Dissertations / Theses on the topic 'Raúl (1950-....)'

"Le discours poétique de Raúl Zurita : entre silence et engagement manifeste dans le Chili des années 1975-2000 propose une vision des poèmes et recueils de l'auteur chilien, né en 1950 (sic), en nous centrant sur le silence et l'engagement, véritables procédés discursifs et mécanismes de dénonciation. Notre thèse sera étayée d'un corpus de recueils, ainsi que d'analyses de poèmes rigoureusement sélectionnés. Nous proposons des définitions terminologiques et méthodologiques et donnerons des exemples de poètes latino-américains, puis plus particulièrement chiliens représentatifs d'une écriture engagée et parfois empreinte de silence. Nous avons divisé notre thèse en trois parties : "Le poète Raúl Zurita et les conditions de sa production", "les combats de Raúl Zurita : conceptions et oeuvres", "Dualité et complémentarité de l'engagement et du silence". Nous en conclurons que le silence et l'engagement sont des mécanismes scripturaux qui deviennent un principe d'écriture chez l'auteur. "

Drawing on institutional perspective – institutional change, institutional legitimacy and the three institutional pillars – this doctoral study is developed to disentangle a complexity of successive industry reforms that have shaped a development of British railways in general and a growing idea of a railway privatization in particular. This adds to the body of knowledge, which so far has tended to focus on enhancing the sector’s performance outcomes, by arguing that performance improvement is not a whole story of the railway’s privatization. Indeed, as an archival research in British railway’s reform (1960s - 1980s) has revealed, a growing idea of a private sector’s involvement was constructed as the governments at the times sought to draw and (re-) draw boundaries among interest groups in order for British railways to de-lock from a historical development path of nationalization industry. Furthermore, the study also found that the idea of privatization was dynamically legitimized and maintained by the government’s reform agenda that blended a performance rationale with political and socio-economic conditions of British railway at the times. Indeed, this historical-institutional analysis in British railway’s reform suggests that a privatization of British railways is more socially and politically complex than generally understood as the government’s attempt in making an efficient railway sector. As such, in order to advance this field of study both academic scholars and the industry practitioners should pay more attention on the influence of institutional dynamics that shapes a performing of British railway rather than narrowly focusing a performance improvement issue.

Les leaderships d'Affonsin et de Menem renvoient à un type d'autorité qui, en politique, a été qualifié, notamment dans l'acception wébérienne, de "charismatique". Le cas argentin délimité par les dates de 1983 -retour de la démocratie avec l'élection d'Alfonsin- et de 1989 -alternance politique avec l'élection de Menem-, est, à̧ cet égard, singulier. D'une part, par le fait que l'attestation charismatique d'Alfonsin et de Menem se manifeste dans le cadre de la démocratie retrouvée à quelque six années d'intervalle. D'autre part, par le fait qu'elle met en lumière des stratégies de changement qui sont réputées liées à ce type d'autorité conceptualisé par Weber. .
The leaderships of Alfonsin and Menem refer to a type of authority which, in the political field, was qualified, principally in the weberian acception, of "charismatic". The argentinian case delimited by the dates of 1983 -return of democracy with the election of Alfonsin- and 1989 -political change with the election of Menem- appears, from this point of view, as singular. On one hand, we can observe that the charismatic attestation of Alfonsin and Menem shows itself in the mark of the reappeared democracy in a space of approximately six years only. On the other hand, this charismatic attestation reveals strategies of change which are considered as connected to this ideal-type which Weber has conceptualizde. .

Orientador: Sergio Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia
Made available in DSpace on 2018-07-19T05:08:30Z (GMT). No. of bitstreams: 1 Macedo_BernardoGouthier_M.pdf: 4167322 bytes, checksum: 5d4251c9550a656cd515f00bf4b9ebfd (MD5) Previous issue date: 1994
Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Economia

The main reason that explains the structure of this thesis is simple: the personal archive af one of the most important architects of Latin America, with works by over half a million square meters, has been lost almost entirely. The historical error that would have meant to lose a material with extraordinary value, not only for Uruguay, but for anyone with an interest in architecture, is what this thesis attempts to rectify, if only partially. Recovering from the past the architectural heritage which represents a substantial part of the cultural identity of the country, and make it available at present, has been the crucial objective of these years of research. The value of the thesis is essentially graphic and, conceptual scaffolds, are just footnotes that collaborate in the structuring and presentation of the first. The main motivation was to try to explain the high quality that have reached several urban areas in Uruguay, formed exclusively, or mostly, by modern architecture. Assumed the decline of the archive, we decided to choose one of its most important buildings and face its graphic reconstruction, based on current and vintage photographs, old photographs of models and site surveys. The "Ciudadela" was selected, at first, because it is considered as one of the buildings with higher design quality in Montevideo. However, I realized that an invaluable resource could be included , that any archive would be able to equal: the commitment of the author of the work, Raul Sichero, to accompany me during graphic reconstruction, from the beginning. The idea of starting this project from the initial premises of the author, without untestable hypotheses, was what led me to extend the thesis to other works. Sichero not only accepted the proposal, but intensified the inltial timetable than we had provided. Sichero's participation was not reduced to visit, review and re-design his buildings, but also has modified subtly some features that did not completely convinced him in the ¡nitial project. This thesis is therefore - besides the reconstruction of a sustancial part of the missing file of an architect who is essential to understand the history of domest¡c architecture Uruguay - the reelaboration of a piece of his work, with graphic tools that allowed him to transform some of its projects and, in some cases, to propose an improved alternative. Consequently, this work was no longer an unfeasible task of collecting historical data, to become its opposite: the active reelaboration, together with the author, of a lost graphic archive, starting from the finished work. On some occasions Sichero studied alternative solutions for his projects, which converged in several lines of formal evolution. The analysis of some versions developed simultaneously with the built version, serves to illustrate the fundamental determinations that structured the final proposals. Even though the fact that it was essential to have the main author of the buidings in Uruguay, close to the investigation, the arguments for increasing the graphic archive were clear. It was, therefore, necessary to travel to Buenos Aires, to Mario Roberto Alvarez 's office, with the aim of expanding the information of several buildings, which had been produced in partnership, in Punta del Este. The thesis will pivot, in summary, around buildings or projects that have been reconstructed in graphic terms, and has been extended to those that were documented only through vintage photographs or by others taken by the author. What constitutes the core of the research, is profusely detailed in graphic terms and commented, on a subsidiary basis, under the logic in which they were treated by the architect, avoiding the distortion of the conceptual center of his thoughts. These always serve visual reasons, supported with technical arguments, that conclude in the specific building, bul also in the gradual construction of the clties in which was able to operate

Esta dissertação pretende investigar, por meio de análise comparativa entre a segunda expansão do Museu de Belas Artes de Caracas – MBAC (1966-76), de Carlos Raúl Villanueva, e o bloco esportivo do Sesc Pompeia (1976-86), de Lina Bo Bardi, o uso da parede portante em concreto armado como solução estrutural em arquiteturas de porte especial desenvolvidas na América Latina na segunda metade do século XX. A seleção desses dois exemplares, dentre os que compõem o extenso e relevante corpo de trabalho de Villanueva e Bo Bardi, deve-se ao fato de ambos valerem-se do uso do concreto armado em paredes portantes e lajes nervuradas que vencem vãos não usuais, superpostas em mais de um pavimento. Apesar de bastante publicados, tanto Museu quanto Sesc carecem de representações completas e precisas. Este trabalho busca preencher essa lacuna por meio da apresentação inédita dos projetos executivos dos dois edifícios – plantas baixas, cortes, elevações e perspectivas isométricas, redesenhados com base nos documentos originais. Além disso, a presente pesquisa busca aproximar as duas obras por meio de análise aprofundada e comparativa, acompanhada por farto material iconográfico, a fim de traçar possíveis paralelos entre as produções arquitetônicas desenvolvidas na Venezuela e no Brasil durante o século XX. O trabalho não almeja esgotar as possibilidades de interpretação dessas arquiteturas, mas sim explorar determinadas questões que possam servir de base para eventuais estudos futuros, enquanto auxilia no reconhecimento e na documentação dos exemplares em questão.
This dissertation aims to investigate, through a comparative analysis between the second expansion of the Museum of Fine Arts of Caracas – MBAC (1966-76), by Carlos Raúl Villanueva, and the Sesc Pompeia sports squad (1976-86), by Lina Bo Bardi, the use of the load-bearing wall in reinforced concrete as a structural solution in large scale architectures developed in Latin America in the second half of the 20th century. The selection of these two projects, within Villanueva and Bo Bardi’s extensive and relevant body of work, is due to the fact that both use the reinforced concrete in load-bearing walls and coffered slabs with unusual spans, in high-rise buildings. Although widely published, both Museum and Sesc lack complete and accurate representations. This work seeks to fill this gap through the unprecedented presentation of the executive projects of the two buildings – floor plans, sections, elevations and isometric perspectives, redrawn based on the original documents. In addition, the present research seeks to bring the two works closer together through in-depth and comparative analysis, accompanied by abundant iconographic material, in order to compare the architectural productions developed in Venezuela and Brazil during the 20th century. This work does not seek to exhaust the possibilities of interpretation of these architectures, but rather to explore certain questions that may serve as a basis for future studies, while helping to recognize and document the two buildings.

