Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-01T11:33:22Z No. of bitstreams: 1 Júlio Carlos de Oliveira Moreira.pdf: 30136547 bytes, checksum: 347bd6ba131e4f99564827ee92f6bfce (MD5) / Made available in DSpace on 2018-08-01T11:33:22Z (GMT). No. of bitstreams: 1 Júlio Carlos de Oliveira Moreira.pdf: 30136547 bytes, checksum: 347bd6ba131e4f99564827ee92f6bfce (MD5) Previous issue date: 2018-06-15 / Societies can be studied by analyzing various aspects. How individuals organize themselves politically; how they eat; how they treat the environment; how they have sex. I have chosen to analyze what the body of man can say about society. I seek to analyze throughout history, relevant aspects that characterized the importance of the man’s body. A trajectory of facts and opinions that guided the Western world. When one speaks about man’s body, even today, it is a term that is synonymous of the human body. Despite its privileged position in relationship to women for centuries, this modern man lives the extremes of society. It occupies the highest political and economic positions on the globe, but at the same time, also represents the largest contingent of prisoners in jails. The contemporary man is a being who lives social pressures due to the new roles assumed by the woman since the second half of the last century, besides other challenges imposed by the modern life. He tries to locate his position in this new society. A society of performance linked to the logic of consumption as Bauman and Byung-Chul teach us. As a social voyeur I gaze at the body of man to understand the logic that guides our behavior in the second half of the 21st century, where concepts like privacy change with the rising of social networks. A new society of exhibition, where the body becomes a commodity to be worked on to create an intended identity of the individual. And that generates dissatisfaction for those who do not reach the models idealized by that society. But also anxiety among those who have reached valued standards and do not wish to lose them / As sociedades podem ser estudadas analisando vários de seus aspectos. Como os indivíduos se organizam politicamente; como comem; como tratam o meio ambiente; como fazem sexo. Eu escolhi analisar o que o corpo do homem pode falar sobre a sociedade. Busco analisar ao longo da história, aspectos relevantes que caracterizaram a importância do corpo do homem. Uma trajetória de fatos e opiniões que nortearam o mundo ocidental. Quando se fala no corpo do homem, ainda hoje, ele é um termo sinônimo do corpo humano. Apesar de sua posição privilegiada em relação à mulher durante séculos, esse homem moderno vive os extremos da hierarquia social. Ocupa ao mesmo tempo os maiores cargos políticos e econômicos pelo globo, mas também representa o maior contingente de presos nas prisões. O homem atual é um ser que vive pressões sociais devido aos novos papéis assumidos pela mulher desde a segunda metade do século passado e desafios impostos pela vida moderna. Ele tenta localizar qual a sua posição nessa nova sociedade. Uma sociedade do desempenho atrelado à lógica do consumo como nos ensinam Bauman e Byung-Chul. Como um voyeur social miro o corpo do homem para entender as lógicas que norteiam o nosso comportamento nessa segunda metade do século XXI, onde conceitos como privacidade se alteram com o fortalecimento das redes sociais. Uma nova sociedade da exibição, onde o corpo passa a ser uma mercadoria a ser trabalhada para criar uma identidade pretendida do indivíduo. E que gera insatisfações para quem não atinge os modelos idealizados por essa sociedade. Mas também ansiedade entre aqueles que obtiveram os padrões valorizados e não desejam perde-los

Made available in DSpace on 2016-04-26T18:18:11Z (GMT). No. of bitstreams: 1 Gisele Mello Gentil.pdf: 39259284 bytes, checksum: c126d52a1a814961cfd58d885261fdfe (MD5) Previous issue date: 2009-09-29 / This project has the goal to research the influence of women´s magazines on the making up of the present female beauty patterns. For doing so, the research starts from an analysis of the beauty patterns in 1960´s, 1970´s, 1980´s, 1990´s and 2000´s run in the advertising of CLAUDIA and NOVA magazines published by Abril publisher, building up the corpus of this research. A special attention is given to the use of editing softwares to correct images such as Photoshop, due to the fact of its extensive use in post production of women´s advertising photos run in the analyzed magazines; fact incisively proved through interviews with professionals from PLAYBOY and NOVA