L'objectif de ce travail de thèse était d'évaluer l'état des processus de récupération en mémoire dans la maladie d'Alzheimer afin de développer des programmes de prise en charge cognitive novateurs. Les deux premières études ont porté sur la caractérisation de ces processus à travers l'évaluation des performances de patients avec une maladie d'Alzheimer à des tâches de reconnaissance mnésique. Les deux études suivantes se sont intéressées au développement de programmes d'intervention cognitive ayant pour objectif de réduire les troubles cognitifs et leur retentissement, l'un en améliorant les processus cognitifs altérés à partir d'un entraînement cognitif appliquant la répétition-lag procédure et l'autre, en sollicitant les processus cognitifs préservés à partir d'un apprentissage par des techniques de réhabilitation cognitive, à recourir à l'utilisation d'aides externes. Les résultats ont mis en évidence une détérioration sélective des processus de reconnaissance chez les patients à un stade léger de la maladie ; la recollection serait particulièrement altérée alors que la familiarité resterait préservée. De plus, le déficit des capacités de reconnaissance de la source serait lié à l'altération des processus stratégiques de reconnaissance de la source, les processus associatifs resteraient préservés. Ensuite, le programme d'entraînement cognitif expérimental s'est révélé efficace, des gains cognitifs ont été objectivés à des tâches cognitives de transfert. De même, le programme de réhabilitation cognitive par le biais d'un apprentissage combinant les techniques de la récupération espacée et de l'apprentissage sans erreur a permis de réduire l'impact des troubles cognitifs dans la vie quotidienne.

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The purpose of this study was to examine the extent to which learning and recall are facilitated by semantic and phonological targets. A list-learning paradigm was administered to 10 individuals with a history of traumatic brain injury. Participants were asked to recall and identify words that were present on the list. The lists consisted of semantically related associate words and phonologically related associate words. Participants recalled significantly more semantically related associates than phonological associates. Demographic factors such as age, time-post injury, and educational attainment did not have a significant effect on the recall ability for either word target type. Word recognition ability also was not influenced by target type. The results of this study found adults with TBI use a semantic network following brain injury and that semantic targets are more beneficial for recall than phonological targets. / text

Cognitive Event-Related Potential (ERP) recordings have been used to study the neurophysiological correlates of recognition memory. Previous ERP research has demonstrated that on tasks of recognition memory, Old items elicit ERP responses that are more positive in electrical amplitude than the ERP responses elicited by New items, commonly referred to as ERP Old/New positivity effects. ERP Old/New positivity effects have been used to make inferences about cognitive processes mediating recognition memory, such as the early frontal Old/New positivity effect that has been associated with familiarity and the late parietal Old/New positivity effect that has been associated with recollection. These effects have been demonstrated different types of stimuli and on different types of recognition memory tasks. However, a systematic comparison of ERP Old/New positivity effects across different recognition memory tasks is lacking, particularly with respect to Remote Long-term memory. This thesis asked how ERP Old/New positivity effects differ between tasks of Short-term, Recent Long-term, and Remote Long-term memory tasks for faces. Experiment 1 simulated the condition of limited overt communication skills by analyzing the brain responses to memory stimuli, regardless of the overt behavioural response from healthy, “honest” participants. Experiment 2 examined the ERP responses of healthy participants instructed to feign a memory impairment. ERP Old/New positivity effects similar to those described in the experimental ERP literature were observed on the Short-term and Remote Long-term memory tasks in both Experiments 1 and 2. However, response accuracy was lower than expected on the Recent Long-term task resulting in weak ERP results. A comparison of the ERP Old/New responses between the Honest Response (Experiment 1) and the Simulated Memory Malingering (Experiment 2) groups found that despite differing overt behavioural responses, the ERP Old/New responses remained similar. The results demonstrate a similar electrophysiological mechanism mediating Short-term, Recent Long-term, and Remote Long-term recognition memory ERP responses, despite the different neuroanatomical substrates that have been proposed these different types of memory. Although an improved measure of Recent Long-term memory is needed, the results of this thesis are promising and demonstrate that ERP recordings could provide an objective instrument for measuring recognition memory functioning in clinical settings.