El objetivo de la presente investigación es entender, a través del análisis de los discursos sobre el habitar, el pasar del tiempo en el interior de la arquitectura doméstica portuguesa, durante la década de 1960. Después de numerosas convulsiones políticas en las primeras décadas del siglo XX, Portugal empieza en 1928 un periodo que originará el Estado Novo y que implicará más de cuatro décadas de un régimen en el que el dictador, António de Oliveira Salazar, ha tenido un rol principal. En este contexto, los papeles de la familia, de la mujer y de la vivienda van sufriendo cambios a los que los arquitectos no son indiferentes y con los cuales se relacionan de modo heterogéneo.
En la primera parte del trabajo son analizados dos momentos precedentes esenciales para la comprensión de los años 1960. El primero se inicia en la transición del siglo XIX al XX y se organiza alrededor de la figura del arquitecto Raul Lino y de la discusión de la "casa portuguesa". Además del análisis efectuado sobre el concepto de habitar, subyacente a los distintos trabajos publicados por este arquitecto, se cruzan sus propuestas con las de otros autores menos relevantes. Se trabajó igualmente los proyectos de vivienda colectiva de Lino, intentado reconocer en ellos sus intenciones predefinidas con respecto al habitar. En relación con este periodo se identifican, además de otras cuestiones, la de la transición del paradigma unifamiliar a la vivienda colectiva, así como las intuiciones, presentes o no dependiendo de los autores, cercanas a una perspectiva antropológica del habitar. Como segundo conjunto de producciones anteriores, surgen los textos de Francisco Keil do Amaral, Fernando Távora y Manuel Vicente Moreira, así como las propuestas presentadas al 1.º Congresso da Arquitectura Portuguesa (1948), en el grupo dedicado al tema de la vivienda.
En la segunda parte de esta investigación se construye un entendimiento sobre la ruptura que la década de 1960 representa para la reflexión sobre la arquitectura doméstica portuguesa, a través de los distintos textos producidos por arquitectos y otros técnicos directamente implicados en estas preocupaciones. La madurez y el rigor implicados en la generalidad de los trabajos producidos surgen asociados a una profunda atención a la realidad. Es reconocible, en una línea con raíces anteriores, el deseo de mejorar en la acción del proyecto para que sea posible producir un habitar digno y valorizador del vivir doméstico. Ya en los primeros años del siglo, la arquitectura como producción deseablemente antropocentrada se podía encontrar el las propuestas de Raul Lino; pero, en los años 1960, la preocupación es objetivamente la vivienda colectiva. Así, la familia anónima que es necesario mapear se va a caracterizar, principalmente, a través de la cuantificación. Las distintas acciones de la teoría, de la crítica y, más tardíamente, de la historia, empiezan a hacerse con creciente complicidad con el proyecto. La búsqueda de la cientificidad, de la transdisciplinariedad y la idea de la Arquitectura como conocimiento encuentran eco en los múltiples discursos en los que los arquitectos pasan a ser parte activa.
The following research entails both an effort to single out any significant changes in Portuguese residential architecture during the 1960's and the ensuing discourses that took place along with it. From 1928 on and in the aftermath of the many political convolutions of the first two decades, Portugal enters a period in its history called Estado Novo, a period in which dictator Oliveira Salazar plays a major role for more than forty years. During this time, the role bestowed to the family, to women and the housing unit itself will suffer changes that were eventually addressed by architects in many different ways.
The first part of this study will engage an analysis of two previous key moments, required for any understanding of the 1960's. The very first of these starts at the turn of the century and revolves both around the figure of architect Raul Lino and the concept of "casa portuguesa". In addition to Raul Lino's inquiries on the subject of the single-family home, manifest in the various of his published works, there will be a chance to engage less known authors as well. At this point, Lino's several apartment building projects will be contrasted with his thoughts on the subject of residential architecture. Among other issues, the observable change of focus from the single-family home to the apartment complex will be taken into account. It will also be questioned whether or not any of the authors engaged in the debate were anything close to holding an anthropological inkling when dealing with this subject. A second cluster of documents addressed in this research comprises several texts from Francisco Keil do Amaral, Fernando Távora and Manuel Vicente Moreira, all forerunner to our period of focus. There will be yet time to introduce the concluding remarks of the working group dedicated to the housing issue at the 1st Congress of Portuguese Architecture (1948).
The second part of this research attempts a thorough insight of the significant changes brought by the 1960's into the subject of residential architecture in Portugal, accomplished in part with the help of a number of texts from architects and other professionals engaged in this issue at the time. The majority of the documents produced in this period show a degree of complexity and thoroughness by no means unrelated with an increased awareness of the problems themselves. Rooted in previous events somehow, it is easily recognized a genuine wish to improve the project stage in order to accommodate the proper articulation of a dignified habitat that can value domestic life. If a concept of anthropocentric architecture can be found in Raul Lino already at the dawn of the century, the apartment block is the prevailing issue by the 1960's. Consequently, the anonymous family is now subjected to quantification. The various distinct fields of theory or criticism and history later on, are now complicit with the project itself. The search for a scientific bearing, as well as more transdiciplinarity, the very idea of Architecture as knowledge, reverberate in a multitude of discourses fashioned perhaps for the first time by architects themselves.
O objectivo da presente investigação consiste em entender, através da análise dos discursos sobre o habitar, o passar do tempo no interior da arquitectura doméstica portuguesa, até ao final da década de 1960. Depois de diversas convulsões políticas nas primeiras décadas do século XX, Portugal inicia em 1928 um período que dará origem ao Estado Novo e que implicará mais de quatro décadas de um regime no qual o ditador, António de Oliveira Salazar, desempenhou o papel fulcral. Neste contexto, os papéis da família, da mulher e da casa vão sofrendo alterações às quais os arquitectos não ficam indiferentes e com as quais se relacionaram de modo diverso.
Na primeira parte do estudo, são identificados dois momentos antecessores essenciais para a compreensão dos anos 1960. O primeiro inicia se na passagem do século XIX para o XX e organiza-se em torno da figura do arquitecto Raul Lino e da discussão da "casa portuguesa". Para além da análise realizada sobre o conceito de habitar, subjacente aos diversos trabalhos publicados por este arquitecto, cruzam-se as suas propostas com as de outros autores menos relevantes. Foram igualmente comentados os projectos de habitação colectiva de Lino, tentando reconhecer neles reflexos do habitar reclamado. Relativamente a este período levantam-se, entre outras questões, a da passagem do paradigma unifamiliar para o da habitação colectiva e as intuições, presentes ou não consoante os autores, próximas de uma perspectiva antropológica do habitar. Como segundo grupo de produções antecessoras, são trabalhados textos de Francisco Keil do Amaral, Fernando Távora e Manuel Vicente Moreira, assim como as propostas apresentadas ao 1.º Congresso da Arquitectura Portuguesa (1948), no grupo de trabalho dedicado ao tema da habitação.
Na segunda parte do presente estudo, propõe-se construir um entendimento sobre a ruptura que a década de 1960 representa para a reflexão sobre a arquitectura doméstica portuguesa, através das múltiplas escritas, produzidas por arquitectos e por outros técnicos directamente implicados nestas preocupações. O amadurecimento e a rigor colocados na generalidade dos trabalhos produzidos acontecem associados a uma profunda atenção à realidade. É reconhecível, numa linha com raízes anteriores, o desejo de melhorarem a acção projectual para que seja possível produzir um habitar digno e valorizador do viver doméstico. Já no início do século, a arquitectura como produção desejavelmente antropocentrada podia ser encontrada nas propostas de Raul Lino; desta vez, porém, a preocupação é objectivamente a da habitação colectiva. Assim, a família anónima a mapear passa a ser caracterizada através, principalmente, da quantificação. As acções distintas da teoria, da crítica e, mais tardiamente, da história, começam a acontecer em crescente cumplicidade com o projecto. A procura da cientificidade, da transdisciplinariedade e a ideia da Arquitectura como conhecimento encontram eco nos múltiplos discursos de que os arquitectos passam a ser parte activa.

This thesis places the work of Dr Richard Beeching as Chairman of the British Railways Board in the context of Government policy towards the nationalised railways 1951-64, and examines the popular myth that Beeching and the Minister who appointed him, Ernest Marples, initiated a policy of railway closures and contraction. The thesis argues that Beeching's appointment and policies need to be seen in the context of the failure of Government policy towards the railways during the 1950s. The background to the Transport Act, 1953 is analysed. It is argued that, through this Act, the Government increased competition in the transport field, but was unwilling to accept, and unprepared for, the logical consequences of this change. The discussion of the Government's subsequent policy towards the railways during the 1950s argues that by intervening in industrial relations and price-setting, Ministers not only forced the railways into the red, but hampered their own efforts to encourage the industry to increase its efficiency. Government involvement in industrial relations, price-setting, investment and the withdrawal of unremunerative services is discussed. The Government's tougher approach to railway finances after 1959 (apparent in the 1962 Transport Act, tighter supervision of investment and the closure programme under Beeching) is placed in two contexts. Firstly, the growing recognition within Whitehall that the rise of road transport would limit the railways' future role. Secondly, the reform of the relationship between government and the nationalised industries in general. This discussion leads to a re-evaluation of Marples' significance, and a rejection of the view that Beeching's closure programme arose from a study of the railways in isolation from transport as a whole. Finally, the presentation and implementation of Beeching's closure programme until the 1964 General Election is discussed. The thesis argues that the social and economic consequences of closures were not ignored.

Orientadora: Profª. Drª. Dulce Regina Baggio Osinski
Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Educação, Programa de Pós-Graduação em Educação. Defesa: Curitiba, 30/09/2016
Inclui referências : f. 134-143
Linha de pesquisa: Historia e historiografia
Resumo: Este trabalho versa sobre as práticas narrativas do intelectual, professor e jornalista paranaense Raul Rodrigues Gomes (1889-1975), que se utilizou principalmente da imprensa para disseminar seus ideais e mobilizar a sociedade em favor da educação, da arte e da cultura, no Paraná, no período entre 1907 e 1950. Gomes escreveu nos jornais A República, Diário da Tarde, Gazeta do Povo, dentre outros e foi correspondente dos Estados de São Paulo e Rio de Janeiro. Foi utilizada a imprensa periódica como fonte principal, a partir do conceito ambivalente do jornal como fonte e tema de pesquisa para a História da Educação, proposto por Vieira (2007). Um dos principais referenciais teóricos é Bourdieu (1974), pela noção de teoria praxiológica - que contempla a inter-relação entre os conceitos de habitus, campo e capital, e de trajetória, para analisar a formação familiar e social desse agente intelectual. O termo intelectual foi utilizado no contexto proposto por Gramsci (2004), que os classifica como organizadores e interventores da cultura na sociedade, para embasar a hipótese de Gomes como um deles. Esta pesquisa aborda a trajetória de Gomes, desde as influências estruturadas pela família ao contexto social da formação professoral e jornalística e este trabalho contribui para trazer à tona essa personalidade que agiu em prol do aparelhamento cultural e do engajamento, a favor das causas educacionais brasileiras no período mencionado. Como resultado, a análise de seus textos colabora para a diagramação do cenário educacional e cultural paranaense, entre as décadas de 1910 a 1960 no Paraná, colocando-o ao lado de outros intelectuais relevantes. Gomes marcou presença ativa na cena cultural paranaense até o ano de sua morte, em 1975, utilizando a imprensa para empreender campanhas a favor do aparelhamento cultural do Paraná e debater as políticas educacionais empreendidas pelos governos de Estado. Palavras-chave: Intelectuais, Imprensa e Educação, Modernidade, História da Educação no Paraná.
Abstract: With this research, we aim to analyse the speeches of Raul Rodrigues Gomes (1889-1975), who was at the same time, an intellectual, educator and journalist, from the State of Paraná. The author used mainly the press to spread his ideals and mobilize the society towards education, art and culture, in the state he was born, between 1907 to the 1950's. Gomes wrote for the newspapers A República, Diário da Tarde, Gazeta do Povo, among others, and was a correspondent from São Paulo and Rio de Janeiro. The periodical press was used in this research as the main source to analyse his speeches. From the ambivalent conception of the newspaper concomitantly as a source and as a way of knowledge, proposed by Vieira (2007), this study shows itself as relevant to the History of Education. One of the main theoretical framework is Bourdieu's praxiological theory notion (1974), to analyze the relevance of Gomes' social and family formation. The term intellectual, proposed by Gramsci (2004), as a organizer and interventor of culture in society, ground the thesis that Raul Gomes was one of them. This research also forms a trajectory, since the influences structured by the family, to the social context of professorial and journalistic training. This work helps to bring up this agent, who worked for Brazilian's cultural engagement and for the educational causes, in that mentioned period. As a result, the analysis of his texts contributes to create a layout of Paraná's educational and cultural scene, between the decades from 1910 to 1960, placing it alongside other relevant intellectuals' studies. Gomes was present in Paraná cultural scene until the year of his death, in 1975, and he used the press to undertake campaigns in benefit for the Paraná's cultural chain, and discuss educational policies undertaken by state governments. Keywords: Intellectual, Media and Education, Modernity, History of Education in Paraná.

