This paper outlines a model of human development to help guide contemplative practice in parenting and facilitate prayerful understanding of parent-child development with a focus upon one's own parent-child relationship. The model draws from the tree of life symbolism represented by the cross and the spiral and further elaborated through symbolic interpretations of the seed, root, stem, branch, leaf, and fruit. Contemplative prayer is seen as a path of self-development that allows parents to respond to children with goodness, love, wisdom, and justice. / Graduation date: 1992

The purpose of my research is to provide high school English instructors and students a contemplative writing pedagogy that has the capacity to assist them in calming their bodies and quieting their minds so that they can focus their attention, openly explore self and others, rediscover their creativity, and reawaken their appreciation for the art of writing. Such a pedagogy is supported by mindfulness practices, which are exercises in moment-to-moment awareness that help to detach the practitioner from his or her thoughts. Mindfulness practices include breathing, walking, yoga, body scans, and visualizing; they provide quiet spaces wherein mind, body, and soul are allowed to concentrate on and connect with a particular being, idea, or experience. Such quiet spaces engage the whole learner, thus making possible holistic learning and being. If students are given the space to write in a classroom of contemplative practices, they will possibly have an increased chance at passing state assessments, while also developing a skill that will assist them in their own self inquiry and transformation.

Contemporary Romanian cinema, particularly in its internationally successful instances, displays formal characteristics that have often led to its being seen in terms of the so-called Slow Cinema trend in contemporary cinema. This thesis proposes that there is something distinctive about slowness in contemporary Romanian films, similar to and yet different from Slow Cinema. Through a detailed analysis of films made by Cristi Puiu and Cristian Mungiu, two of the most representative contemporary Romanian filmmakers, Romanian slow films emerge as a less stringent form of slowness characterised by tension. This thesis first looks at some of the ways in which slowness can be developed in film - through the use of the long take and the trope of waiting along with the use of stillness and silence. Within this slowness an attitude of contemplation emerges, a characteristic that is key to Slow Cinema. Through close textual analysis of a number of films with a reputation for slowness, both classic and more recent examples, this thesis looks at how the techniques used to develop slowness in film allow for variation and how they can be used not only to create this attitude of contemplation but also to create tension. While this aspect has been less discussed with the more prevalent focus on Slow Cinema and its themes of contemplation, tension can be identified in a variety of films, both those considered part of Slow Cinema and those considered slow films. The distinctiveness of slowness in contemporary Romanian cinema is partly to do with its being rooted in Romanian culture. This study looks at Romanian cinematic and cultural inheritance, specifically at how slowness figures in this history. This thesis contributes to the existing body of research on contemporary Romanian cinema addressing its most salient characteristic, its sense of slowness, by placing it in relation to wider discussions about slowness and Slow Cinema as well as by linking its distinctiveness to wider cultural notions and practices of temporal organisation as well as the social history of the nation.

Mental health professionals could be interested in finding how inappropriate behavior could be modified, especially when there are people that changes without treatment. This article explains how people change with a transteorical model of stages and processes. Psychological research shows that there are five stages in behavior modification: pre-contemplation, contemplation, preparation, action and maintenance. Besides, subjects have common processes in every stage. / Concita el interés de los profesionales de la salud mental el descubrir cómo se modifican los comportamientos desadaptativos, más aún existiendo gente que cambia sin tratamiento. Este artículo explica, a partir de un modelo transteórico de etapas y procesos, cómo cambia la gente. Las investigaciones, cada vez más, corroboran que en la modificación de los comportamientos existen 5 etapas: precontemplación, contemplación, preparación, acción y mantenimiento. Además los sujetos siguen procesos comunes en cada una de estas etapas.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-02-14T11:47:18Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Guilherme Azevedo_Dissertação_Design_UFPE.pdf: 4203782 bytes, checksum: e79062bfc7eb5faa75f6f7399e93bf20 (MD5) / Made available in DSpace on 2017-02-14T11:47:18Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Guilherme Azevedo_Dissertação_Design_UFPE.pdf: 4203782 bytes, checksum: e79062bfc7eb5faa75f6f7399e93bf20 (MD5) Previous issue date: 2015-10-23 / CNPq / O presente estudo de caso discute os reflexos da técnica da montagem vanguardista, tal como Peter Bürger teorizou, e a sua aplicabilidade na produção artística de Montez Magno. Segundo Bürger, principal teórico da vanguarda, a montagem teria sido a técnica por meio da qual artistas do princípio do século XX intencionaram o fim da instituição arte e, por conseguinte, o fim da autonomia da arte e seu retorno à práxis vital. Em Pernambuco, Montez Magno, que iniciara seus trabalhos em 1957, posterior aos anos de maior influência da vanguarda europeia, refletia, a seu modo, os preceitos defendidos pelos artistas europeus que se propagavam pelo mundo inteiro. Esta dissertação utiliza como base para seu referencial teórico o livro Teoria da Vanguarda, de Peter Bürger, e analisa cinco obras de Montez Magno, selecionadas, a saber: Caixas (1967), Conservas (1972), a Série Mondrian (1994), Catedral (2001) e a Série Buchas (2015). A pesquisa, de abordagem qualitativa, se propõe a investigar as semelhanças e as diferenças da arte de Montez com a vanguarda europeia a partir do debate sobre o grau de aderência da montagem realizada pelo artista àquela empregada e preconizada pelos artistas da vanguarda na Europa. O trabalho sugere uma ambiguidade na obra do artista, pois o mesmo apresenta características que ora o aproximam e ora o distanciam dos ideais vanguardistas, e expõe as principais diferenças valendo-se do que foi chamado de Contemplação Ativa, um objetivo do artista na produção de sua arte. Um traço marcante nas obras analisadas que resultavam na tentativa de Montez Magno em atingir o interior daquele a quem se destina a sua obra. / This case study discusses the technique of reflections of avant-garde assembly, as Peter Bürger theorized, and its applicability in artistic production of Montez Magno. According to Bürger, the main theorist of the avant-garde, the assembly would have been the technique through which artists of the early twentieth century aimed the end of art as an institution and therefore the end of the autonomy of art and his return to life praxis. In Pernambuco, Montez Magno, which started his work in 1957, after the years of greatest influence of European avant-garde, reflected in its own way, the precepts defended by European artists who propagated worldwide. This work uses as a basis for their theoretical reference, the book Theory of Avant-Garde, by Peter Bürger, and analyzes five works of Montez Magno, selected from 588 observed, namely: Caixas (1967), Conservas (1972), Mondrian Series (1994 ), Catedral (2001) and Buchas Series (2015). The research with a qualitative approach is suposed to investigate the similarities and differences of Montez Magno Art with the European avant-garde from the debate on the state of the appication degree of the assembly made by Moontez Magno and that one helded and defended by the artists of the avant-garde in Europe. The work suggests an ambiguity in the artist's work, because it has characteristics that sometimes approaches and sometimes apart it from the ideal avant-garde, and outlines main differences making use of what was called Active Contemplation, a goal of the artist in his Art production. A striking feature in the analyzed works that resulted in an attempt of Montez Magno to reach the interior of the one whom is his work to.

