547 research outputs found
Atividade de Estágio na Burel Mountain Originals
No full textO presente relatório descreve a atividade de estágio realizado na empresa Burel Mountain Originals®, com sede localizada na vila de Manteigas, distrito da Guarda. O estágio e o subsequente relatório têm como objetivo proporcionar ao autor a aquisição de experiência no mercado de trabalho e o cumprimento dos requisitos para a obtenção do grau de mestre em Design Industrial. A empresa, Burel Mountain Originals®, desenvolve produtos na área do vestuário para homem e mulher e respetivos acessórios, bem como peças de decoração para casa, como mantas, puff’s, bancos e cadeiras, ainda executa diversas soluções de revestimentos como painéis de parede, cabeceiras de cama e tapetes por medida.
A finalidade do presente estágio para a empresa centra-se no desenvolvimento de peças na área do design de produto para o seu mercado. Com o presente estágio, foram adquiridas competências profissionais na área de design de produto, mais concretamente design de mobiliário, dentro da empresa anteriormente mencionada. O autor usufruiu de autonomia e responsabilidade na tomada de decisões ao logo de cada projeto desenvolvido. Também houve a oportunidade de crescimento a nível pessoal, através do contato e diálogo com os responsáveis na área de desenvolvimento de produtos, assim como, com os representantes da empresa. Ao longo do presente relatório são apresentadas todas as atividades realizadas durante os cinco meses da atividade de estágio. Foram desenvolvidos vários projetos no decorrer da atividade de estágio, todos se centraram no design de produto, mais especificamente em produtos para sentar, como bancos e puff’s. Da mesma forma, foram desenvolvidas soluções que visavam a resolução de um problema de estabilidade de um produto do segmento dos puff’s já existente na marca. Também foi aberta uma nova área de projeto na empresa, com um projeto que junta a arte do burel com a arte da cestaria em varas de vime, este projeto centralizou-se no desenvolvimento de cesta/lancheira para Piquenique. Todos os projetos executados, usufruíram de inúmeras pesquisas, diversos desenhos e muita dedicação para desenvolver produtos robustos e que se enquadrassem com a linguagem e forma de produzir design da marca. No desenvolvimento dos projetos, foram adquiridas competências técnicas na aplicação do tecido de burel, bem como na utilização de madeira e espuma nos diferentes produtos. No decorrer do estágio, foram sempre respeitadas e debatidas, todas as decisões e opiniões dadas pelos responsáveis da empresa, também como, a opinião de fornecedores e empresas externas que laboram com a marca Burel. Em conclusão o relatório contempla também de uma análise crítica da experiência da atividade de estágio.The following report describes the internship made in the Burel Mountain Originals® company, located in Manteigas village, Guarda district. The internship described in this report has the purpose to provide the author and trainee, the acquisition of experience in a workplace environment to obtain the master’s degree in product design. The company, Burel Mountain Originals®, develops products in the areas of men and women clothing and accessories, as well as house decoration such as blankets, puff’s, stools and chairs, and solutions in coating – wallpapers, bed headboards and custom-made carpets.