El objetivo de la presente investigación es entender, a través del análisis de los discursos sobre el habitar, el pasar del tiempo en el interior de la arquitectura doméstica portuguesa, durante la década de 1960. Después de numerosas convulsiones políticas en las primeras décadas del siglo XX, Portugal empieza en 1928 un periodo que originará el Estado Novo y que implicará más de cuatro décadas de un régimen en el que el dictador, António de Oliveira Salazar, ha tenido un rol principal. En este contexto, los papeles de la familia, de la mujer y de la vivienda van sufriendo cambios a los que los arquitectos no son indiferentes y con los cuales se relacionan de modo heterogéneo.En la primera parte del trabajo son analizados dos momentos precedentes esenciales para la comprensión de los años 1960. El primero se inicia en la transición del siglo XIX al XX y se organiza alrededor de la figura del arquitecto Raul Lino y de la discusión de la "casa portuguesa". Además del análisis efectuado sobre el concepto de habitar, subyacente a los distintos trabajos publicados por este arquitecto, se cruzan sus propuestas con las de otros autores menos relevantes. Se trabajó igualmente los proyectos de vivienda colectiva de Lino, intentado reconocer en ellos sus intenciones predefinidas con respecto al habitar. En relación con este periodo se identifican, además de otras cuestiones, la de la transición del paradigma unifamiliar a la vivienda colectiva, así como las intuiciones, presentes o no dependiendo de los autores, cercanas a una perspectiva antropológica del habitar. Como segundo conjunto de producciones anteriores, surgen los textos de Francisco Keil do Amaral, Fernando Távora y Manuel Vicente Moreira, así como las propuestas presentadas al 1.º Congresso da Arquitectura Portuguesa (1948), en el grupo dedicado al tema de la vivienda.En la segunda parte de esta investigación se construye un entendimiento sobre la ruptura que la década de 1960 representa para la reflexión sobre la arquitectura doméstica portuguesa, a través de los distintos textos producidos por arquitectos y otros técnicos directamente implicados en estas preocupaciones. La madurez y el rigor implicados en la generalidad de los trabajos producidos surgen asociados a una profunda atención a la realidad. Es reconocible, en una línea con raíces anteriores, el deseo de mejorar en la acción del proyecto para que sea posible producir un habitar digno y valorizador del vivir doméstico. Ya en los primeros años del siglo, la arquitectura como producción deseablemente antropocentrada se podía encontrar el las propuestas de Raul Lino; pero, en los años 1960, la preocupación es objetivamente la vivienda colectiva. Así, la familia anónima que es necesario mapear se va a caracterizar, principalmente, a través de la cuantificación. Las distintas acciones de la teoría, de la crítica y, más tardíamente, de la historia, empiezan a hacerse con creciente complicidad con el proyecto. La búsqueda de la cientificidad, de la transdisciplinariedad y la idea de la Arquitectura como conocimiento encuentran eco en los múltiples discursos en los que los arquitectos pasan a ser parte activa.
The following research entails both an effort to single out any significant changes in Portuguese residential architecture during the 1960's and the ensuing discourses that took place along with it. From 1928 on and in the aftermath of the many political convolutions of the first two decades, Portugal enters a period in its history called Estado Novo, a period in which dictator Oliveira Salazar plays a major role for more than forty years. During this time, the role bestowed to the family, to women and the housing unit itself will suffer changes that were eventually addressed by architects in many different ways.The first part of this study will engage an analysis of two previous key moments, required for any understanding of the 1960's. The very first of these starts at the turn of the century and revolves both around the figure of architect Raul Lino and the concept of "casa portuguesa". In addition to Raul Lino's inquiries on the subject of the single-family home, manifest in the various of his published works, there will be a chance to engage less known authors as well. At this point, Lino's several apartment building projects will be contrasted with his thoughts on the subject of residential architecture. Among other issues, the observable change of focus from the single-family home to the apartment complex will be taken into account. It will also be questioned whether or not any of the authors engaged in the debate were anything close to holding an anthropological inkling when dealing with this subject. A second cluster of documents addressed in this research comprises several texts from Francisco Keil do Amaral, Fernando Távora and Manuel Vicente Moreira, all forerunner to our period of focus. There will be yet time to introduce the concluding remarks of the working group dedicated to the housing issue at the 1st Congress of Portuguese Architecture (1948).The second part of this research attempts a thorough insight of the significant changes brought by the 1960's into the subject of residential architecture in Portugal, accomplished in part with the help of a number of texts from architects and other professionals engaged in this issue at the time. The majority of the documents produced in this period show a degree of complexity and thoroughness by no means unrelated with an increased awareness of the problems themselves. Rooted in previous events somehow, it is easily recognized a genuine wish to improve the project stage in order to accommodate the proper articulation of a dignified habitat that can value domestic life. If a concept of anthropocentric architecture can be found in Raul Lino already at the dawn of the century, the apartment block is the prevailing issue by the 1960's. Consequently, the anonymous family is now subjected to quantification. The various distinct fields of theory or criticism and history later on, are now complicit with the project itself. The search for a scientific bearing, as well as more transdiciplinarity, the very idea of Architecture as knowledge, reverberate in a multitude of discourses fashioned perhaps for the first time by architects themselves.
O objectivo da presente investigação consiste em entender, através da análise dos discursos sobre o habitar, o passar do tempo no interior da arquitectura doméstica portuguesa, até ao final da década de 1960. Depois de diversas convulsões políticas nas primeiras décadas do século XX, Portugal inicia em 1928 um período que dará origem ao Estado Novo e que implicará mais de quatro décadas de um regime no qual o ditador, António de Oliveira Salazar, desempenhou o papel fulcral. Neste contexto, os papéis da família, da mulher e da casa vão sofrendo alterações às quais os arquitectos não ficam indiferentes e com as quais se relacionaram de modo diverso.Na primeira parte do estudo, são identificados dois momentos antecessores essenciais para a compreensão dos anos 1960. O primeiro inicia se na passagem do século XIX para o XX e organiza-se em torno da figura do arquitecto Raul Lino e da discussão da "casa portuguesa". Para além da análise realizada sobre o conceito de habitar, subjacente aos diversos trabalhos publicados por este arquitecto, cruzam-se as suas propostas com as de outros autores menos relevantes. Foram igualmente comentados os projectos de habitação colectiva de Lino, tentando reconhecer neles reflexos do habitar reclamado. Relativamente a este período levantam-se, entre outras questões, a da passagem do paradigma unifamiliar para o da habitação colectiva e as intuições, presentes ou não consoante os autores, próximas de uma perspectiva antropológica do habitar. Como segundo grupo de produções antecessoras, são trabalhados textos de Francisco Keil do Amaral, Fernando Távora e Manuel Vicente Moreira, assim como as propostas apresentadas ao 1.º Congresso da Arquitectura Portuguesa (1948), no grupo de trabalho dedicado ao tema da habitação. Na segunda parte do presente estudo, propõe-se construir um entendimento sobre a ruptura que a década de 1960 representa para a reflexão sobre a arquitectura doméstica portuguesa, através das múltiplas escritas, produzidas por arquitectos e por outros técnicos directamente implicados nestas preocupações. O amadurecimento e a rigor colocados na generalidade dos trabalhos produzidos acontecem associados a uma profunda atenção à realidade. É reconhecível, numa linha com raízes anteriores, o desejo de melhorarem a acção projectual para que seja possível produzir um habitar digno e valorizador do viver doméstico. Já no início do século, a arquitectura como produção desejavelmente antropocentrada podia ser encontrada nas propostas de Raul Lino; desta vez, porém, a preocupação é objectivamente a da habitação colectiva. Assim, a família anónima a mapear passa a ser caracterizada através, principalmente, da quantificação. As acções distintas da teoria, da crítica e, mais tardiamente, da história, começam a acontecer em crescente cumplicidade com o projecto. A procura da cientificidade, da transdisciplinariedade e a ideia da Arquitectura como conhecimento encontram eco nos múltiplos discursos de que os arquitectos passam a ser parte activa.

A lo largo de este año en que hemos trabajado en este Seminario de Grado con titulo “la Religión y el Poder”, nos hemos ido percatando con mayor profundidad de la enorme ligazón que existe entre ambos términos, y por sobre todo a la utilización mutua de ellos en el mundo actual. De manera tal, que hoy en día podemos apreciar como muchas veces existe una utilización de la Religión (expresada como Iglesia o corriente de pensamiento) por parte del Poder (expresado como Gobierno) y viceversa. Dicho aprovechamiento puede ser con fines políticos, económicos, sociales, etc.

Doctor of Philosophy
During the 1990s, governments, managements and unions have been focused upon improving the cost efficiency of firms. This focus has been strongest for firms in the public sector where improved outcomes can be expected to significantly improve the Gross Domestic Products of whole economies. This case study looks at the cost efficiency of NSW rail passenger services over a 41 year period to 1991/92, long suspected (but hitherto only tentatively demonstrated) as a paradigm of cost inefficiency. The case study focuses upon the use of the total factor productivity (TFP) index, as a datum point for measuring change in productivity in four markets: suburban, internrban, country and interstate passenger services since 1951/52. From this datum, changes over the years in management, technology and other external factors can be identified and assessed. The thesis identifies management quality (the organising element in the firm) as the preeminent factor in determining productivity change, and the role that new technology plays in its impact on failures in management. We establish the linkages between management and innovation, with TFP, pricing efficiency and economic resource use efficiency, to present a rich paradigm for assessing the economic performance of any business firm. Borrowing from systems theory and other management practices such as total quality management, we disaggregated the case firm into its component systems, sub-systems and processes, for separate study in relation to impact on TFP. The database for 41 years of rail behaviour is the richest ever compiled for any railway in Australia, and with enhanced modelling, enables a systematic treatment of the performance through time of State Rail's passenger services.