Orientador: Antonio Fernando da Conceição Passos / Acompanha 1 DVD-RW / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T23:13:03Z (GMT). No. of bitstreams: 1 Furquim_AnaliCristina_M.pdf: 8512505 bytes, checksum: fb40ba4c2ecc8566cd3ceacdea14ca62 (MD5) Previous issue date: 2007 / Resumo: Broto vital de açucena nascido do imo das entranhas dos elementos imaginais e corporais, após longo período de dormência e boa luta. Testemunho árduo e alegre de um processo criativo artístico - e de vida espiritual - empreendido, resultando no curta metragem em vídeo Natura fulgens, como parte dos frutos, após intensa dedicação e cultivo das paisagens anímicas, aqui trilhados via Imaginação Ativa 1 e Orações Contemplativas 2. O Cântico Espiritual de São João da Cruz e as amorosas qualidades da Virgem Maria Santíssima como Stella Maris, Pulchra ut Luna e Domus Dei 3 foram inestimáveis fontes de inspiração, estrelas guias. Participaram do processo a improvisação em dança, práticas de consciência corporal e a escrita poética de livre curso que reuniu as imagens emergidas. Na produção em vídeo, o tema da jornada da alma em busca do retorno à Presença Divina, verdadeira fonte de Água Viva, labora juntamente com a assunção do corpo criativo, como domus 4 do Coração de Deus no tempo. Nas incursões teóricas, o tema da cruz e da redenção - do humano olhar, das imagens produzidas, e da imaginação - antecede e ilumina a realização. A trama dos Instantes Fecundos de Significado, poéticos, divinos, em imagem e som, revelados aos devotos olhares da alma-e-coração, constituíram o cerne da pesquisa. / Abstract: Vital lily bud born in the inmost entrails of the imaginal and body elements, after long period of dormancy and good fight. Arduous and joyful testimony of an artistic - and spiritual life - creative process undertaken, resulting in the short film on video Natura fulgens, as part of the fruits, after intense dedication and cultivation of the psychic landscapes, here performed via Active Imagination 1 and Contemplative Prayer 2. The Spiritual Canticle of St. John of the Cross and the loving qualities of the Blessed Virgin Mary as Stella Maris, Pulchra ut Luna and Domus Dei 3 have been invaluable sources of inspiration, guiding stars. Improvisation in dance, body awareness practices and free course poetic writing, which gathered the images emerged, were parts of the process. In the short film, the theme of the soul's journey in search of a return to the Divine Presence, true source of Living Water, works together with the assumption of the creative body, like domus 4 of the Heart of God in time. In the theoretical incursions, the theme of the cross and redemption - of the human look, of the produced images, of the imagination - precedes and illuminates the realization. The web of Instants Fertile of Meaning, poetic, divine, in image and sound, revealed to the pious eyes of soul-and-heart, formed the core of the research. / Mestrado / Mestre em Multimeios