magazines that complemented the research. From the theoretical point of view, this research is based upon Umberto Eco, Georges Vigarello and Nancy Etcoff works on the history of beauty; the work of Lucia Santaella on the approach of the forthcoming post human phenomenon; to support the ideas of analysis on the politics of the body in the context of the digital culture the works of Mark Dery, Nízia Villaça and Paula Sibilia were used. Through the theory that the pattern of present female beauty is part of an image, women´s appearance, their activities and other elements such as colors and images were analyzed in the publicity ads. The analysis show that the exposure to the advertising images of women mechanically perfect, changed and corrected through the use of editing images softwares, impose to real women a naturally impossible beauty pattern leading them to search for solutions to make their bodies into what the Photoshop makes in advertising. At the end, based upon the corpus of the research and in the light of its bibliography, it is concluded that the present beauty pattern became a stereotype and it suffers the influence of the means of communication and the new technological scenery and it is ruled by the images projected in advertising. Those are images that go through several interventions of editing and correcting softwares that lead several women to submit themselves to surgical and chemical interventions with the purpose of drawing closer to the image shown on the means of communication / Este projeto tem como objetivo pesquisar a influência das revistas femininas na formação do padrão de beleza. Para tanto, parte de uma análise dos padrões de beleza das décadas de 1960, 1970, 1980, 1990 e 2000 veiculados nos anúncios publicitários das revistas CLAUDIA e NOVA, publicadas pela Editora Abril, que constituem o corpus da pesquisa. Destaque especial é dado ao uso de softwares de edição de imagem, como o Photoshop, em virtude da recorrência de seu uso na pós-produção das fotos publicitárias de mulheres veiculadas nas revistas analisadas, fato comprovado incisivamente pelas entrevistas com profissionais das revistas Playboy e NOVA, que complementaram a pesquisa. Do ponto de vista teórico, a pesquisa se apóia em Umberto Eco, Georges Vigarello e Nancy Etcoff para a história da beleza; Lucia Santaella, para a abordagem do fenômeno emergente do pós-humano; e para embasar as análises sobre as políticas do corpo no contexto da cultura digital, Mark Dery, Nízia Villaça e Paula Sibilia. Através da hipótese de que o padrão de beleza feminino atual parte de uma imagem, foi analisado nos anúncios publicitários a aparência das mulheres, suas atividades e outros elementos como cores e formas presentes. As análises mostram que a exposição das imagens publicitárias de mulheres mecanicamente perfeitas, alteradas e corrigidas por editores de imagens, impõe às mulheres reais um padrão de beleza naturalmente impossível, levando a busca de soluções para que possam fazer em seus corpos o que o Photoshop faz na publicidade. Ao final, com base no corpus da pesquisa e à luz da bibliografia, conclui-se que o padrão de beleza atual passou a ser um estereótipo e sofre interferências dos meios de comunicação e do novo cenário tecnológico e é pautado por imagens projetadas pela publicidade. São imagens que passam por diversas intervenções de programas de edição e correção de formas e que levam diversas mulheres a submeter-se a processos cirúrgicos e químicos, no intuito de aproximar-se da imagem apresentada nos meios de comunicação

À cheval entre nature et culture, le poil et la chevelure humaine condensent un grand ensemble d’enjeux symboliques relevant de questions identitaires, religieuses, scientifiques, et autres. L’étude des discours et des pratiques concernant le poil représente, pour l’historien, une fenêtre sur l’évolution des mentalités d’une société donnée en ce qui concerne les perceptions de soi et de l’autre. S’inscrivant dans le courant intellectuel de l’histoire du corps, cette thèse s’attarde plus précisément aux « systèmes trichologiques » dans la France de l’époque moderne (soit du XVIe au XVIIIe siècle). Elle se fonde sur l’analyse d’une grande variété de sources permettant de recouper différents types de discours touchant au poil : point de vue scientifique des médecins, physiognomonistes et historiens, point de vue prescriptif des traités d’éducation et de civilité, contrepoint exotique des récits de voyage et autre témoignages de « curiosités » ainsi qu’un suivi de l’évolution étymologique des mots pertinents