amino group and allylation of the pyridine.
Using reactions of ring-closing metathesis of dinenes we have achieved the preparation of bis(2,5-dihydropyrrolyl)sulfone and methanone. These compounds have been prepared by metathesis of the tetraallylsulfamide and tetraallylurea using the Grubbs' catalyst. The allylation of sulfamide and urea under basic conditions and by catalysis of Pd(0) species have been studied.
The oxidation of the bis(2,5-dihydropyrrolyl)sulfone to bis(pyrrol-1-yl)sulfone has been achieved using 2,3-dichloro-5,6-dicyanoquinone as oxidating agent. Surpisingly it is possible to isolate the product of the oxidation of one of the dihydropyrrole rings, and it is necessary to increase the temperature and the reaction time to oxidate the second ring.
We have developed a new synthesis of tetrahydro[1H]azepines by metathesis of diallylamines using Grubbs' catalysts. in this objective we pursued the preparaction of substituted tetrahydro[1H]azepines with controled stereochemistry.
Before using chiral amines, we tried the reaction using the comercially available 5-hexen-2-one. This compound was treated under reductive amination conditions in the presence of allylamine, sodium cyanoborohydride acetic acid. The obtained amine did not react under metathesis conditions, and it was necessary to protect the amino group as a carbamate. With this compound the metathesis reaction took place with good yield.
We have also investigated the preparation of substituted 5-hexen-2-ones by allylation of ethyl acetoacetate followed by the Claisen-Ireland rearrangement of crotyl esters of acetoacetates.
In the last part, we have studied the extension of the metathesis reaction to enynes. The product of the metathesis of an enyne in the presenece of ruthenium catalyst is a cyclic compound with an exocyclic diene.
We have attempted the metathesis reaction, using ruthenium complexes as catalysts, of the 2-vinyl-1-propargyloxybenzene and 2-ethynyl-1-allyloxybenzene. These compounds were prepared from salicylaldehyde using methods described in the bibliography. In any case we have observed the formation of the metathesis product. Then we attempted the addition of a dienofile in order to form a cycloadduct in situ with the diene, but we did not observe the formation of this compound.
The attempts of the metathesis of the 2-(2-phenylethynyl)-N-trifluoroacetyl-N-allylaniline lead to the recovery of the starting material, however we have observed the formation of the metathesis product when we have tried the reaction of the 2-ethynyl-N-trifluoroacetyl-N-allylaniline. In both cases the enynes have been prepared from o-iodoaniline by a Sonogashira coupling with phenylacetilene and trimethylsilylacetilene, respectively, followed by protection of amino group and reaction with allyl bromide.
A new preparation of tri and tetracyclic benzoxepines derivatives by a one-pot sequence consisting in a enyne metathesis followed by a Diels-Alder cycloaddition has been developed.
The starting enynes have been prepared by the reaction of propargyl bromide with o-allylphenols. The allylphenols were comercially available or were prepared by a [3,3]-sigmatropic rearrangement of allyl aryl ethers obtained by allylation of phenols.
The enynes were treated under metathesis conditions with Grubbs's catalysts at room temperature in dichloromethane. After 5 hours the starting enyne have disappered and a dienofile is added and the temperature is raised to reflux. we have used as dienofiles the maleimide, maleic anhydride, 1,4-quinone, ethyl azadicarboxylate and dimethyl acetilendicarboxylate. The preparation of cycloadducts have been achieved with 8-60% yield.
Cyclic dienophiles can approach to diene in two ways (endo and exo) in the cycloaddition reaction. Using mono and bidimensional NMR experiments it has been possible to assign all the chemical displacements of the protons and carbons of the molecule. nOe experiments allow to confirm that the products come from the endo approach, and the protons of the 3 chiral centers are in cis position.
This results have recently been published in Synlett 2001, 1784.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2018.