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A presente tese selecionou Os Pescadores e As Ilhas Desconhecidas para compor o corpus de análise e propõe uma reavaliação da posição subalterna a que essas obras foram relegadas. Por muitas décadas, esses títulos vivenciaram o apreço fervoroso e emocionado dos leitores. Em contrapartida, parte da crítica literária brandoniana proferida no século XX rotulou-as de “menores” por se distanciarem do projeto literário ficcional de Raul Brandão. Edificou-se e perpetuou-se, então, a dicotomia e o silêncio. O objetivo deste trabalho é mostrar que essas obras não se distanciam das outras produções brandonianas justamente porque apresentam componentes temáticos e estilísticos similares às demais obras. Portanto, parte-se da hipótese de que há uma dialética das formas impressionistas e expressionistas que se coadunam e compõem espaços plástico-literários. Tal hipótese solidifica-se nas indagações acerca da utilização de gêneros literários tradicionais como a literatura de viagens, ou no emprego da descrição da paisagem nos dois títulos selecionados, publicados na segunda década do século XX. As ponderações concentram-se em torno das incursões da escrita brandoniana por linguagens artísticas distintas, por meio de uma perspectiva moderna diante da paisagem, do homem e da efabulação. No entanto, desdobram-se no estudo detido dessa perspectiva a partir da construção da figura dos pescadores, marinheiros, pastores e lavradores, além do registro das impressões poéticas e pictóricas, respectivamente, da costa portuguesa e do arquipélago dos Açores e da Madeira. Dessa forma, a aproximação entre as obras ocorre por meio da inovação na perspectiva da paisagem e da viagem, por configurar personagens pobres e vencidos a partir de reflexões de natureza ontológica e sociológica, conforme as delineações peculiares das configurações espaciais
The actual research took Os Pescadores (“The fishermen”) and As Ilhas Desconhecidas (“The Unknown Islands”) to compose the analysis corpus and proposes a reevaluation of the less value given to these works. They obtained the appreciation of the great public for long decades, but a parcel of brandonian critics built in the 20th century labeled them as “minors” for being far from the literary fictional project of Raul Brandão. The dichotomy and the silence dominated since then. The aim of this thesis is to show that these works are not far from the other brandonian productions because they present thematic and stylistics components similar to the rest of the author’s works. Therefore, we part from the hypothesis that there is a dialectics between impressionist and expressionist forms combining to compose plastic-literary spaces. Such hypothesis become stronger through questions about the use of traditional aesthetic styles as, for example, the landscape description and the travel literature on the two selected titles, published in the second decade of the 20th century. The reflections focus around the brandonian writing incursions by distinct artistic languages, trough a modern perspective on the landscape, the men and the fabulation. However, the accurate study of this perspective enlarges the comprehension of the fishermen, sailors, shepherds and peasants figure construction, besides the registration of the poetics and pictorial impressions of the Portuguese coast and Azores and Madeira. Thereby the approach between the works happens through the innovation in the landscape and travel perspective, the setting of poor and subdued characters by reflections of ontological and sociological nature, according with peculiar designs of spatial configurations

Mode de transport essentiel pour l'avenir, la voie de fer française intéressait dès sa création les pouvoirs publics, la doctrine et les instances administrative et judiciaire. Pour le corps législatif et le gouvernement, tant la sécurité des transports que la préservation des lignes de fer dans leur matérialité de leur affectation importaient. Si celle-ci était assurée par la législation de droit public issue de l'Ancien Régime, ce choix impliquait d'accorder aux conseils de préfecture et au conseil d'Etat des fonctions répressives. En revanche, la sûreté de la circulation constitutive d'une mission de police générale revenait à la justice pénale traditionnelle et au droit pénal général. De même, des dispositions plus adaptées au monde ferroviaire étaient aussi créées. Enfin, le gouvernement réglementait sobrement les atteintes à son exploitation commerciale attribué à des entreprises privées. De son côté, la doctrine se passionnait elle aussi pour le développement ferroviaire et créait pour l'occasion des cas originaux de responsabilité pénale. Mais l'installation d'un réseau ferré dense devait surtout provoquer l'intervention de nombreux juges. Tandis que la justice pénale traditionnelle représentée par les tribunaux correctionnels, les cours criminelles et la cour de cassation traitait essentiellement de vol qu'elle réprimait sévèrement et de fraude au titre de transport qu'elle analysait de manière extensive, la justice répressive administrative rendait quelques décisions peu efficaces qui formaient autant d'obstacles au maintien de cette compétence exceptionnelle.

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Secretaria da Educação do Estado de São Paulo
This text has the objective to analyze the communication process of carnavalesco Raul Diniz creation and point how much the limits and restrictions that come from mass media and communications network of Samba s school from São Paulo, interfere on this professional s procedures and choices for the Samba s school parade show creation and assembly. The carnavalesco is the main Samba s school professional responsible to conceive a carnival parade. He must receive, analyze and share pictures converted in symbols. Raul Diniz, specifically , was choose the best carnavalesco of twenty century besides Joãozinho Trinta and is also plastic artist. To best understand his communication process and creation, this study was made based on critic genetic methodology study, based on Peirce semiotic approaching. Dealing with carnival, an hybrid festival with cultural manifestation, we can use theory that analyze Morin and Lotman complex cultural aspects. The selected focus was the 2006 Abre Alas car from the Vai-Vai Sanba s school from São Paulo. It was also analyzed the complement like Comissão de Frente, that in this specific parade had total interaction with studied and created by Raul Diniz allegory. We study this professional creation process documents (drafts and drawing) and the car s mounting pictures and others that contributes for this creation (institutional rules, synopsis, objects, research books and media critics). With this study, we could observe that even the carnavalesco that has been responsible by the show, the communications between him and the people that surround him, as the rules and restrictions that came from the different groups of this hybrid environment from where he take part, interfere on his creative process, with special notability for the mass media television. We could also know better the carnival phenomenon and specifically the Samba s schools parade
Essa dissertação tem como objetivo analisar o processo de comunicação na criação do carnavalesco Raul Diniz e apontar o quanto os limites e restrições, oriundos da mídia e da rede de comunicação das Escolas de Samba de São Paulo, interferiram nos procedimentos e escolhas deste profissional para a criação e montagem do espetáculo do desfile de uma Escola de Samba. O carnavalesco é o profissional da Escola de Samba que é tido como principal responsável e mediador para conceber um desfile de carnaval. A ele cabe receber, analisar e partilhar linguagens que são transformadas em símbolos. Raul Diniz foi escolhido como o melhor carnavalesco do século XX junto com Joãozinho Trinta e além de ter esta profissão, atua como artista plástico. Para compreendermos melhor seu processo de comunicação e criação, este estudo foi feito com base nos estudos metodológicos de crítica genética, com abordagem semiótica (Peirce). Por se tratar de carnaval, uma festa híbrida e de manifestação cultural, coube aqui o diálogo com teorias que analisam os complexos aspectos culturais (Morin e Lotman). O foco selecionado foi o Carro Abre Alas da Escola de Samba Vai-Vai, de São Paulo, elaborado para o desfile de 2006. Junto ao carro, foram também analisadas as composições que o complementam, assim como a Comissão de Frente, que no caso específico deste desfile, teve total interação com a alegoria aqui estudada e criada por Diniz. Observamos documentos do processo de criação deste profissional (esboços e desenhos) como também os da montagem do carro (fotos) além de outros que se tornaram pertinentes para contribuir para esta criação (regras das instituições, sinopses, objetos de apoio, livros de pesquisas, críticas da mídia). Pudemos observar com este estudo que mesmo o carnavalesco sendo o responsável pelo espetáculo, a comunicação entre ele e as pessoas que o cercam, assim como as regras e restrições, vindas dos mais diferentes grupos deste ambiente híbrido, o qual ele faz parte, interferem em seu processo criativo, dando destaque especial para o papel da mídia televisiva. Também pudemos conhecer melhor o fenômeno do carnaval, mais especificamente, os desfiles das escolas de samba e contribuir para preservar a memória desta festa popular e cultural na cidade de São Paulo

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Propomo-nos aqui um estudo crítico das narrativas simbolistas de Raul Brandão (1867-1930), escritor português pertencente à geração de 1890. Tratamos de identificar, na ficção narrativa brandoniana, valores próprios do Decadentismo-Simbolismo, seja no que toca à temática predileta do autor, seja no que concerne à(s) forma(s) narrativa(s) empregadas para expressar os seus temas. Além disso, pretendemos salientar o diálogo que se estabelece dentro da própria obra de Raul Brandão, demonstrando a importância de seus primeiros escritos, presentes no livro de contos Impressões e Paisagens (1890). Tratamos, em suma, de estudar e divulgar textos literários em prosa simbolista, sobre os quais os críticos ainda não se debruçaram suficientemente. Com base na teoria do conto, em particular, e na teoria da narrativa, em geral, avaliamos a contribuição da obra de Raul Brandão no panorama da contística portuguesa, tendo por principal objeto de estudo dois contos, escolhidos para o corpus da pesquisa por serem muito significativos no seu primeiro livro: “A Maria Trolha” e “O homem do cancro”. Nestes contos, estudamos os temas abordados, os personagens retratados e o perfil estético destas narrativas que mesclam elementos naturalistas, simbolistas e impressionistas, os quais demonstram o pioneirismo brandoniano na composição fronteiriça dos seus primeiros escritos.
This work proposes a critical study of the Raul Brandão’s (1867-1930) symbolist narratives. He is a Portuguese author who belongs to 1890 generation. We want to relate in the Brandão’s narrative fiction, values of Decadentism-Symbolism It could be the favorite thematic of the author or the narrative form to express his themes. Additionally, we intend to show the dialogue between the whole work of Raul Brandão, unrolling the importance of his first short-stories in the book Impressões e Paisagens (1890). Thus, we want to study and to reveal literary texts in the symbolist prose, which the critics do not search enough. Using the short-story and narrative theory to support us, we study the author’s contribution to the Portuguese narrative history. The main object of our study is two short-stories that are the most meaningful of his first book: “A Maria Trolha” and “O Homem do cancro”. Therefore, we study the presenting themes, the acting characters and the construction of the short-stories, which blended into naturalistics, symbolistics and impressionistics elements that prove to be pioneer in the bounds of his first compositions.

La creation artistique denombre plusieurs contenus. Nous nous sommes surtout interesses aux contenus inconscients et, parmi eux, aux rites, mythes et symboles archaiques. Nous avons observe que nous reproduisons ces mythes, rites et symboles, sans en etre conscient; nous nous sommes questionnes sur le pourquoi de cette reproduction, et, en vue de trouver des reponses, nous nous sommes tournes vers la psychanalyse et son rapport a la creation artistique. Nous sommes arrives a la conclusion que nous avons une "memoire" de ces mythes, rites et symboles anciens et que leur acquisition se situe avant meme notre naissance. Nous avons traite dans ce sens la theorie de platon sur l'immortalite de la memoire ainsi que les theories sur "l'heritage phylogenique" de sigmund freud et sur "l'heritage psychologique" de carl gustav jung. En application de ces theories, nous avons travaille sur l'oeuvre cinematographique de raul ruiz
We find several contents in artistic creation. We mainly focused on unconscious contents and, among hem, on rites, myths and archaics symbols. We noticed that we reproduce those myths, rites and symbols, without being conscious of doing so; we asked ourselves what purpose such a reproduction could have and, in order to find out answers, we turned to psychoanalysis and its relation to artistic creation. We came to the conclusion that we have a memory for those myths, rites and symbols and that their acquisition takes place even before birth. With this approch in mind, we studied plato's theory on memory's immortality as well as sigmund freud's theories on "phylogenic heritage" and carl gustav jung's "psychological heritage". We then applied these theories to raul ruiz film works