The purpose of this internship for the company is focused on the development and enrichment of pieces in product design for its market. With the internship, professional skills were acquired in product design, specifically in furniture design within the company. The author had autonomy and responsibility in decision making throughout every developed project. There was also the opportunity to grow in a personal level, contacting directly with the staff responsible for product development as well as the company owners. In this report are described the activities made during the five months of internship. Several projects were developed during the internship, specifically seating products, such as stools and puffs. In the same way, solutions were developed for a product in the puff segment of the brand, that had a stability problem. A new segment was also created in the company, with a product that combines the burel art with wicker, mainly creating a Piquenique lunch box. Product development was executed through countless research, several drawings and efforts in developing strong products within the brands language and design image. Throug project development, burel fabric application skills and techniques were acquired, as well as using wood and foam in the different projects. Along the internship all the decisions and opinions of the company’s directors, as well as the opinion of suppliers and external companies that collaborate with the burel brand were taken in account. In conclusion this report also has a critic approach and analysis of all the experience of the internship
La novela negra entre realidad, historia y ficción. "El caso Bonapelch" de Hugo Burel
No full textLa novela "El caso Bonapelch" que Hugo Burel (Montevideo, 1951) publicó a mediados de 2014, representa el caso más significativo de incursión en el género policial del autor uruguayo. Sobre la base de una anécdota temática que conecta la ficción con la historia real del país durante los años treinta, Burel crea un personaje, el inspector Santini, que –en sus tentativas frustradas de resolver el entonces célebre caso policial– bascula entre la dimensión de la ficción y los sucesos históricos. En el relato se evidencia, por una parte, la intuición de utilizar el género policial como herramienta discursiva para la representación de elementos socio-históricos idiosincráticos de la cultura local; por otra parte, el texto narrativo reelabora los modelos canónicos del género policial.The novel “El caso Bonapelch”, that Hugo Burel (Montevideo, 1951) has published in 2014, represents the most significant case of incursion in the “police genre” (or thriller genre) of the Uruguayan author. Starting from a thematic anecdote that connects the fiction with the real history of the country of the thirties, Burel creates a personage, the inspector Santini, who – in his frustrated attempts of solving that famous police case – tilts between the dimension of the fiction and the historical events. In the novel we can find, on one hand, the intuition of using the “police genre” as a discursive tool for the representation of socio-historical elements typical of the local culture; on the other hand, the narrative text is a rereading of the canonical models of the “police genre”
“Ruinificación” urbana y percepción deformada en el Montevideo de El guerrero del crepúsculo, de Hugo Burel
No full textEl objetivo del presente estudio reside en un abordaje de la novela El guerrero del crepúsculo, del montevideano Hugo Burel (2001), que pone en evidencia la dimensión desasosegante y desorientadora de la urbe contemporánea y, en particular, de la ciudad de Montevideo. Se centrará la atención en la modalidad narrativa que el autor utiliza para subrayar las contradicciones y discontinuidades del tejido urbano y social de la capital uruguaya, insistiendo en la relación existente entre la desolación incipiente y las sensaciones de pérdida y desarraigo que el protagonista experimenta. El examen de las “errancias urbanas” del personaje central muestra un Montevideo atemporal, dibujando una urbe en la que los referentes espacio-temporales aparecen distorsionados. Esta distorsión subjetiva se pondrá en relación con la invisibilidad social del protagonista (y del ser humano), interpretada como una de las características esenciales de la subjetividad y de las dinámicas perceptivas de la postmodernidad.The aim of the present study resides in a reading of the novel El guerrero del crepúsculo, of the Montevidean Hugo Burel (2001), in order to underline the dimension of rupture, fragility and deviation of contemporary urban centers and, especially, of the city of Montevideo. We will analyze the narrative modality adopted by the author to show the contradictions and discontinuities in the urban and social connective network of the Uruguayan capital; we will stress the importance of the relation that exists between the incipient desolation and the sensations of loss and uprooting that the protagonist experiences. The examination of the “no-goal urban walks” of the main character shows a timeless Montevideo, and exhibits a city in which the spatio-temporal modals seem to be distorted. We will put in relation this subjective distortion with the social invisibility of the protagonist, and we will try to explain it as one of the essential characteristics of the subjectivity and of the perceptive dynamics of post-modernity