Esta pesquisa pretende compreender o pensamento de Ennio Morricone sobre a música no cinema e verificar se há correspondência prática entre suas teorias e a composição da trilha musical do filme Os Oito Odiados (The Hateful Eight, 2015), de Quentin Tarantino. Para tanto, foi utilizado, como ponto de partida, o livro Composing for the Cinema: The Theory and Praxis of Music in Film (2013), escrito pelo próprio Morricone em parceria com Sergio Miceli, musicólogo e biógrafo do compositor. Nesse livro, Morricone expõe os seus procedimentos de produção da trilha musical, tais como seu pensamento sobre a linha de produção no cinema, suas considerações sobre mixagem e edição musical, o uso de tema, uso da dissonância, uso da voz, uso de músicas pré-existentes e canções. No mesmo livro, Miceli descreve seu método de análise audiovisual, o Método dos Níveis (ou pontos de vista). Tal método será aplicado na análise do filme Os Oito Odiados para melhor compreensão das funções da música no filme e para avaliar a eficácia do método. O pensamento de Morricone foi confirmado no que se refere à mixagem e edição musical no filme, às técnicas de composição e uso de temas ou leitmotivs, o momento ao qual o compositor utiliza a dissonância no cinema e à forma como utiliza a voz. Porém, foram encontradas algumas contradições entre as teorias de Morricone sobre os procedimentos de produção musical para cinema, tais como suas sugestões sobre análise audiovisual, suas considerações sobre o uso de músicas pré-existentes e canções, e sua real aplicação na construção da trilha musical de Os Oito Odiados. E, quanto ao Método dos Níveis, embora de fácil aplicação, seus termos não são exatos, sendo um método de caráter interpretativo, portanto, subjetivo.
This research intends to understand Ennio Morricone's thinking about music in the cinema and to verify if there is practical correspondence between its theories and the composition of the musical track of the film The Hateful Eight (2015), by Quentin Tarantino. For that, the book Composing for the Cinema: The Theory and Praxis of Music in Film (2013), written by Morricone himself in partnership with Sergio Miceli, musicologist and composer biographer, was used as a starting point. In this book, Morricone exposes his musical track production procedures, such as his thinking about the production line in the cinema, his considerations on mixing and musical editing, the use of theme, use of dissonance, use of voice, use of pre-existing music and songs. In the same book, Miceli describes his method of audiovisual analysis, the Method of Levels (or points of view). Such a method will be applied in the analysis of the movie The Hateful Eight to better understand the functions of music in the film and to evaluate the effectiveness of the method. Morricone's thinking was confirmed with regard to mixing and editing music in the film, to the techniques of composition and use of themes, the moment at which the composer uses the dissonance in the cinema and the way he uses the voice. However, some contradictions were found between Morricone's theories on the procedures of musical production for cinema, such as his suggestions on audiovisual analysis, his considerations on the use of pre-existing music and songs, and his real application in the construction of the musical track of The Hateful Eight. As for the Method of Levels, although easy to apply, its terms are not exact, being a method of interpretative character, therefore, subjective.

Le lien entre Paris et la Turquie remonte à l'ouverture des relations diplomatiques entre les deux pays au 17e siècle. Depuis lors, la culture, la langue et la littérature françaises occupent une place importante au sein de l'intelligentsia turque, première victime de l'instabilité que connaît le pays depuis 1960. Paris a ainsi joué le rôle de fenêtre sur l'Occident, conduisant des générations d'écrivains à cultiver le mythe de la Ville Lumière, cité de l'amour, des révolutions et des libertés. Le débat sur la place de la Turquie en Europe justifiait une étude approfondie des images de Paris dans la littérature turque contemporaine. Pour ce faire, il s'agissait de se pencher sur trois écrivains, qui œuvrent sous l'ombre de leur aîné, le précurseur Attilâ Ilhan, décédé en 2005. Demir Özlü, le solitaire nauséeux pour qui Paris reste un rêve inaccessible, Nedim Gürsel, l'amoureux prolixe qui en fit sa maîtresse, et Enis Batur, l'explorateur scientifique qui en scruta chacune des pierres, ont, chacun à leur façon, placé Paris au cœur de leur production littéraire, préservant ainsi la place particulière dont jouit la capitale française dans l'imaginaire turc. Au travers de leurs exils et errances, ils servent de pont entre une Turquie traditionnellement enracinée dans l'Orient et Paris, qui incarne un Occident tantôt flamboyant, tantôt décadent mais toujours obsessionnel. Le fait qu'ils soient constamment tiraillés entre deux langues, deux cultures et deux lieux, Paris d'une part et Istanbul et la Turquie d'autre part, les conduit à une lancinante et permanente quête de leur identité d'homme et d'écrivain.