au sein de dictionnaires et encyclopédies. La question centrale de cette thèse est celle du rôle du poil dans le façonnement de représentations servant à identifier, démarquer et hiérarchiser les groupes sociaux; et comment celles-ci évoluent de concert avec d’autres transformations historiques.Le premier chapitre s’attarde au poil comme marqueur de différences individuelles. On y retrace une sorte de « langage » du poil, recensant les significations et connotations rattachées aux diverses manifestations pileuses : couleur, longueur, abondance, forme. Il y a apparait clairement que le poil joue un rôle important tant dans la mise en scène de soi que dans la lecture de l’apparence physique de l’autre. Le deuxième chapitre s’intéresse au poil en tant que marqueur de « genre ». On y examine la contribution des représentations de la pilosité dans la construction des identités masculines et féminines. Le poil s’interprète comme une manifestation extérieure de la nature des différents sexes et de leurs rôles dans la société, ce qui en fait un enjeu dans les relations de pouvoir entre les sexes et entre les gens du même sexe. Le troisième chapitre aborde le poil en ce qu’il permet de délimiter et hiérarchiser les classes sociales. On le voit participer aux modes et au processus de discipline des corps qui permettent aux élites, avec les perruques et le raffinement des conduites et des pratiques d’embellissement, de se distinguer autrement que par les vêtements. On retrace également une politique du poil qui s’étend au-delà du regard, l’état s’accordant le droit d’agir directement sur les corps – les chevelures, les poils – de ses sujets. Le dernier chapitre explore l’instrumentalisation du poil dans la construction d’un « autre » lointain et anormal : le sauvage d’outre-mer, l’enfant-loup, l’aberration de la nature. En caractérisant les poils de cas qu’ils situent aux frontières de l’humanité, les Français de l’Ancien régime exposent leurs propres présupposés sur la normalité et la civilisation. / Both natural and cultural phenomenon, human hair condenses a wide array of symbolic issues relating to notions of identity, religion, science, etc. The analysis of discourses and practices concerning hair affords the historian a window to the evolution of a given society’s attitudes towards the self and others. Following the historiographical current of the history of the body, this thesis examines the “trichological systems” of modern France (16th to 18th centuries). It is based on the survey of a wide variety of sources, allowing the comparison of different types of hair-related discourses: the scientific point of view of physicians, physiognomonists and historians; the prescriptive point of view of education and civility treatises; the exotic counterpoint of travel narratives and other writings on “curiosities”, as well as a review of the etymological evolution of relevant words in dictionaries and encyclopedia. The central question in this dissertation concerns the role of hair in the construction of representations used in identifying, distinguishing and hierarching social groups; and how these representations evolve along other historical transformations. The first chapter highlights hair’s role as marker of individual differences. A “language of hair” is exposed, inventorying meanings and connotations attached to the various factors of hairy manifestations: color, length, affluence, shape. The importance of hair in the staging of the self and the reading of others is highlighted. The second chapter explores the contribution of hair in the construction of gendered identities. Hair is interpreted as an outward sign of the sexes’ different natures and the confirmation of their respective social roles. As such, it is a tool in the negotiation of power between and within genders. The third chapter examines hair as it is used in the demarcation of social classes. It is seen as participating in the process of body discipline of the French elite. The use of wigs alongside refined hair care emphasized their distinction from lower classes beyond the traditional means of clothing. Direct state regulations on the hair of its subjects also show that trichological politics don’t limit themselves to the gaze. The finale chapter highlights the instrumentalization of hair in the construction of faraway and abnormal “other”: the oversea savage, the wolf child, the natural aberration. By characterizing the hair of beings at the frontier of humanity, Ancien Régime French expose their own presuppositions on normality and civilization.