Par la convention de concession du 30 octobre 1880, la france republicaine inaugurait la politique ferroviaire au senegal et dependances. Pourquoi cette politique? jusqu'ou irait-elle? y'avait-il, a la base, un fil conducteur? lequel? d'aucuns ayant affirme le caractere isole de cette politique, il nous fallait chercher la veracite d'une telle affirmation. A l'aide des documents compiles, nous sommes arrives a decouvrir la logique qui soustendait cette action: "la doctrine roumeenne d'unicite de commandement politique, administratif, economique et financier. "deux figures l'incarnent : l'amiral jaureguiberry et ernest roume. Et deux institutions la portent : le gouvernement general et le comite technique militaire. Cette unicite s'est manifestee a travers "une transversale commune". Pourquoi n'a-t-elle pas abouti? ses resultats sont-ils si minces qu'on le dit habituellement? voila une interrogation qui ouvre de nouveaux horizons. Surtout quand on decouvre ce qui se dissimule sous le vocable de mise en valeur. Et, en fin de compte, le chemin de fer en a. O. F. A-t-il ete un gouffre pour la france ou le sauveur de la france meurtrie? 1940 nous donne la reponse
In october 30, 1880, france, the a republican country started its policy on the railway systeme of senegal and its ather colonies in accordance with the convention on concessions. What were the designs of such a policy? what would its results be? was there a logic behind it? if so, what logic? same haring underlined the isolated aspect of that policy, we had to question the accuracy of such an assertion. With the help of compiled resources, we manage to discover what the underlined logic was : "the roumean doctrine of unity of commandment in administrative, economical and financial policies". It is emodied by two proeminent figures : admiral jaureguiberry and ernest roume; and enforced by two institutions : the central government and the military technical committee. That unity shews throug" a common touchstone ". Why did it fail? are its achievements as reglectable as it is argued. Such issues open new perspectives, especially whenone knews what the term of "development" implies. Eventually, has the railway system in french western africa been a financial abyss for france or a saviour of that ruined country. The answer is to be found in the year 1940

Tesis para optar al grado de Doctor en Literatura
Esta investigación abarca la poesía chilena de la segunda mitad del siglo XX, en el periodo comprendido entre 1973 – 1985. Analiza, da cuenta y reconoce las discursividades y transformaciones del sujeto poético en un grupo de autores que los estudios críticos han conceptualizado como la neovanguardia. El corpus de lectura corresponde a: La nueva novela de Juan Luis Martínez (1977), Purgatorio de Raúl Zurita (1979), La Tirana de Diego Maquieira (1983) y Proyecto de Obras Completas de Rodrigo Lira (obra póstuma, 1984). Así, se recorren los principales componentes de un nuevo programa discursivo de ruptura cuya característica principal es una profunda fragmentación del sujeto poético. Este fenómeno deviene en un proyecto poético que, recogiendo la herencia de la vanguardia histórica, clausura las posibilidades del poema formal y se rebasa a lo extratextual. El análisis discursivo de las escrituras se guía principalmente bajo los postulados teóricos de Mijail Bajtín y Yuri Lotman, lo que posibilita el estudio de la poesía desde la perspectiva de los géneros discursivos como un sistema complejo que se nutre de un conjunto de elementos extraliterarios. Otros enfoques teóricos se integran a la discusión bibliográfica. Analizar las discursividades poéticas como sistemas polisemánticos y multigenéricos, ha sido uno de los propósitos centrales de este estudio.

CARVALHO, Cid Vasconcelos de. Melodrama e nação no cinema brasileiro dos anos 1940. 2007. 322f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós- Graduação em Sociologia, Fortaleza-CE, 2007.
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I wanna to realize an approach about brazilian film production linked with Estado Novo values. The movies are the feature films Birds without Nest (1939) by Raul Roulien, Clay (1940) by Humberto Mauro and Forbidden Romance (1944) by Adhemar Gonzaga. My key matter is to show the easy or difficult relations of those ideological values with the melodramatic structure of its dramaturgy. I use, above all, of the filmic analyses methodology. However, it was important a bibliographical survey under the historical moment and the conceptions of nation and melodrama used. I discovered, in many points, that some constructions of the nation as immagined community, were opposed of the subtitles that could be note on the narratives, specially in some matters like social classes relations and ethnics and gender representations. In respect the last theme, some important matters could be observed in that movies, all of them with women in the main roles.
Procuro realizar uma abordagem sobre a produção nacional cinematográfica ficcional considera mais próxima de valores que diziam interesse ao Estado Novo. Trata-se dos filmes de longa-metragem Aves sem Ninho (1939), de Raul Roulien; Argila (1940), de Humberto Mauro e Romance Proibido (1944), de Adhemar Gonzaga. Minha principal preocupação é observar como tais valores ideológicos convivem com a estrutura notadamente melodramática que acompanha tal produção em harmonia ou não. Para tanto faço uso, sobretudo, da análise fílmica dos filmes em questão, mas igualmente de uma pesquisa bibliográfica sobre a produção em questão e sobre o momento histórico no qual foi produzida e uma pesquisa bibliográfica que fundamente as concepções de nação e melodrama que são trabalhadas na tese. Percebo, em vários momentos, que muito do que é construído em busca de evocar uma nação enquanto “comunidade imaginada” despida de problemas, acaba nas entrelinhas demonstrando uma relação bem mais complexa e difícil na abordagem de temas como a relação entre classes, a representação das raças e a abordagem sobre a mulher, sendo que todas as três produções possuem protagonistas femininas.

CARNEIRO, Francisco Stenio de Araújo. Construção de cenários prospectivos para o ensino superior brasileiro. 2010. 154 f. Dissertação (Mestrado em Políticas Públicas e Gestão da Educação Superior) – Universidade Federal do Ceará, Programa de Pós-Graduação em Políticas Públicas e Gestão da Educação Superior, Fortaleza-CE, 2010.
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New administration planning methods were brought about to allow managing decisions taking mainly due the speedy transformations that we are experiencing nowdays among the business administration arena. Many of these methods, despite of being created to a precise goal, ended up by being used, partially or not, to other ones distincts from the originals. That’s the case of methods that deal with prospective scenarios and that yearly reveal themselves as vital tools to business strategic planning. This study aims to verify in the field of higher education, the viability of an instrument to construct scenarios basead on one of these methods in the case, the method Grumbach. Education field was choosed, as study object, because it is a fundamental research one to the achievement of human and economic development of our country, which, morever, has been experienced, nationally and internationally, numerous conversions. The strategies and paths used in the preparation on the scenarios proposed their achievement through fourteen steps. The evaluation of the results was positive with reference to an efficient and consistent achievement of future scenarios, and also with reference of providing subsidies to public policy lawmakers. It is concluded, then, that the structure applied serves the purpose of the study because of its easy operation and have great ability have generated all possible future scenarios of research, including the three scenarios required by Grumbach Method to be described.
A velocidade com que as transformações ocorrem nas organizações exigiu que novos métodos de planejamento fossem desenvolvidos para dar suporte às tomadas de decisões. Muitos desses métodos, embora tenham sido criados para uma finalidade específica, foram utilizados no todo ou em parte para outros fins diferentes dos originais. É o caso dos métodos que trabalham com cenários prospectivos e que a cada ano se posicionam como importantes ferramentas para o planejamento estratégico das organizações. Este estudo tem por objetivo verificar, na área do ensino superior, a viabilidade de um instrumento de construção de cenários baseado em um desses métodos, no caso, o Método Grumbach. A área da educação foi escolhida para ser alvo da pesquisa por ser considerada fundamental para o desenvolvimento humano e econômico do País, além do que, atualmente, experimenta uma série de transformações nos contextos nacional e mundial. As estratégias e os caminhos utilizados na elaboração dos cenários propuseram a criação desse instrumento mediante catorze etapas. A avaliação dos resultados obtidos foi positiva com referência à forma eficiente e consistente de obtenção de cenários prospectivos e ao fornecimento de subsídios aos formuladores de políticas públicas. Conclui-se, portanto, que a estrutura aplicada serve ao propósito do estudo por ser de fácil operacionalidade e ter gerado com grande capacidade todos os possíveis cenários prospectivos da pesquisa, inclusive os três cenários requeridos pelo Método Grumbach para serem descritos.

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Secretaria da Educação do Estado de São Paulo
It is an analysis of the education process in the formation of the youth in the XIX century, taking for base the works fiction of a Brazilian and Portuguese writers, besides the knowledge in place and texts about the ancient College Caraça, model in that epoch, situated in Minas Gerais. Leaving from our research object, the novel O Ateneu, from Raul Pompéia, through the memories of Sérgio, the protagonist, revealed the function of one of the best colleges in Rio de Janeiro of the XIX century: austere discipline and basic mistakes not apparent at fathers eyes who were sending their children to study in the boarding school. So, we like to answer the next question: might we understand that the character Sérgio reveals Pompéia, as soon as he reproduces the characteristics of his creator? The identity of the character, trought the memory, can be seen as a projection of the author? The narrative elaborated of Sérgio perspective, already ripened through his impressions and sharp perception, analyses facts and situations that structured the social environment of the boarding school. The episodes served how revealed successive of the corruption and the moral misery that they were ruling in the traditional College Abílio, that it was frequented by Pompéia. In this sense, it was possible to draw a parallel between this work and Os Maias and A Reliquia of Eça de Queiroz, since they show the importance of the education in the life s formation of Carlos Eduardo and Teodorico, that, unfortunately, little used it, because the first one, although it had an exemplary education financed by his grandfather, surrendered to the enchantments of his sister Maria Eduarda, that after surviving the incest and killed Afonso of displeasure; already the second used an education hypocritical and religious to inherit the fortune of his aunt, Sr.ͣ Patrocínio, and was unmasked through a relic. All the novels wanted to show the importance of the education in the formation of people. Therefore, it was realized a research in a real establishment: the College Caraça, which worked like boarding school and seminar during the XIX century, to make a possible demonstration of model education; concern it was of Ramalho Ortigão with his children and his grandchildren
Trata-se de uma análise do processo educacional na formação da juventude no séc. XIX, tomando por base as obras ficcionais de um escritor brasileiro e de um português, além do conhecimento in loco e de textos a respeito do antigo Colégio Caraça, modelo na época, situado em Minas Gerais. Partindo do nosso objeto de pesquisa, o romance O Ateneu, de Raul Pompéia, por meio das memórias de Sérgio, o protagonista, revelou o funcionamento de um dos melhores colégios cariocas do século XIX: disciplina austera e erros básicos não aparentes aos olhos dos pais, que enviavam seus filhos para estudar no internato. Assim, desejamos responder à seguinte questão: poderíamos entender que a personagem Sérgio revela Pompéia, uma vez que reproduz as características de seu criador? A identidade da personagem, pela memória, pode ser vista como uma projeção do autor? A narrativa elaborada a partir da perspectiva de Sérgio, já amadurecido por meio de suas impressões e percepção aguda, analisa fatos e situações, que estruturaram o ambiente social do internato. Os episódios serviram como desvelamentos sucessivos da corrupção e da miséria moral que imperavam no tradicional Colégio Abílio, do Barão de Macaúbas, colégio esse freqüentado por Pompéia. Nesse sentido, foi possível traçar um paralelo entre essa obra e Os Maias e A Relíquia, de Eça de Queiroz, pois retratam a importância da educação na formação da vida das personagens Carlos Eduardo e Teodorico que, infelizmente, pouco a aproveitaram, pois o primeiro, embora tivesse uma educação exemplar financiada pelo seu avô, rendeu-se aos encantos de Maria Eduarda; que, posteriormente descobrirá ser sua irmã, vivendo o incesto e matando Afonso da Maia de desgosto; já o segundo utilizou-se da educação hipócrita e religiosa recebida para herdar os bens de sua tia, Sr.ͣ Patrocínio, tendo sido desmascarado por meio de uma relíquia. Todos os romances desejaram mostrar a importância da educação na formação das pessoas. Por isso, foi realizada também uma pesquisa em um estabelecimento de ensino real: o Colégio Caraça, que funcionou como internato e seminário durante o século XIX, para tornar possível a demonstração de uma educação modelo; preocupação que era também a de Ramalho Ortigão com seus filhos e seus netos