In Book VI of the Nicomachean Ethics Aristotle makes the assumption that there are five states of the soul through which we interact with truth. He continues Book VI with a discussion of his intended meaning of each of these states of the soul. In this study the relevant discussions on each state are extracted from the text to enable a clearer understanding of these states, as Aristotle presents them. Subsequently, the role of each state is studied in the context of the entire Nicomachean Ethics. The primary focus is directed at a clearer understanding of Aristotle’s proposed intellectual virtues, and on their respective roles in the ethical life. Simultaneously, the ethical life that Aristotle presents, and its ultimate end eudaimonia, or happiness, are approached from this perspective. Aristotle argues that reason is the distinguishing feature of humans, and that man’s excellence must include the excellent use of this capacity. This study investigates how Aristotle proposes that the rational intellect should reach its completion, and comes to the conclusion that true mastery of the intellect can only result from the cooperation of the five states of the rational soul. It becomes evident that each state of the soul has a different nature and function, and that through directed cooperation they do not compete with one another, but are mutually enhanced. However, Aristotle repeatedly emphasises the importance of extending thought into action. This makes Aristotle’s ethical theory so attractive: he manages to consolidate his theorizing with the value of experienced reality. This is his essential key to happiness, which is experienced both in perception and in action. By approaching the Nicomachean Ethics from the perspective of the five states of the rational soul, an appreciation is acquired for the fine balance by which action and reason may combine to result in man’s fulfilment of his highest potential. It is in this balance that one finds the secret to eudaimonia. / Dissertation (MA)--University of Pretoria, 2011. / Ancient Languages / unrestricted

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Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Jose Paulo Coelho Faradji Chadan.pdf: 375540 bytes, checksum: ab7fc5b38b7db201759793336d7aa00a (MD5) Previous issue date: 2013-09-27 / The dissertation wich the reader has in its hands concerns my master dissertation about the contemplation in the Cloud of Unknowing. The Cloud of Unknowing belongs to the late medieval period (XIV century), and was probably written by a cartusian monk, as a method of teaching a young man, probably around twenty-four years old, about the contemplative life. In his writing, the author compares the contemplative life to two important biblical figures. First he compares it to Mary, that having received Jesus in her house, listens to him patiently, unlike Martha, her sister, that goes about preparing his supper. Next the author compares contemplative life, to Moses, wich with a lot of effort, climbs to the top of the mountain and sees a great cloud. Mary´s passage reports to the gospel according to Luque chapter 10, verse 38-42. Moses passage belongs to the book of Exodus, chapter 24. Mary is compared to her sister Martha. The first one represents the contemplative life, while the second one represents an active life. Moses is compared to Aaron, the last one representing a person wich with little effort and by divine grace contemplates the lord, while the first one is only capable of the same with a lot of effort. We approach the degrees of ascension to the contemplative life: the purgative path; the progressive and the contemplative one. The first degree refers to the active life while the second one refers to the active and contemplative lifes. In its turn the third level relates only to the contemplative life. The active life, being the path lived according the works of mercy and charity, as well as contemplation. Is the search of the spirit becoming closer to God through silence, solitude and loving desire / O trabalho que o leitor tem em mãos, trata da minha dissertação de mestrado acerca do tema da contemplação na Nuvem do Não-Saber. A Nuvem do Não-Saber é uma obra que data do medievo tardio (séc. XIV), tendo sido escrita provavelmente por um monge cartuxo, como modo de ensinar a um jovem em torno de vinte e quatro anos, acerca da vida contemplativa. Na obra, o autor compara a vida contemplativa a duas importantes personagens bíblicas: em primeiro lugar, compara-a a Maria, que tendo recebido Jesus em sua casa, senta-se a fim de, paciente e atenciosamente, ouvi-lo, diferentemente de Marta (sua irmã), que se apressa em preparar-lhe a refeição. Em segundo lugar, mas tão importante quanto, compara a vida contemplativa a Moisés que, com muito esforço, sobe ao cume do monte e vê ali, uma grande nuvem. A passagem de Maria reporta-se ao Evangelho de S. Lucas, no capitulo 10, versos 38- 42, já a passagem de Moisés reporta-se ao livro do Êxodo, no capítulo 24. Maria é contraposta a sua irmã Marta. Esta, representando a vida ativa, e aquela, a vida contemplativa. Já Moisés é contraposto a Aarão. Este, representando a pessoa que, sem muitos esforços e por divina graça, chega à perfeita contemplação assim que o quer, e aquele, só o consegue depois de muitos esforços. Abordamos então, os três graus de ascensão à vida contemplativa: a via purgativa, a via progressiva e a via contemplativa ou apofática. O primeiro grau, respectivo à vida ativa, e o terceiro grau, respectivo à vida contemplativa, sendo o segundo grau, intermediário (partícipe) tanto da vida ativa quanto da vida contemplativa. A vida ativa, sendo a vida vivida segundo as obras corporais de misericórdia e caridade e a vida contemplativa, sendo a busca do espírito em unir-se a Deus, por meio do silêncio, da solidão e do desejo amoroso