Les doublets synonymiques chez Hervé Burel (1905) ou comment casser l’entre-soi
No full textDans son autobiographie en langue bretonne écrite vers 1905, Histor eur famill eus Breïz Isel, le paysan Hervé Burel (1858-1943) utilise abondamment un procédé rhétorique qui fait l’objet d’une analyse dans cet article : le doublet synonymique. Comment ce procédé rhétorique antique latin a-t-il pu arriver sous la plume d’un paysan léonard bretonnant anticlérical à la toute fin du XIXe siècle ? Au-delà du contexte de diglossie naissante dans lequel cet œuvre est écrite et qui pourrait en partie expliquer ce phénomène discursif, l’auteur n’utilise-il pas ce procédé à des fins de défi sociolinguistique ? La littérature lui permettrait-il de porter ainsi une revendication en faveur de plus de justice sociale ?In his autobiography composed in Breton around 1905 entitled Histor eur famill eus Breïz Isel, Hervé Burel (1858-1943), a peasant, made extensive use of a rhetorical device that is the subject of the analysis presented here, namely the synonymic doublet. How did this ancient Latin rhetorical device come to be used by an anticlerical Breton-speaking peasant from Léon at the end of the 19th century? Beyond the emerging diglossic context in which this work was written, which could partly explain this discursive phenomenon, is it possible that the author was using this device to issue a sociolinguistic challenge? Could he have been using literature to put forward a claim for more social justice
Memoria sin nostalgia, violines como flores: un encuentro con Hugo Burel
No full textLa literatura uruguaya contemporánea se caracteriza por una visión desencantada de la
realidad que se expresa a través de la transgresión de los géneros canónicos, la provocación
temática y la presencia de puntos de vista marginales. Los escritores orientales en la
actualidad construyen sus novelas y relatos en un espacio intermedio en el que convergen
el realismo y lo fantástico, sin confundirse. De entre los autores nacidos en la década
del 50 destaca la figura de Hugo Burel (1951), montevideano, periodista, novelista, autor
de varios libros de cuentos y Premio Juan Rulfo en 1995. Su obra se encuentra suspendida
entre una doble perspectiva: por una parte, sus personajes expresan un despojamiento
de certidumbres, como resultado de un proceso de expulsión de la ficción fuera del sistema
y de una paulatina desaparición de las utopías de los años 60. Por otra parte, Burel
despliega en su obra un proceso dinámico continuo que obliga al lector a trascender el
minucioso realismo cotidiano para dar paso a una lógica inexplicable. Las más insignificantes
imágenes de la cotidianeidad se convierten en sus relatos en mundos poéticos.
El universo de los espacios menudos, de los barrios marginales, de los gestos repetidos
e idénticos cada día, reflejan la voluntad del autor de desmitificar lo grande para que el
lector se alimente no sólo del conjunto de imágenes que componen la obra sino de cada
fragmento de la misma. La presente conversación con el autor se mueve entre literatura
e historia, cultura y mitos del Uruguay de los últimos cincuenta años. Contemporary Uruguayan literature is characterized by a disillusioned vision detectable
in the transgression of canonical literary genres, the thematic provocation and the presence
of marginal points of view. Contemporary Uruguayan authors write their novels
and short stories, building up a literary space, right in between realism and fantasy.
Among the writers that were born in the fifties, we analyze Hugo Burel`s work (1951),
born in Montevideo, journalist, writer, novelist and winner of Juan Rulfo Prize in 1995.
His production is floating between a double perspective: first of all, his fictional heroes
are living in a world without certainties that has lost its stability; this is the result of a
process of the expulsion of fiction from the system and of a gradual disappearance of the
utopias of the 60s. On the other hand, Burel shows in his work a dynamic process that
forces the reader to move from a meticulous daily realism towards an inexplicable logic.
The most insignificant images of a typical boring day become a poetic world in his stories.
His fictional universe is composed of small spaces, marginal districts, repeated and identical
daily gestures reflecting the author’s desire to demystify great things, so that the
reader can concentrate not only on the set of images that compose the work but also on
each fragment. The present conversation with the author moves between the literature
and the history, the culture and the myths of the Uruguay of the last fifty years
Efficiently Simulating Higher-Order Arithmetic by a First-Order Theory Modulo
No full textIn deduction modulo, a theory is not represented by a set of axioms but by a
congruence on propositions modulo which the inference rules of standard
deductive systems---such as for instance natural deduction---are applied.
Therefore, the reasoning that is intrinsic of the theory does not appear in the
length of proofs. In general, the congruence is defined through a rewrite
system over terms and propositions. We define a rigorous framework to study
proof lengths in deduction modulo, where the congruence must be computed in
polynomial time. We show that even very simple rewrite systems lead to
arbitrary proof-length speed-ups in deduction modulo, compared to using axioms.