Le lien entre Paris et la Turquie remonte à l’ouverture des relations diplomatiques entre les deux pays au 17e siècle. Depuis lors, la culture, la langue et la littérature françaises occupent une place importante au sein de l’intelligentsia turque, première victime de l’instabilité que connaît le pays depuis 1960. Paris a ainsi joué le rôle de fenêtre sur l’Occident, conduisant des générations d’écrivains à cultiver le mythe de la Ville Lumière, cité de l’amour, des révolutions et des libertés. Le débat sur la place de la Turquie en Europe justifiait une étude approfondie des images de Paris dans la littérature turque contemporaine. Pour ce faire, il s’agissait de se pencher sur trois écrivains, qui œuvrent sous l’ombre de leur aîné, le précurseur Attilâ Ilhan, décédé en 2005. Demir Özlü, le solitaire nauséeux pour qui Paris reste un rêve inaccessible, Nedim Gürsel, l’amoureux prolixe qui en fit sa maîtresse, et Enis Batur, l’explorateur scientifique qui en scruta chacune des pierres, ont, chacun à leur façon, placé Paris au cœur de leur production littéraire, préservant ainsi la place particulière dont jouit la capitale française dans l’imaginaire turc. Au travers de leurs exils et errances, ils servent de pont entre une Turquie traditionnellement enracinée dans l’Orient et Paris, qui incarne un Occident tantôt flamboyant, tantôt décadent mais toujours obsessionnel. Le fait qu’ils soient constamment tiraillés entre deux langues, deux cultures et deux lieux, Paris d’une part et Istanbul et la Turquie d’autre part, les conduit à une lancinante et permanente quête de leur identité d’homme et d’écrivain
The link between Paris and Turkey was founded when both countries opened diplomatic relationships in the 17th century. Since then, the French culture, language and literature has been key to the Turkish intelligentsia, the first victim of the political instability the country is experiencing since 1960. Paris played the role of a window into the Western world, driving generations of writers to cultivate the myth of the Ville Lumière, city of love, revolutions and freedom. The debate on the place of Turkey in Europe justified a close look into the images of Paris in the contemporary Turkish literature. This study focused on three contemporary writers, who all worked under the shadow of Attilâ Ilhan the precursor, who died in 2005. Demir Özlü, the nauseated loner, for whom Paris will always remain an inaccessible dream, Nedim Gürsel, the prolix lover who turned the city into his mistress, and Enis Batur, the scientific explorer who observed each and every of its stones, have each in their own way placed Paris at the heart of their literary production. In doing so, they preserve the special status the French capital city enjoys in the Turkish collective imagination. Through their exiles and wanderings, they serve as a bridge between Turkey, whose traditions are grounded in the Middle-East, and Paris, which incarnates a Western world that is depicted either as flamboyant or decadent but will always remain obsessive. The fact that they are constantly split between two languages, cultures and places, Paris on the one hand, Istanbul and Turkey on the other hand, pulls them into a gnawing and permanent quest of their identity of human being and writer

Includes abstract.
Includes bibliographical references.
In 1947 Ennio Flaiano published what was to become his only full-length novel, Tempo di uccidere. Set in Abyssinia during the 1935-1936 Italo-Ethiopian War, it is a work that, notwithstanding its ostensibly "realist" subject matter, displays a palpable dissonance with the coeval cultural and literary landscape of post-war Italy, then dominated by the age of neorealism. With Tempo di uccidere, Flaiano chooses to counter the largely nationally inward, materialist gaze of his contemporary authors by shifting the focus to a socio-political and cultural environment ghat would have proved largely foreign to the majority of his readers...The primary aim of this MA dissertation is to explore-and to critically engage with - the two indentifiable narratives that frame the interpretation of the novel...