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The objective of this work is to answer the following question: How we can explain the recent rise in the commodities prices, due to the entry of China in the international market and which are the tendencies for the next years? For this, the work initially will present the deterioration in terms of trade from Prebisch and Singer, with an evolution of this thought, as well as criticism of this thesys. Afterwards we will present the Chinese economy, as well his impact in the demand of raw-materials and food and in the production capacity of industrialized products, presenting impacts over the terms of trade in the worldwide scenario, after that, we will use the Enzo Grilli and Maw Cheng Yang series updated, to show the prices behavior of the main commodities, with a special focus in the high occurred in this prices in the period comprehended between the Chinese market overture to the worldwide economy until 2007, fact contrary to the Prebisch and Singer thesis. At least we will conclude the work answering the question object of this work
O objetivo deste trabalho é responder a seguinte questão: Como podemos explicar a alta recente do preço dos commodities, face a entrada da China no mercado internacional e quais as tendências para os próximos anos? Para isso, o trabalho inicialmente apresentará a tese de deterioração dos termos de troca de Prebisch e Singer, com uma evolução desse pensamento, bem como críticas a estas teses. Posteriormente apresentaremos a economia chinesa, bem como seu impacto sobre a demanda de matérias-primas e alimentos e na capacidade de produção de produtos industrializados, apresentando impactos sobre os termos de troca no cenário mundial, em seguida, utilizaremos a série de preços formulada por Enzo Grilli e Maw Cheng Yang, que mostra uma evolução de preços dos principais commodities ao longo do tempo, focando na alta ocorrida nos preços de produtos primários no período compreendido entre a abertura do mercado chinês a economia mundial até 2007, fato este que contrária a tese de Prebisch e Singer. Por último teremos a conclusão que responderá a questão objeto deste trabalho

Nesta investigação sobre Raul Lino lemos a sua arquitetura também como construção de paisagem, inusitado propósito atendendo que as leituras sobre o autor têm-se centrado na sua arquitetura doméstica. Exceções têm havido que contextualizam a sua ação e obra entre coetâneos nas artes, no urbanismo ou no restauro e conservação do património, recusámos contudo a compartimentação disciplinar porque a demanda do autor abrange estes e outros domínios na mesma conceção espiritual de arquitetura. Assentámos no seu propósito de recuperação da paisagem, ou seja na recuperação da continuidade perdida entre a arquitetura e a sua circunstância, o objetivo da presente tese. Delimitámos a investigação entre 1900, data em que foi publicado o seu projeto de pavilhão português para a exposição internacional de Paris e 1948, ano em que produziu o parecer da zona de proteção do Palácio Nacional de Sintra, um ano antes de se reformar por limite de idade ao serviço do estado. Esta delimitação temporal coincidiu com importantes marcos na história da arquitetura moderna em Portugal. Em 1900 Ventura Terra propalava entre nós o descolamento da via progressista avessa à tradição e em 1948 a doutrina moderna com Keil do Amaral à proa, ratificava nas teses do 1.º Congresso Nacional de Arquitectura em 1948 a doutrina da Carta de Atenas de 1933. Julgamos, que esta tese revela que a paisagem em Raul Lino é como a sua arquitetura, testemunho vitalício de uma obra de beleza. Sentido esse que hoje, na hipermodernidade, urge mais que nunca recuperar.
In this research on Raul Lino we read its architecture as also the construction of landscape, unusual purpose given that the readings on the author has focused on its domestic architecture. Exceptions have been that contextualize its action and work among peers in the arts, in urban planning or thecul restoration and conservation of cultural heritage, however we refused to foreclosure because the demand discipline of the author covers these and other domains in the same spiritual conception of architecture. Sat down in his purpose of recovery of the landscape, i.e. the recovery of lost continuity between the architecture and its circumstances, the goal of this thesis. We defined the investigation between 1900, when it was published his project of portuguese pavilion for the international exhibition of Paris and 1948, the year that produced the opinion of the protection zone of the National Palace of Sintra, a year before retiring by age limit at the service of the state. This temporal delimitation coincided with important milestones in the history of modern architecture in Portugal. In 1900 Ventura Terra spread among us in the detachment of track progressive averse to tradition and in 1948 the modern orthodoxy with Keil do Amaral to bow, ratified in the theses of the first National Congress of Architecture in 1948, the doctrine of the Athens Charter of 1933. We believe, that this thesis reveals that the landscape in Raul Lino is like yours, lifelong testimony of a work of beauty. This sense that today, in hypermodernity, we urgently need more than ever recover.

Dissertação de mestrado em Estudos Artísticos (Música), apresentada à Faculdade de Letras da Universidade de Coimbra
Em Fevereiro de 1966 é apresentada no Teatro Experimental do Porto uma encenação de O Gebo e a Sombra de Raul Brandão. O encenador foi Ernesto de Sousa. Foi a segunda de apenas duas encenações que fez, ambas no Teatro Experimental do Porto. A música foi composta por Jorge Peixinho. Foi a segunda de dez incursões que fez na música de cena. Os três nomes essenciais deste trabalho: Raul Brandão, Ernesto de Sousa e Jorge Peixinho. É a partir do jogo de gravitações em torno destes três nomes que surge este trabalho. Três mentalidades criativas, todas elas marcantes. Todos eles anunciadores de modernidade e de mudança, empenhados na ruptura com os cânones artísticos - no teatro, na literatura, na música, nas artes plásticas e no cinema - do seu tempo que, abertamente, rejeitavam propondo outros projectos dramatúrgicos, performativos ou musicais. O presente trabalho assume-se como um trabalho de cruzamento disciplinar. Não é uma tese musicológica, redigida sobre o trabalho de Jorge Peixinho. Também não é uma tese sobre o teatro de Raul Brandão. Não é, tampouco, um trabalho de genética do espectáculo desenhado por Ernesto de Sousa. Contudo, não sendo nenhuma das coisas referidas, não deixa também de ser cada uma dessas coisas. É um trabalho que se pretendeu, espelhando a nossa analogia do triângulo no que concerne O Gebo e a Sombra de 1966, um lugar comum a cada uma dessas disciplinas, não sendo, porém, nenhuma delas em absoluto e que pretende reflectir a convergência de circunstâncias que fazem desta obra naquele momento em particular um acto de substancial importância na história das artes performativas em Portugal.
O Gebo e a Sombra was staged at the Teatro Experimental do Porto (Oporto) in 1966. The director was Ernesto de Sousa. It was one of his mere two theatre productions, both of which at the Teatro Experimental do Porto. The score was composed by Jorge Peixinho, his second experience out of ten in composing for the stage. This project arises from the interaction among these three key names, Raul Brandão, Ernesto de Sousa and Jorge Peixinho, each of whom with their unique creative mentality. Each of them served as a harbinger of modernity and of change. Each one was dedicated to breaking with the artistic cannon in the theatre, literature, music, the visual arts and in cinema of their epoch. They openly rejected tradition in favour of other dramatic, performing or musical projects. This is an interdisciplinary work. It is not a musicology thesis about the compositions of Jorge Peixinho. Nor is it a thesis about the drama of Raul Brandão. Neither can it be seen as an investigation into the origins of this particular staging of O Gebo e a Sombra by Ernesto de Sousa. It is none of these things and yet it is each of them. It is a work that intends to mirror our vision of the triangle which encompasses O Gebo e a Sombra. It is a space shared by each of these disciplines, without, however, being any of them. It attempts to reflect the circumstantial convergence contributing to the summa importance of this work in the history of the performing arts in Portugal.

This work presents a new energy saving technique for modern digital designs. We propose Time Interleaved Multi-Rail (TIMR) - a method for providing two dynamic supply rails to a circuit. This technique uses the first supply rail to mask the transition delay while changing the voltage of the second rail. We examine the design of TIMR as well as the implementation and considerations. We propose a number of control schemes that range from traditional DVFS to "race to sleep". This thesis also shows simulations of the technique using a existing voltage regulator in order to find the time and energy overhead of implementing the design. We find a 100μs switching time delay and 118μJ energy overhead associated with changing the voltage rail. This work concludes with comparisons to current energy saving techniques.
Graduation date: 2012

Considerado o expoente máximo da arquitetura romântica em Portugal, o Palácio Nacional da Pena, em Sintra, serviu de residência a duas gerações da família real portuguesa, entre 1838 e 1910. Com a Implantação da República perdeu o caráter de habitação, adquirindo estatuto de museu, aberto a quem o quisesse visitar. Ao longo de toda a sua evolução, o palácio como espaço museológico foi palco de várias alterações a nível dos interiores e do acervo, que marcaram a perceção que ainda hoje temos de alguns dos seus espaços. Entre a sua adaptação à função de museu e as movimentações no acervo que levaram a profundas alterações nos interiores, estas mudanças tiveram em conta as várias estratégias museológicas da época, assim como as diferentes ações de cada administração e tutela que se ocupou da gestão e manutenção do palácio. Esta dissertação pretende traçar o percurso museológico do Palácio Nacional da Pena, entre 1910 e 1941, analisando as várias alterações através de fontes primárias e bibliografia relacionada com a temática dos palácios nacionais, permitindo um maior conhecimento dos interiores e acervo que hoje podemos visitar.
Known as the greatest expression of romanticism in Portugal, the national palace of Pena, housed two generations of the Portuguese royal family. With the arrival of the republic, it lost its housing character, to become a museum open to the public. Through all its evolution as a museum it was underwent to several changes in its compartments that changed the perception that we have of them to this day. From the adaptation of the rooms to its museological function, to the alterations of the collections that deeply decharacterized its internal appearance, this changes took into account the several museological strategies of the time, and the different actions of the curators and wardship in charge of this monument. This thesis traces the museological evolution of the national palace of Pena, between 1910 and 1941, and analyses the alterations through several sources and bibliographical research about the subject, allowing a deeper knowledge about its interiors and the collection that can be visit today