Desde hace algunas décadas, abundan las obras sobre la lengua en los medios de comunicación, pero son escasos los estudios lingüísticos sobre la prensa destinada específicamente a las mujeres. Creemos que la influencia de este género periodístico así como su capacidad para crear opinión y configurar distintos tipos de mujer, bien merecen un análisis en profundidad de los recursos lingüísticos y de las estrategias discursivas predominantes. Nuestro propósito es estudiar las modalidades de la enunciación, pues pensamos que esta categoría lingüística es la que mejor puede dar cuenta de las relaciones que se establecen entre el enunciador y el enunciatario, según la definición que de estos proporcionan Greimas y Courtés (1982: 148). / For some decades, the works about language in the media are plentiful, but they are scarce the linguistic studies on the press dedicated to the women specifically. We believe that the influence of this journalistic gender as well as their capacity to create opinion and to configure different woman roles, well they deserve an analysis in depth of the linguistic resources and of the predominant linguistic strategies. Our purpose is to study the enunciation modalities, because we think that this linguistic category is the one that better can give a bill with the relationships between the speaker and the listener, according to the definition that of these provided y Greimas and Courtés (1982: 148)

On opening women's magazine the reader is bombarded with page after page of advertisements featuring highly sexualised images of women. This thesis explores the use of sexuality in contemporary women's magazine advertising and how women respond to this. A year-long analysis of twelve different monthly magazines, spanning three different age demographics was undertaken. A comprehensive coding schedule was developed, and over 5000 advertisements were analysed in a quantitative manner to determine the level of sexuality. Nearly 500 women took part in an online survey. It was designed to gauge their responses to the use of sex in advertising, as well as the influence of advertising overall. This analysis found that sex is a tool used by advertisers in almost every advertisement that appears in women's magazines, particularly those targeted at the youngest age demographics. Some products, such as fragrances, rely more heavily on the use of sex in their advertising campaigns than others. The women surveyed believed that average and older women are under-represented in advertising. Women tend to recollect advertisements that promote a 'promise' or an idealised lifestyle set in a sexual context. Recollection is, of course, the aim of advertising, so it would appear that the use of sex is here to stay.

African American beauty salons across the country have historically served as settings for social interaction, political activism, and community organizing in the African American community. These settings often offer opportunities for intimacy between cosmetologists and their clients. Research findings suggest that the unique bonds between women in salons can be a viable option when providing health intervention and education to large numbers of women. Data indicates that salon campaigns and promotions which focused on health issues such as stroke and diabetes education, breast and cervical cancer awareness, healthy living, and smoking cessation, have been efficacious in changing unhealthy habits or increasing knowledge. There are a plethora of social and health issues that could also benefit from this culturally sensitive platform. In particular, abused African American women face multiple barriers when accessing services offered by legal, medical, and social services. These barriers can impact the help seeking behaviors of victims/survivors. Developing strategic interventions that address the ways in which these women seek help as well as increasing access to services is essential. The purpose of this qualitative study was to understand how African American cosmetologists and salons might be used in domestic violence advocacy and education. Theories framing this research included intersectionality and the social ecological framework (SEF). The interrelatedness of intrapersonal, interpersonal, community, and societal factors within each framework was used to understand how women experience violence and how the social phenomena in African American salons might provide alternative means of intervention to reach and empower marginalized, abused women. Eleven licensed, African American cosmetologists in three separate salons were recruited. Their perceptions (thoughts, feelings, beliefs, and opinions) about domestic violence advocacy and experiences with clients were collected and analyzed. In-depth interviews with each cosmetologists recreated their daily encounters in the salon and provided information about their relationships with clients. These findings were triangulated by salon observations and survey instrumentation. Common patterns and themes from this data were identified and coded. The findings were reported using rich, descriptive narratives provided by the cosmetologists.