As higher-order logic can be encoded as a first-order theory in deduction
modulo, we also study how to reinterpret, thanks to deduction modulo, the
speed-ups between higher-order and first-order arithmetics that were stated by
G\"odel. We define a first-order rewrite system with a congruence decidable in
polynomial time such that proofs of higher-order arithmetic can be linearly
translated into first-order arithmetic modulo that system. We also present the
whole higher-order arithmetic as a first-order system without resorting to any
axiom, where proofs have the same length as in the axiomatic presentation
The challenge of distinguishing cell–cell complexes from singlet cells in non-imaging flow cytometry and single-cell sorting
No full textOur recent work has highlighted that care needs to be taken when interpreting single cell data originating from flow cytometry acquisition or cell sorting: We found that doublets of T cells bound to other immune cells are often present in the live singlet gate of human peripheral blood samples acquired by flow cytometry. This hidden “contamination” generates atypical gene signatures of mixed cell lineage in what is assumed to be single cells, which can lead to data misinterpretation, such as the description of novel immune cell types. Here, based on the example of T cell–monocyte complexes, we identify experimental and data analysis strategies to help distinguishing between singlets and cell–cell complexes in non-imaging flow cytometry and single-cell sorting. We found robust molecular signatures in both T cell–monocyte and T cell–B cell complexes that can distinguish them from singlets at both protein and mRNA levels. Imaging flow cytometry with appropriate gating strategy (matching the one used in cell sorting) and direct microscopy imaging after cell sorting were the two methods of choice to detect the presence of cell–cell complexes in suspicious dual-expressing cells. We finally applied this knowledge to highlight the likely presence of T cell–B cell complexes in a recently published dataset describing a novel cell population with mixed T cell and B cell lineage properties.</p
Presencias fantasmales en la cuentística fantástica del Uruguay contemporáneo. Dos modalidades de representación del subgénero en la obra de Hugo Burel y Mario Delgado Aparaín
No full textOur study aims to analyze a section of
fantastic discourse, the one that is linked to ghost
stories, within the narrative production of two
contemporary Uruguayan writers: Hugo Burel
(1951) and Mario Delgado Aparaín (1949). The
subject of our review will be two short stories: “El
quinto piso” which Burel included in the
compilation Esperando a la pianista y otros
cuentos; this short story was pubblished in 1983
and represents an example of a tale written still
during the time of the military dictatorship in the
country. The second story that we analyze is “Un
muchacho azul e infinitamente triste” that Delgado
Aparaín published twenty years later, in 2003, in
the compilation El canto de la corvina negra y
otros cuentos. Based on the theoretical support
provided by specialists such as María Negroni and
Rosalba Campra, we will try to prove that both
stories are placed ―even with their aesthetic
peculiarities― within that frame of fantastic
transgression that bases their rhetoric of fear on the
opposition between the animate world (everything
with movement, will, life) and the inanimate world
(inert matter, such as sculptures, pictures,
photographs or stones). Within this framework, the
two writers present two ways of transgressing
through the abolition, or suspension, of the
boundaries between life and death. Burel does it by
using the word “I”: it means that he is allowing the
narrator to designate himself and to produce within
the story a “necessary dialogue” between author
and reader: we use the word “necessary” because
the “mystery” that suddenly invades the narrative
depends on the subjectivity of the narrator and is a
product of a mental construction. In the narrative
structure of the story of Delgado Aparaín,
however, the “represented narrator “ is no longer a
narrator who pronounces the word “I”, but the
voice that observes and narrates is multiplied in a
plurality of “observers”; in this case, the
perception of the fantastic events by this multiple narrator is what gives to the fact a status of