O presente trabalho encontra-se subordinado ao tema “As Campanhas de Moçambique em 1895 – A Táctica e a Organização das Forças Expedicionárias”, sendo que, com este trabalho pretende-se analisar a organização militar, as tácticas e o armamento empregue durante as campanhas de pacificação e apresentar conclusões sobre o impacto militar das mesmas. A metodologia aplicada na elaboração do trabalho assenta exclusivamente na análise documental de fontes e bibliografia ,estando o trabalho dividido em cinco capítulos e terminando com as considerações finais. A Conferência de Berlim realizada em 1884 simboliza o início da corrida à África, visto que, foi nela onde foram definidas as regras para as potências que pretendiam uma ocupação efectiva em África. Nesse período, a Província de Moçambique estava no centro do furacão de disputas entre Portugal e as outras potências europeias, devido, principalmente, a sua posição estratégica peculiar. Porém, o grande problema a ocupação planeada pelo Governo português, e principalmente por António Ennes, era o Império de Gaza, governado por Ngungunyani. A opção militar, através das forças expedicionárias, foi a opção adoptada, que tinha como principal objectivo a pacificação da Província e fundamentalmente a efectivação da posse, através da destruição do Império de Gaza. A investigação realizada permitiu concluir que no âmbito militar a campanha significou a implementação de novos processos de guerra em África, através do emprego da táctica do quadrado e da utilização de armamento moderno por parte de Portugal. Relativamente ao Império de Gaza, apesar de ter uma força numericamente maior e de utilizar uma táctica de combate bastante eficaz, o facto do seu Exército não ter acompanhado o desenvolvimento do armamento ligeiro acabou por ser ditador na derrocada do seu Império.
Abstract The present work is submitted to the theme “Mozambican Campaigns in 1895 –the tactics and the organization of the expeditionary forces”, and the aim of the work is to analyze the military organization, the tactics and the weaponry used during peace campaigns, being the primary objective findingabout the military impact. The methodology applied in making up the work is based exclusivelyon the documentary analysis and bibliography sources, and the work is divided infive chapters and ending with the final considerations. The Berlin Conference held in 1884 symbolizes the beginning of the race to Africa, in which was designed the rules for the powers which wanted an effective occupation in Africa. The province of Mozambiquewas in the hurricane squabbles between Portugal and the other European powers, due mainly to its peculiar strategic position. However, the big problem in the occupation planned by the Portuguese Government, and especially by António Ennes, was the Gaza Empire, ruled by Ngungunyani. The military option was adopted by Portugal with expeditionary forces, which was fundamentally aimed at pacification of the province and fundamentally landpossession, through the destruction of the Gaza Empire. The investigation allowed to accomplish that in themilitary extent the campaign meant the implementation of new war procedures in Africa, through the square tactic and use of modern weaponry by Portugal. With regard to Gaza Empire, despite having a numerically larger force and using a highly effective fighting tactics, the fact that its army didn’t accompanied the development of light weapons has dictator in collapse of his Empire.