本論文以康德和經驗主義美學切入討論維多利亞文學中女性的家庭和社會奉獻，論證女性家庭奉獻的美感並非單純呼應家內天使的形象，而是作者藉此美感，提供女性一符合性別期待的社會奉獻管道。十九世紀的家內天使意識型態，歌頌中產階級女性角色為男性的幫手，其家庭奉獻象徵秩序與道德，讚揚女性的道德美感。此兩性空間的意識型態視女性的主要活動範圍為家庭，看似縮減其參與社會奉獻的相關性，但作家實以女性家庭奉獻的美感為敘事手法，傳達慈善始於家庭的想法，傳達女性情感與落實社會奉獻。 本論文檢視三本1850至1870期間的英國小說：喬爾斯‧狄更斯（Charles Dickens）、喬治‧愛略特（George Eliot）、伊利莎白‧蓋斯凱爾（Elizabeth Gaskell）的小說皆以女性奉獻為主，但各展現不同的美感與社會奉獻的關係，融合社會對家庭奉獻的傳統要求和實踐女性自我主體性。論文第一章介紹美的概念演變、維多利亞時期的女性奉獻美感、以及本論文的章節架構。第二章探索美感與道德的同異性。從康德美學的觀點，探討維多利亞的家內天使形象和狄更斯《荒涼山莊》女主角的家庭奉獻，論證美雖不等同於道德，但卻是道德的象徵。第三章分析女性的愉悅美感是源於奉獻行為。愛略特《米德爾小鎮》的女主角，融合利己情感和利他奉獻，以道德和愉悅感為奉獻的基礎，彰顯女性奉獻與道德愉悅感的關係。第四章檢視女性的同情美感和社會改革。蓋斯凱爾《北方與南方》女主角的同情美感，塑造出獨立能幹的形象，致力於家庭奉獻和排解階級糾紛，並促使男性角色改善階級衝突。結論章節論述，維多利亞小說中的家內天使形象和女性奉獻所產生的美感，隱藏複雜多樣的奉獻和主體關係，雖然女性以家庭奉獻的美感為出發點，實為進行社會奉獻，蘊含豐富的改革和情感動力，挑戰傳統家內天使形象的寓意。 / This study uses Kantian and Empiricism aesthetics to explore women’s devotion and effect to home and society in Victorian literature. The beauty of heroines’ devotion to home does not simply convey the conventional image of an angel in the house but offers women a socially acceptable access to social commitment in the Victorian novels written by Charles Dickens, George Eliot, and Elizabeth Gaskell. The ideology of an angel in the house regards middle-class women as helpmates. Women obtain the sense of beauty via their domestic devotion, which symbolizes order and morality. This female image not only reinforces the ideology of separate spheres but also cooperates with women’s participation in social commitment. Female devotion is used to reinforce the notion that charity begins at home and express women’s feeling and pursuit of social commitment. This study examines three Victorian novels between 1850 and 1870. The novels of Dickens, Eliot, and Gaskell accentuate female domesticity and present different aspects of female beauty in women’s participation in domestic devotion relevant to their social commitment of improving the world. They reconcile the society’s demands of women’s domestic devotion with personal pursuits for female subjectivity. In the first chapter, the study defines beauty, particularly of devotion in the Victorian time. It also shows the structure of the work through describing how other chapters are organized. The second chapter examines the affinity of beauty and morality in women’s devotion to home. Kantian aesthetics which explains the exercise of aesthetic judgments is helpful to explore Dickens’s angelic heroine’s moral beauty in Bleak House. The heroine’s beauty is not synonymous with morality but is, instead, symbolic of morality. The third chapter centers on the relation between female agreeable feelings, virtues, and beauty in Eliot’s Middlemarch. The heroine undergoes the process of reconciling self-regarding feelings and altruistic devotion to make virtuous contributions. Empiricist David Hume’s virtue theory helps explore the motivation and transformation behind the heroine’s virtuous action based on agreeable feelings and approbation of virtuous actions. The fourth chapter explores women’s beauty resulting from sympathy with family members and the poor. The independent heroine of Gaskell’s North and South dedicates herself to domestic devotion and class conflict. Her sympathetic beauty causes men to change present condition for the improvement of working-class life. In the fifth chapter, the analysis of female beauty and devotion in the three Victorian novels helps discover that various, complicated relation between devotion and subjectivity under the conventional disguise of women’s moral image. Although the women’s beauty originates from their devotion to home, the domestic devotion functions as their social commitment of reforming the world which contains rich, dynamic challenge to the ideological image of female beauty.

The dissertation situates the Goethean sublime in an obscured countermovement of resistance to the aestheticization the concept underwent in the 18th century. Before the encounter with the English aesthetic concept of the sublime, the German notion of das Erhabene (the sublime) named not a category of aesthetic experience, but a social affect. In contrast to the Sublime of Edmund Burke's theory, which explicitly excludes melancholy from the sources of the Sublime, das Erhabene is an affect related to the self-overcoming of melancholic subjectivity. As the aestheticized notion of the sublime displaced das Erhabene, Goethe became one of the most radical innovators of the aesthetics of the sublime. But as is demonstrated in chapters on The Sorrows of Young Werther, Elective Affinities, Faust and Wilhelm Meister, he did so with the aim of recovering the displaced meaning of das Erhabene as social affect. Goethe's sublime aims to show at every turn that the so-called "aesthetic experience" of the sublime is really displaced social affect. His treatment of the sublime therefore constitutes a radical critique of the establishment of aesthetics as an independent sphere of inquiry. There is for Goethe no way to understand aesthetic experience independently of its social context. By reconnecting the sublime it to the original social meaning of das Erhabene, Goethe recovers the aesthetics of the sublime as a means of mediating and facilitating the movement of subjectivity from frustrated stasis to divine creativity; i.e., from exclusion to participation in the material creation of reality.