“reality”.Nuestro estudio se propone analizar una vertiente del discurso fantástico, la que se vincula con las historias de fantasmas, dentro de la producción narrativa de dos escritores uruguayos contemporáneos: Hugo Burel (1951) y Mario Delgado Aparaín (1949). Objeto de examen serán dos cuentos: “El quinto piso”, que Burel incluyó en la recopilación Esperando a la pianista y otros cuentos, y que representa un ejemplo de relato escrito todavía en la época de la dictadura militar en el país (el cuento ve la luz en 1983); y “Un muchacho azul e infinitamente triste”, que Delgado Aparaín publicó veinte años después, en 2003, en la recopilación El canto de la corvina negra y otros cuentos. Lo que se pretende demostrar, apoyándonos en el soporte teórico proporcionado por especialistas como María Negroni o Rosalba Campra, es cómo ambos cuentos se colocan -aún con sus peculiaridades estéticas- dentro de ese marco de transgresión fantástica que basa su retórica del miedo en la oposición entre lo animado (lo que está dotado de movimiento, voluntad, vida) y lo inanimado (la materia inerte, como esculturas, cuadros, o piedras). Dentro de este marco, los dos escritores plantean dos maneras de transgredir a través de la abolición, o suspensión, de las fronteras entre la vida y la muerte. Burel lo hace sirviéndose de la palabra “yo”, es decir permitiendo al narrador designarse a sí mismo y haciendo posible que en el cuento se produzca un “diálogo necesario” entre autor y lector: necesario en tanto en cuanto el “misterio” que en un momento dado invade la narración depende de la subjetividad del narrador: lo sobrenatural no sería, por tanto, sino producto de una construcción mental. En la estructura narrativa del cuento de Delgado Aparaín, en cambio, el “narrador representado” ya no es un narrador que pronuncia la palabra “yo”, sino que la voz que observa y narra se multiplica en una pluralidad de “observadores” de tal manera que la percepción conjunta por parte de este narrador múltiple del hecho fantástico es lo que le otorga un status de “realidad”
Preserving Fertility by Treating the 3 Compartments: Laparoscopic Approach to Deep Infiltrating Endometriosis
No full textStudy Objective: To describe a laparoscopic technique for the resection of deep endometriosis, treating the 3 compartments.Design: Educational video.Setting: Tertiary referral center in Strasbourg, FrancePatient: A 37-year-old primiparous woman.Intervention: Adenomyomectomy, partial cystectomy, and bowel resection. Fertility preservation was mandatory because of the patient's desire for future pregnancy.Measurements and Main Results: A 37-year-old primiparous woman presented with main symptoms of dysmenorrhea and dyspareunia associated with pollakiuria and macroscopic menstrual hematuria (with emission of endometriotic tissue on analysis). She also complained of dyschezia. Magnetic resonance imaging revealed an endometriotic nodule in the vesicouterine space with an involvement of the anterior wall of the uterus and a suspicion of bladder adenomyosis. There were lateral spicules attracting the ovaries toward the midline and an infiltration of the round ligaments and nodules related to the rectovaginal space's endometriosis. A possible invasion was noted underneath the rectal mucosa. The patient expressed her desire preserve fertility. The local institutional review board has approved the video. Initially, an ultrasonography was performed showing the adenomyoma invading the bladder. The second step was a cystoscopic evaluation by means of a double J probe and a bladder catheter. After surgery the bladder catheter was left in place for 15 days and the double J stents for 6 weeks. The first step was the dissection of the vesicouterine space to dissect the anterior adenomyoma from the bladder. A partial cystectomy was then performed to remove the bladder nodule. The adenomyoma was resected at its uterine portion and the uterus sutured. Surgery was then performed in the posterior compartment. Ureterolysis was performed bilaterally, and the pararectal fossas were then opened. The rectovaginal space was dissected. A rectosigmoid resection was mandatory to remove the bowel nodule. Patient follow-up included regular consultations and a hysterosonography at 6 weeks after surgery. Hysterosonography demonstrated an adequate patency. No adhesions to the uterus were found. We recommended to wait for 6 months to allow pregnancy according to the department's protocols. A clinical improvement was observed. Today, at 8 months she has not attempted pregnancy.Conclusions: A complete surgery is feasible for severe and deep endometriosis with a multicompartmental disease, using a laparoscopic approach aiming to preserve fertility. (C) 2019 Published by Elsevier Inc. on behalf of AAGL
Enfermedades de los peces en el Uruguay
No full textTrabajo del Instituto de Anatomía Patológica de la Escuela de Veterinaria de MontevideoContiene: Mortalidad de crías de peces producida por Saprolegniaceas -- Presencia de Ichthyophtirius multifilis (Fouq.) -- Argulidae -- Plerocercoide en el burel (Cheilodipterus saltator (L.)
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