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2020
Exame público realizado em 1 de Março de 2021
A seguinte dissertação pretende revelar a importância que a obra de Carlos Raúl Villanueva teve na estrutura urbana da cidade de Caracas (Venezuela) expondo sequencialmente as diferentes fases da sua obra que o destacaram como um dos máximos expoentes do Movimento Moderno na América Latina. Esta investigação parte do nosso interesse por estudar a espacialidade da sua obra, principalmente pela procura constante do arquiteto em concretizar a Síntese das Artes. Para este efeito, será aprofundado o Conjunto Central da Cidade Universitária de Caracas como caso de estudo, sendo a obra com a qual Villanueva expressa a síntese, ao conjugar as correntes vanguardistas que se nutriam do Modernismo para criar um todo arquitetónico. Assim, partimos do todo para o particular tendo como exemplo esta obra. Conseguiremos explorar a uma escala mais humana os efeitos de integração das artes dentro do espaço arquitetónico, através da narrativa construída pelo arquiteto, que nos permitirá evidenciar os efeitos dos estímulos sensoriais provocados a todo aquele que habita e vivencia estes espaços. Exploramos os limites do valor plástico existente na relação entre a arquitetura e as restantes artes, e a capacidade que o espaço arquitetónico tem para conviver em harmonia com elementos escultóricos e pictóricos para criar uma obra de arte total.
The following dissertation intends to reveal the importance that the work of Carlos Raúl Villanueva had in the urban structure of Caracas (Venezuela), sequentially exposing the different phases of his work that highlighted him as one of the greatest exponents of the Modern Movement in Latin America. This investigation is part of our interest in studying the spatiality of his work, mainly due to the constant research by the architect to achieve the Synthesis of the Arts. For this purpose, the Central Area of the Caracas University Campus will be deepened as a case study, being the work with which Villanueva expresses the synthesis, by combining the avant-garde currents that were nurtured by Modernism to create an architectural whole. Thus, we started from the whole to the particular, using this work as an example. We’ll be exploring in a more human scale, through Villanueva’s built narrative, the impact of integration of the arts within the architectural space, which will allow us to identify the effects of sensory stimuli caused to everyone who inhabits and experiences these spaces. We explore the limits of the plastic value that exists in the relationship between architecture and the other arts, and the capacity that the architectural space has to cohabit in harmony with sculptural and pictorial elements to create a total work of art.

This study defines the information gathering and communication and response needed for safety at highway-rail crossings. It examines technologies for low-cost, high-safety treatments for low volume highway crossings of higher speed (130-200 kph) rail. Crossing closure and consolidation is a necessary first step. Existing train control and crossing safety systems are examined. Intelligent Transportation System technologies are examined for applicability to the information gathering, communicating, and control functions of grade crossing safety. Guidelines are offered for low volume crossings of the high speed rail line in Oregon. A preliminary cost benefit analysis is presented. Above 200kph, crossing closure or grade separation is required. In the range of 130-200 kph, ITS technologies have the potential to enhance crossing safety at much lower cost than grade separation. A global positioning system based positive train control system provides the train location and speed information needed for advanced crossing control. A traffic management center can receive train and crossing information, operate crossing systems, and grant clearance for train or highway users through the crossing. Remote lock gates provide safety at private crossings. Increased traveler information and four quadrant warning gates increase motorist compliance at public crossings. At train speeds above 175 kph, barrier gates protect rail movements. Video monitoring and detection systems provide reliable, redundant information should a vehicle become trapped in a crossing.
Graduation date: 1996

Nos anos 40, Portugal vive um regime político com tendência autoritária, e com pouco espaço para a expressão livre da criatividade artística e arquitetónica. A Exposição do Mundo Português é considerada por muitos a oportunidade para os modernistas se expressarem. Esta, intitulada “Exposição do Mundo Português” de 1940, é considerada como o mais importante evento a realizar dentro das Comemorações dos Centenários da fundação do país, e como tal, momento onde se congregam os esforços construtivos e realizadores de um regime em consolidação, e também o empenho criativo das principais personalidades artísticas, ao dispor do Estado Novo. O desejo de glorificar a nacionalidade, pela evocação de oito séculos de História, era motivado simultaneamente pela necessidade de demonstrar a capacidade civilizadora de Portugal, legitimando o chamado Estado Novo através da celebração do Império, e pela determinação de se impor como Nação aos olhos de Portugal e do Mundo. A presente dissertação de mestrado propõe o estudo da Exposição do Mundo Português, mais especificamente como a criação do Pavilhão do Brasil projetado pelo arquiteto Raúl Lino, foi influenciada pela sua viagem ao Brasil. Já é conhecida a influência das viagens na obra de Lino, mas no caso do Pavilhão do Brasil esta influência não está clarificada. A partir da análise de diários de viagens e de outras Exposições Internacionais em que Raúl Lino participou, é possível avaliar o conhecimento adquirido e as influências, que posteriormente se refletiram na exposição.
In the forties, Portugal was experiencing a political regime with an authoritarian trend and with few space for free expression of artistic and architectural creativity. The Portuguese World Exhibition is considered by many the opportunity for modernists to express themselves. This exposition, entitled "Portuguese World Exhibition", is the most important event to be held in the Commemoration of the Centenary of the Foundation of Portugal in 1940. As such moment, constructive and director’s efforts gather for a consolidation regime, and also the creative endeavor of the main artistic personalities at the disposal of the “Estado Novo”. The desire to glorify nationality by the evocation of eight centuries of history was simultaneously motivated by the need to demonstrate the civilizing ability of Portugal, legitimizing the called “Estado Novo” through the celebration of the Empire, and by the need to impose itself as a Nation at the eyes of Portugal and of the World. This master thesis proposes to study the Exhibition of the Portuguese World, specifically as the creation of the Brazilian Pavilion designed by the architect Raul Lino, was influenced by his trip to Brazil. The influence of the trips is in the work of Raul Lino is already known but in the case of the Brazilian Pavilion this influence is not clarified. From the analysis of daily travel and other international exhibitions in which Raul Lino attended, it’s possible to assess the knowledge acquired and the influences which subsequently reflected in the exhibition.

Tese de mestrado, Escultura Pública, Estudos de escultura pública, Universidade de Lisboa, Faculdade de Belas Artes, 2010
O 2º volume apenas será consultado em papel, no Arquivo da FBAUL
A research gathering the inventory of public sculptures found in the Algarve dating from the 20th and 21st centuries, up to the end of 2009. The concept of public sculpture is analysed through the changes the visual arts have undergone over time. In a generalized approach, it follows that philosophy and aesthetics, which were the foundations of the works prevailing throughout Europe as well as in the rest of the country, showed up late in the sculptures found in the Algarve. Some of the great Portuguese artists of the nineteenth century are represented by public sculptures from the beginning of the twentieth century. The public sculptures up to beginning of the seventies have the hallmark of the Estado Novo and falls under the aegis of the Política do Espírito. Still during this political period, one particular sculpture was erected which broke with the traditional form of public art. Following the political revolution on April 25, throughout the seventies and the eighties, the new political opening allowed the diversification on the themes addressed and the excessive triumphalism placed on monuments gave way to all sorts of topics affecting the daily lives of populations. During the nineties there was a burst as far as creativity is concerned and the region moves towards the production of a huge quantity of sculptures, initiating a period in which new materials and techniques were used to develop the ideas. The three-dimensional works hitherto exclusively produced by Portuguese artists has the contribution of foreign sculptors. In nine years of the 21st century alone, there was a far higher number of works erected in the Algarve than in the two previous centuries put together. Several symposia on sculpture took place promoting meetings gathering artists from around the world leading to the conception and production of works of art

This study analyzes the impact of the 1980 Staggers Rail Act (SRA) on Pacific Northwest (Oregon, Washington, Idaho and Montana) wheat transportation. A minimum cost uncapacitated transshipment network flow model is employed to simulate the origination and destination pattern of grain flows before (1977) and after (1985) the SRA. The grain transportation flow for those two years is compared and analyzed as a basis for measuring the impact of rail deregulation. The Transportation Simplex Algorithm is used to find the optimum (minimal cost) wheat transportation flow for the two time periods. Four modes of transportation—truck, barge, rail, and ocean carriers—are used to link a sample of inland grain elevators (source), barge terminals (transshipment), PNW ports on the Lower Columbia River and Puget Sound (transshipment), and foreign countries (sink). The empirical results indicate that the SRA has had a significant impact on modal distribution, overall transportation costs, and rate competition. Under the assumption of perfect information and profit maximizing behavior, and considering both single car and multicar rates, two-thirds of the total PNW wheat traffic should have moved by rail in 1985. This represents a significant increase compared to 1977, when this percentage was estimated at only 46.43 percent. This increase in rail modal share has come at the expense of truck-barge shipments. The truck-barge share of wheat transportation declined from 47.53 percent in 1977 to 25.66 percent in 1985. Most of this increase in rail shipment is the result of lower shipping costs offered through multicar rates. If only single car rail rates are considered in 1985, the rail market share is only 25.66 percent; while truckbarge market share is 66.60 percent. The volume of wheat exported through the Lower Columbia River ports and Puget Sound appears not to have been affected by the SRA. Overall wheat transportation cost decreased significantly over this time interval. In nominal terms, it cost an average of 5.32 percent less in 1985 than in 1977 to transport a metric ton of PNW wheat to the port terminals on the west coast. When adjusted for inflation, average wheat transportation cost decreased around 44 percent. Sensitivity analysis showed that the wheat transportation market in the PNW has been very competitive since 1977 with some apparent changes in market behavior. First, railroads had a greater ability in 1985 than in 1977, to capture wheat traffic from truck-barge by lowering rates. When rail rates are reduced by one percent, rail traffic increases 7.93 percent in the 1985 model and only 2.40 percent in the 1977 model. Rail rate increases, on the other hand, lead to higher traffic losses in 1977 than in 1985. For an increase of one percent in rail rates, rail traffic decreased 10.21 percent in 1977, and only 4.76 percent in 1985. The conclusion of this study is that there has been a significant diversion of wheat traffic from truck-barge to rail, during the period of rail deregulation. Overall transportation costs have also decreased, and the railroads ability to capture wheat traffic by reducing rates has been enhanced. It is concluded that the impact of the SRA on PNW wheat transportation is due largely to the introduction of multicar rates by the railroads serving the region. The implications of these findings are that railroad deregulation has provided many of the benefits expected by this legislation. Shippers are favored by the SRA because they are paying lower transportation costs. Railroads have benefited, to the extent that their market share has increased. Barge companies, however, have been adversely influenced by the SRA because they have lost their modal share of wheat traffic to railroads. Shippers, while benefiting from lower rates, seems now more vulnerable to the potential for future rail rate increases.
Graduation date: 1987

