<p>For several decades, researchers have sought to fully understand the nature of the relationship between depression and weight. To date, the research in this area has yielded highly inconsistent results, with some identifying null (Crumpton, Wine, & Groot, 1966; Moore, Stunkard, & Srole, 1962), positive (R. E. Roberts, Kaplan, Shema, & Strawbridge, 2000), negative (Silverstone, 1968; Simon, 1963) and gender specific relationships (DiPietro, Anda, Williamson, & Stunkard, 1992; Istvan, Savela, & Weidner, 1992; Onyike, Crum, Lee, Lyketsos, & Eaton, 2003). The author suggests that these inconsistencies can be explained by the use of measures of depression used which do not differentiate between various subtypes of depression associated with divergent somatic symptoms; including atypical depression (AD) and melancholic depression (MD). Adolescence may be an important intervention point to avert adult obesity and identification of subtypes may identify those at greatest risk. Yet, the characteristics of depression subtypes among adolescents are unknown. In order to identify subtypes of depression among adolescents that are differentially associated with weight, Latent Class Analysis (LCA) was conducted and resulting classes were tested for associations with weight. Six latent classes were identified. Four were uniquely associated with somatic symptoms including hyper- and hypophagia, suggesting that somatic symptoms play an important role in the distinction between depressive subtypes. Analyses showed an association with BMI for the 2 hyperphagic classes but not for the 2 hypophagic classes. The inclusion of depression class improved the fit of regression models for depression predicting BMI. This suggests that the inclusion of depression subtype in analyses may clarify the association between weight and depression.</p> / Dissertation

[pt] O objetivo desta tese é mostrar como uma situação emocional depressiva / melancólica (o mundo interior em ruínas), bem como o mundo interior, emocional, não organizado ou não pensado se transforma em canção: que fatores emocionais da personalidade do poeta são articulados em um dado momento e num determinado contexto, levando-o ou compelindo-o ao processo de criação poética. Usaremos, como ponto de partida, o que os poetas, como Manuel Bandeira, Dante Milano, João Cabral de Melo Neto, Poe, Gilberto Mendonça Teles, Jorge Luiz Borges e T. S. Eliot escreveram ou disseram em entrevistas sobre a criação ou construção do poema ou da obra de arte literária. No estudo que estou apresentando, a arte é entendida da maneira como Susanne Langer a formulou em Sentimento e forma: Arte é a criação de formas simbólicas do sentimento humano. O processo criador da arte pode ser visto, também, como uma forma simbólica pela qual a consciência organiza e expressa a experiência emocional. A arte emerge de um desejo intrinsicamente humano - a necessidade de forma. O foco da tese incide no processo criativo, na tensão entre a ruína emocional ou o caos interior e os recursos lingüísticos empregados pelo poeta na sua ordenação. Subjacente à desintegração ou não- integração psíquica existe um nível profundo que busca a ordem e que dá forma ao caos emocional. O artista deve operar sobre sua experiência, senti-la intensamente, mas simultaneamente separar-se reflexivamente dela; separar o sujeito que sofre a experiência da mente que pensa e cria a obra de arte. Tendo isto em pauta, a tese apresenta um viés psicológico. / [en] This dissertation aims to show how an emotional situation of the depressivemelancholic type (the inner world in ruins) is transformed into poetry; how emotional factors of a poet`s personality are organized in a given moment and in a given context leading or compelling him to the process of poetic creation. Poets like Manuel Bandeira, Dante Milano, João Cabral de Melo Neto, Poe, Gilberto Mendonça Teles, T. S. Eliot and Jorge Luis Borges are taken as starting points.In this study, art is understood as Susanne Langer proposed in Feeling and form: Art is the creation of symbolic forms of human feeling. Art`s creative process can also be seen as a symbolic form whereby conscience organizes and expresses the emotional experience. The focus of this thesis converges on the creative process, in the tension between the emotional ruin and the linguistic resources employed by the poet in organizing his interior chaos. Underlying the psychological desintegration or non-integration, there is a deep layer that demands order and shapes the emotional chaos. The poet must act on the basis of his experience, feel it intensely but, at the same time move away from it in a reflexive way; he must separate the subject who suffers the experience from the mind who thinks and creates the poem. Bearing this in mind, the study displays a strongly psychological colour.