The dissertation situates the Goethean sublime in an obscured countermovement of resistance to the aestheticization the concept underwent in the 18th century. Before the encounter with the English aesthetic concept of the sublime, the German notion of das Erhabene (the sublime) named not a category of aesthetic experience, but a social affect. In contrast to the Sublime of Edmund Burke's theory, which explicitly excludes melancholy from the sources of the Sublime, das Erhabene is an affect related to the self-overcoming of melancholic subjectivity. As the aestheticized notion of the sublime displaced das Erhabene, Goethe became one of the most radical innovators of the aesthetics of the sublime. But as is demonstrated in chapters on The Sorrows of Young Werther, Elective Affinities, Faust and Wilhelm Meister, he did so with the aim of recovering the displaced meaning of das Erhabene as social affect. Goethe's sublime aims to show at every turn that the so-called "aesthetic experience" of the sublime is really displaced social affect. His treatment of the sublime therefore constitutes a radical critique of the establishment of aesthetics as an independent sphere of inquiry. There is for Goethe no way to understand aesthetic experience independently of its social context. By reconnecting the sublime it to the original social meaning of das Erhabene, Goethe recovers the aesthetics of the sublime as a means of mediating and facilitating the movement of subjectivity from frustrated stasis to divine creativity; i.e., from exclusion to participation in the material creation of reality.

本文研究的主要目的為研究學習行為與智能的相關性，採經驗加權吸引模型(Experience-Weighted Attraction)來描述受測者在選美競賽賽局(Beauty Contest Game)實驗下的決策及行為，不單只選擇強化學習或信念學習模型，其理由為經驗加權吸引模型綜合了以上兩個學習的特點；在智能的部分，本文以實驗所得的工作記憶能力(Working Memory Capacity)分數的高低，來代表智能高低。 　　從研究結果發現，智能高與低兩類受測者的初始吸引分配，皆與其在第一期的選擇類似，而低智能的受測者在初始吸引部分，所估計的分配結果會與第一期之後期間的分配較不相似，這可能代表著低智能的受測者對於類似賽局實驗以及此實驗的分析或想像較差；在ψ的參數估計上，由於低智能的初始吸引與最後一期猜測的分配較不相似，以理論來說會遞減較快，也就是說會小於高智能所估計的結果，而真實的估計結果也顯示如此，此外，ψ的估計結果，也表示低智能受測者，對於之前吸引遞減較快，遺忘地較快。本文在δ的部分，高智能的受測者明顯地大於低智能的受測者，這表示高智能的受測者，對於失去的報酬比較敏感，會較關心沒有選擇到的數字所能得到的報酬，本文認為此結果可能隱含高智能受測者的認知階層較高。在受測者對於吸引敏感度λ的參數部分，本研究發現，此兩類受測者並無太大差異，也就是此兩類受測者對於吸引的變動，敏感度差距不大，也就代表影響人們對於吸引敏感度的原因，可能不是來自於智商高低。由本文的實證結果，可以發現學習行為與智能的相關性，因此本文建議在往後與學習行為有關的研究上，也許可以納入智能為主要研究探討的核心。 / The purpose of this paper is to explore possible relationships between individual differences in working memory capacity (WMC) and behavioral heterogeneity revealed in a repeated beauty contest experiment. We use ‘experience-weighted attraction’ (EWA) learning, to describe the decision-making and learning behavior of subjects in the beauty contest game (BCG) experiment. In the intelligence section, the level of the experiment from the working memory capacity score, to represent the intelligence high or low. We found high and low intelligent of the subject's initial attract allocated all its similar to the first period choice. In parameter estimation of ψ, due to the initial attraction of low intelligence subject is less similar to the choice of the following periods. According to theory,ψ of the low intelligence subjects will decrease faster, and the estimate of the results also show that. In addition, part of δ, high intelligence subjects was larger than the low intelligent subjects, which means that subjects of high intelligence, more sensitive to lost revenue. We think that may be implied the higher intelligent subjects are higher cognitive hierarchy. The sensitivity of players to attractions λ, we found that these two types of intelligent is not much difference. This means that the impact of the sensitivity of players to attractions, may not be from the intelligent level. By the empirical results, we can find the relationship between behavioral heterogeneity and intelligence, so we suggests that it may be incorporated into the intelligent as the main research.