Tese de mestrado, Estudos Românicos, Universidade de Lisboa, Faculdade de Letras, 2009
O presente trabalho assenta na análise das intrincadas relações entre as noções de sujeito e mundo nas Memórias de Raul Brandão. Tomando como pano de fundo o fenómeno histórico que constitui o espelho irradiador não só da imagem do eu, mas também da de terceiros, a escrita tende a crescer em torno da narrativização daqueles dados históricos e não propriamente pelo mero debitar informativo. É no eixo de uma linguagem construída/literária que se situa a voz do eu, dando da realidade uma perspectiva subjectiva e distante da simples evocação de um acontecimento. O sujeito trabalha sobre a realidade, transformando-a por via do seu olhar e do olhar dos outros, com o qual frequentemente estabelece relações de sintonia, o que é bem expressão da relação de identidade que estabelece com figuras que fizeram parte da cultura e da história portuguesas da segunda metade do século XIX e primeiras décadas do século XX. A relação dicotómica entre o eu e o mundo inclui, aliás, o cruzamento entre vários registos escritos, que vão desde o simples apontamento ao tom confessional, no qual vimos aparecer a esfera mais íntima do eu. Por isso, interessou-nos perceber o modo como se articulam os trechos de cariz mais autobiográfico com outros, aparentemente mais informativos, sob o ponto de vista histórico, acabando por notar o quão difícil se torna a separação entre um e outro registo. Por outro lado, o retrato é, em Brandão, o local por excelência da construção literária, onde melhor podemos observar o confronto entre o olhar individual e o dos outros que, afinal de contas, acaba na própria modificação do olhar do eu.
Ce travail a pour but l'analyse des inextricables relations entre les notions de sujet et de monde dans les Mémoires de Raul Brandão. Prenant comme toile de fond le phénomène historique qui a constitué le miroir irradiant, pas seulement celui de l'image du «moi» , mais également celle des tiers, l'écriture tend à grandir autour de la narration de ces données et non pas à proprement dit, par le mérite du débit informatif. C'est dans l'axe d'un langage littéraire qui se situe la voix du moi, donnant de la réalité, une perspective subjective et distante de la simple évocation d'un événement Le sujet travaille la réalité, la transformant par l'action de son regard et de celui des autres, avec lequel il établit très souvent des relations de syntonie. Ce fait constitue l'expression de la relation d'identité que ce sujet établit avec les figures qui appartenaient au monde de la culture et de l'Histoire portugaises de la seconde moitié du XIXème siècle et les premières décennies du XXème. La relation dichotomique parmi le «moi» et le monde compris, d'ailleurs, le croisement de plusieurs enregistrements écrits, dès la simple note, jusqu'au ton le plus confessionnel, dans lequel on a vu apparaître la sphère plus intime du «moi». Pour tout cela, on a voulu comprendre le mode de fonctionnement de certains fragments ayant une nature autobiographique, avec des autres apparemment plus informatifs, sous le point de vue historique. Pour arriver à la conclusion qu'il est trop difficile de faire une vraie distinction entre l'un et l'autre de ces deux enregistrements. Par contre, chez Brandão, le portrait est le lieu par excellence de la construction littéraire, où l'on peut mieux observer l'opposition entre le regard individuel et le regard des autres, qui arrive même à modifier le regard du moi.

This thesis develops a framework for analyzing the application of commuter rail and bus services between several small urban centers to enhance overall connectivity. The study includes analyzing specific performance criteria for commuter rail service and express bus service based on data from existing systems around the U.S. The study then compares these findings to the theoretical performance of commuter rail and express bus service in the U.S. Highway 20 corridor from Corvallis, OR to Lebanon, OR via Albany, OR. The study concludes that commuter rail rated higher in six of eight analysis criteria and would be the preferred mode to bus service in terms of the performance criteria used in the study. Further cost and operational analysis is necessary to analyze implementation of future commuter rail or express bus service in the Mid-Willamette Valley in Oregon.
Graduation date: 2013

Connection between distribution of socio-economic characteristics of population and economy in relation to railway network in Czechoslovakia in 1921 and 1930 Abstract Transport is closely related with social and economic processes in space and they affect each other. History of transport, and economy and history of the population are themes quite well covered. Attempts to synthetically cover history of transport and society and its activities in the space have not been numerous, if any they only referred to certain examples, although the transport, especially rail, is mentioned as an important factor of development. The diploma thesis analyzes statistical dependece of selected demographic and socioeconomic characteristics of national censuses in 1921 and 1930 and economic characteristics and agriculural units in 1930 on rail infrastructure in the Czechoslovak Republic. The key statistical data are selected census results (eg. age of population, literacy and inhabitans in the sector of the national economy), results of census of economic and agricultural units (for example units equipment) at the level of administrative units in Czechoslovakia. Spatial data (maps) are an important source, too. These allow statistical and visualization operations in the GIS. They had to be digitized in order to create map...

A comprehensive and scalable solution for high-performance switched capacitor amplification is presented. Central to this discussion is the concept of ring amplification. A ring amplifier is a small modular amplifier derived from a ring oscillator that naturally embodies all the essential elements of scalability. It can amplify with accurate rail-to-rail output swing, drive large capacitive loads with extreme efficiency using slew-based charging, naturally scale in performance according to process trends, and is simple enough to be quickly constructed from only a handful of inverters, capacitors, and switches. In addition, the gain-enhancement technique of Split-CLS is introduced, and used to extend the efficacy of ring amplifiers in specific and other amplifiers in general. Four different pipelined ADC designs are presented which explore the practical implementation options and design considerations relevant to ring amplification and Split-CLS, and are used to establish ring amplification as a new paradigm for scalable amplification.
Graduation date: 2012
Access restricted to the OSU Community, at author's request, from July 19, 2012 - July 19, 2013

To value the heritage associated to the use of the tile as a traditional element with a strong identity in Portuguese culture is placed in this work as a way to look for its place in the contemporary housing kitchen. With the component of architectural coating, both exterior and interior, the ceramic sector came to have a significant weight in the productive and industrial sector of the Portuguese economy. The use of the ceramic coating inside the domestic space presents considerable advantages over other finishing solutions, in particular in the rooms that are in use of running water for meal or hygiene purposes. The waterproofing of the surface of the tile, leads to acoustic changes in the built environment, which are reflected in the quality of individual and family well-being in the use of space. The present study intends to establish a connection between tile coating with all its historical, patrimonial and functional value taking into account the evolution of the concept of kitchen in the domestic space and the latest trends that point to the overlap of the preparation and confection functionality of with a social dimension. It is therefore proposed to define the conditions for the development of a new ceramic product taking into account the acoustic characteristics provided by its use in the context of contemporary cooking. In terms of design three proposals are advanced to answer the problems of this study that aims to answer the question: How to improve the well-being and acoustic performance of the tile in the kitchen of contemporary housing from the point of view of product design

Tese de mestrado em Estudos Comparatistas apresentada à Faculdade de Letras da Universidade de Lisboa, 2009
A presente dissertação visa propor a noção de fronteira como signo central e elemento funcional das seguintes obras de três autores portugueses do fim-de-século: algumas narrativas escolhidas de três livros de contos de Fialho de Almeida, o Sentimento dum Ocidental de Cesário Verde e Os Pobres de Raul Brandão. A fronteira é nestas obras uma presença fulcral de duas formas básicas: enquanto dimensão do espaço e enquanto ideia subjacente aos fenómenos culturais e literários do finimundismo e do finisterra. Há nas narrativas dos dois autores espaços fronteiriços quer no mundo rural e natural, quer no urbano. Essas figurações serão representativas da forma como eles lidam com a profunda transformação espacial do fim-de-século português, no sentido de uma alteração das harmonias seculares entre esses dois mundos provocada pela densificação do urbanismo. As relações entre memória e imaginação serão os instrumentos privilegiados para interpretar e superar essa fronteira primacial. Em Brandão a fronteira divide dois espaços ou planos ontológicos: a natureza imaginal e a cidade. Na segunda parte da tese é explorada a questão do imaginário finissecular que lemos enquanto imaginário da fronteira: o apocalipse e o finisterra. As formas pelas quais, nos três autores, os limites temporais e outros limites que os simbolizam são transformáveis em fronteiras traduzem-se na procura de saídas para lá do confinamento urbano: essas saídas serão o escapismo visionário em Cesário, tentando ver, para além da desgregação apocalíptica das formas e da prisão do finisterra, novas imagens possíveis de renovação espácio-temporal. Em Fialho o investimento será feito sobretudo na exploração das tipologias humanas e urbanas da fauna apocalíptica, pela própria degradação visual e física que o apocalipse permite. Já em Raul Brandão o finimundismo exprime-se como procura da regeneração dos seres e de uma justificação e
This dissertation focuses on the notion of frontier as a main symbol and as a functional element in the works of three portuguese authors of late nineteenth century: some narratives from three short story books by Fialho de Almeida, Sentimento dum Ocidental (The Feelings of a Westerner) by Cesário Verde and Os Pobres (The Poor) by Raul Brandão. The notion of frontier is crucial in two ways: as dimension of space and as an idea that underlies the literary and cultural phenomena of the apocalypse and the end of the earth. In the narratives of both authors we can find frontier and transitional spaces both in the rural and natural world as well as in the urban sphere. They illustrate the way Fialho and Brandão cope with the profound transformation of space in the end of the nineteenth century in Portugal, which came to alter the secular harmony between those two worlds due to urban growth. The relationship between memory and imagination will be the privileged tools to interpret and overcome this frontier. In Brandão the frontier divides two spaces or ontological plans: the imagined nature and the city. In the second part of the thesis we will explore the mythology of the end of the century, which we will read as a mythology of the frontier: the apocalypse and the end of the earth. The ways through which, in these three authors, the temporal limits (and other limits that symbolize them) may be turned into frontiers can be translated in the search of ways out of the urban confinement: these will be the visionary escapism of Cesário, who will try to see beyond the apocalyptical detachment of forms and the prison of the end of the earth (these are new possible images of spatial and temporal renewal). In Fialho this investment will be done specially through exploring the human and urban typologies of the apocalyptical fauna (through the visual and physical degradation that the apocalypse allows). In Raul Brandão the end of the world is expressed as the search of reg

Glass is described as a fragile and transparent material, whose presence manifests itself in the most diverse and almost unnoticed forms in human daily life: Whether it’s the window that connects us to the outside, the glass of wine on the table or the magnificent stained-glass windows in cathedrals. If we think further on about this material, we come to the conclusion that it’s history is undoubtedly tangled up with ours, keeping us from even realizing the exact moment when the first contact between both was made. Or when the human being started to manipulate glass. It is the ambiguity of glass that makes it such an interesting and sought-after material. Since its discovery, the crafting mastery has evolved and matured to the most elaborate forms, from glass cane to the automatics, glass is constantly evolving. And as history shows until today, glass has a special place both in our architecture and at our tables. Glass has become common, but has never lost its magical glint, for which it was always desired over time. It has a special place in our daily lives and in art. A symbolic reading on glass, points to it’s importance, highlighting it’s presence in Art and Design, both for it’s aesthetic peculiarities and for its pragmatic utilities that seduce our minds. It's with this goal in mind that our investigation features the material and the artists that manipulate it. It's about an ancestral bond requiring rigorous labor in which the artist plays a special part,both nationally and abroad, which leads us to refer to Marinha Grande, the "capital of glass" in Portugal. It is in the national context that we focus the main effort of getting to understand this material in our history, industry and art. The results of the connection between industry and art show us how fascinating glass is, from the old times to contemporary times - we can call it a timeless fascination