Lorsqu'on s'emploie a lire la poesie latine en adoptant, autant que faire se peut, le point de vue d'un lecteur latin, il s'avere que la metaphore a joue un role capital dans l'elaboration de la poesie epique pre-virgilienne. L'interpretation de l'ecriture metaphorique des trois poetes du corpus prend appui sur une classification heritee de l'ancienne rhetorique mais qui la prolonge, en distinguant, parmi les divers transferts possibles, metaphores externes ( naturalisation, humanisation, artificialisation ) et metaphores internes ( operees a l'interieur du domaine de la nature, de l'homme ou de l'artifice ). Chaque poete exploite a sa facon le potentiel transgressif de l'operation metaphorique. Ennius se signale surtout par son gout pour les durae tralationes, qui participe d'une poetique cultivant volontiers ludisme et polysemie. Lucrece exploite la metaphore sur trois plans habilement articules (didactique, poetique, ideologique ) : toute sa philosophie se reflete dans sa metaphorique. Catulle enfin innove en assignant a la metaphore une fonction subtile dans la trame narrative complexe du c. 64. La comparaison avec les carmina minora de catulle revele qu'a la metaphore, volontiers inventive et affective, s'oppose la metonymie, souvent grandiloquente et conventionnelle, presque totalement absente chez lucrece, bien presente dans le c. 64 de catulle, et qui deviendra dans la premiere moitie du 1 siecle p. C. Le caractere le plus evident de la langue epique latine
When one attempts to read latin poetry by adopting, in so far as possible, the point of view of the latin reader, one finds that metaphor played a major role in the elaboration of the pre-virgilian epic. The interpretation of the metaphorical writing of the three poets, ennius, lucretius and catullus, is based on a classification inherited from ancient rhetoric, but wich goes even further by distinguishing, among the diverse possible transfers, external metaphors ( which naturalize, humanize or render artificial ) and internal metaphors ( wich function within the domain of nature, man or artifice ). Each poet exploits the transgressive potential of the metaphorical process in his own particular fashion. Ennius stands out mainly by his taste for durae tralationes, which is part of a poetic tendancy to freely foster play and polysemy. Lucretius exploits metaphor on three skillfully related levels ( didactic, poetic, ideological ). His entire philosophy is mirrored in his metaphorical expression. Catullus innovates by attributing to metaphor a subtile function within the complex narrative framework of c. 64. Comparison with catullus's carmina minora reveals the opposition between the metaphor, willfully inventive and emotional, and the often grandiloquent and conventional metonymy, almost totally absent from lucretius, clearly present in catullus's c. 64 and later the most apparent characteristic of epic latin language in the first half of the ist century a. D

Se estudió la estructura y dinámica poblacional, y las características del hábitat del bivalvo Ensis macha, en el área de Morro Quemado (Bahía Independencia, Pisco, Perú), durante el período septiembre del 2002 hasta abril del 2004. El período de estudio se caracterizó por temperaturas frías y una productividad primaria relativamente alta. En cuanto a la estructura poblacional, se presentan altos niveles de densidad (79,1 Ind∙m-2) y biomasa (2,8 kg∙m-2), aunque se observa una tendencia descendente de estos valores debido a la sobreexplotación. El rango de tallas fue muy estrecho (90-175 mm), de tipo unimodal y con ausencia de la fracción juvenil en la población. Las relaciones longitud-peso fueron de tipo potencial y con alometría positiva, encontrándose que existe un menor rendimiento por peso comparado a las poblaciones sureñas. Se encontró una correlación entre la variación temporal del peso seco libre de cenizas de un individuo estándar (150 mm) con el ciclo reproductivo de las poblaciones sureñas, donde los periodos de desove ocurren en los meses de mayor temperatura. Respecto a la dinámica poblacional, se mostró una tasa de crecimiento relativamente alta con un K de 0,48 y una L∞ de 184,1 mm comparados a otros estudios sobre la especie. Las tasas de mortalidad natural y por pesca fueron 0,96 y 0,98 año-1, respectivamente, así como una E de 0.51 año-1, lo que evidencia que es una especie plenamente explotada. Bajo condiciones de altas temperaturas y bajos niveles de oxígeno, se incrementó la tasa de mortalidad natural. La producción somática y la P/B fueron de 191,07 gPSLC∙m-2∙año-1 y 0,69 año-1, respectivamente, que son relativamente altos comparados a los valores chilenos. Se postula que una alta densidad y biomasa, una alta tasa de crecimiento, un menor peso por talla y una alta producción secundaria, en comparación a los valores hallados en las poblaciones sureñas, podría deberse a condiciones favorables del ambiente marino peruano. Este estudio brinda un conocimiento biológico y pesquero importante para el desarrollo de un plan de manejo pesquero de largo plazo.
Tesis