A presente pesquisa investiga uma modalidade de prática estética no campo das artes cênicas, desenvolvida com a participação de artistas e outros interessados. Fundada em uma perspectiva existencial da experiência estética, tal modalidade baseia-se em pressupostos elaborados a partir do estudo de aspectos da obra do autor dinamarquês Søren Kierkegaard (1813-1855) e apresenta uma dupla problemática: a singeleza do desejo de expressar a existência poética e a ambiguidade contida em um tema kierkegaardiano por excelência: a vontade de tornar-se si mesmo. A noção de estética existencial é abordada no plano dessa modalidade de prática que, situada filosoficamente no contexto da obra A Doença para a Morte (1849), no âmbito do chamado \"desespero-desafio\" e da \"existência poética orientada ao religioso\", tateia os limites da linguagem verbal, compreendida como \"espaço de possibilidade\", a fim de facultar uma interlocução sui generis entre pontos específicos da rota de leitura perscrutada e os efeitos estéticos de sua recepção. Assim, paralelamente às questões focalizadas em A Doença para a Morte, a escrita trilha a via da participante em primeira pessoa, procurando se acercar da problematização suscitada pela prática proposta, mediante um itinerário peculiar de leitura de alguns tópicos presentes na produção pseudonímica de Kierkegaard, particularizados em capítulos selecionados das obras: Ou-Ou. Um Fragmento de Vida (1843); Temor e Tremor. Lírica Dialética (1843); A Repetição. Um ensaio em Psicologia Experimental (1843); Estádios no Caminho da Vida. Estudos por pessoas diversas (1845). Por meio dessa rota de leitura buscamos circunscrever, fundamentalmente, as vias e os limites da idealidade estética pela afirmação de duas instâncias existenciais que escapam à linguagem verbal e, portanto, resistem à representação: o erótico imediato e a fé. Com esse escopo, a tese se compõe de três partes: Ato I: apresentação do princípio e dos limites da noção de estética existencial no campo problematizado por nossa prática, a partir da relação entre estética e existência; Ato II: exposição das vias da prática estética em seus pressupostos, com a identificação dos artistas e participantes na pesquisa na qualidade de coautores, e do Livro de Cultivo, método-objeto criado para abrigar as proposições estéticas associadas ao Stemning, título do primeiro capítulo da obra Temor e Tremor, eixo central da nossa prática. Em acréscimo, investigação conceitual acerca da própria noção de stemning (do dinamarquês: \"atmosfera\", \"disposição\", \"afinação\", \"tonalidade afetiva\", \"estado de espírito\", \"ambiência\"), vinculada à instância do erótico imediato; Ato III: reconhecimento do ato de assistir e de ser assistido como finalidade da recordação pelo entendimento de que recordar a obra é assisti-la; exame da idealidade estética da recordação como poder poético. Com isso, articulamos nossa própria recordação da prática realizada por meio daquilo que consideramos o princípio formal da problematização: uma recordação filmada, que consiste no \"processo de produção\" [making of] da coleta ou colheita das resultantes estéticas geradas pelo envolvimento dos participantes, na posição tanto de produtores como de espectadores. / The present research looks into a modality of aesthetic practice within the field of performing arts, and it was developed with the participation of artists and other interested parties. This modality, based on assumptions put forth from the study of aspects of the works of the Danish author Søren Kierkegaard (1813-1855), is founded in an existential perspective of the aesthetic experience and it introduces a double problematic: the simplicity of the desire to express poetic existence and the ambiguity in a kierkegaardian theme par excellence: the willingness to become oneself. The notion of existential aesthetics is approached within this modality of practice, which is philosophically situated in the context of the book The Sickness Unto Death (1849) as well as within the scope of the so-called \"defiant despair\" and the \"poet-existence inclined towards the religion\". This modality of practice probes the limits of verbal language, understood as \"space of possibility\", in order to allow for a sui generis dialog between specific spots in the examined reading itinerary and the aesthetic effects of its reception. Thus, alongside the issues focused on The Sickness Unto Death, the text follows the path of the participant in first person and seeks to encompass the problematization raised by the proposed practice, which is assisted by a peculiar reading itinerary of some topics included within the pseudonymous production of Kierkegaard, particularized in selected chapters of the works: Either/Or. A Fragment of Life (1843); Fear and Trembling. Dialectical Lyric (1843); Repetition. A Venture in Experimenting Psychology (1843); Stages on Life\"s way. Studies by Various Persons (1845). Through this reading itinerary, we fundamentally seek to circumscribe the avenues and limits of the aesthetic ideality by showcasing two existential instances that evade verbal language and, therefore, resist representation: the immediate eroticism and the faith. Within this scope, this thesis consists of three parts: Act I: presentation of the principle and limits of the notion of existential aesthetics within the field problematized by our practice, based on the relationship between aesthetics and existence; Act II: exposition of the avenues of the aesthetic practice within its assumptions, with the identification of the artists and participants in the research as coauthors, and of the Book of Cultivation, a method-object that was conceived to contain the aesthetic propositions associated with Stemning, title of the first section of Fear and Trembling and central axis of our practice. In addition, act II brings the conceptual investigation about the notion of stemning itself (Danish for: \"mood\", \"tuning up\", \"attunement\" \"atmosphere\") linked to the instance of the immediate eroticism; Act III: recognition of the act of watching/assisting and being watched/assisted as the goal of the recollection through the understanding that to recollect the work means to watch/assist it; examination of the aesthetic ideality of recollection as poetic power. With this, we articulate our own recollection of the practice performed by that which we consider the formal beginning of the problematization: a filmed recollection consisting in the making-of of the collection or harvest of the resulting aesthetics generated by the involvement of the participants in the position of producers as well as that of spectators.

D’après Deleuze, écrire sur la musique constituerait un « sommet » de la pensée, l’idée d’une « supériorité » du musical sur les autres formes d’art étant, par là même, affirmée. La relation entre musique et philosophie n’est pas, dans sa pensée, de l’ordre du commentaire mais du devenir. Autrement dit, la musique n’est pas un simple objet d’analyse puisqu’elle influence en retour le style de conceptualisation du philosophe. C’est pourquoi ce problème s’articule selon deux perspectives qui s’échangent sans se concilier tout à fait : un devenir-musical de la philosophie, un devenirconceptuelde la musique. On pense par exemple au concept décisif de ritournelle qui désigne à la fois une « petite musique » etl’éternel retour.Le devenir-musical de la philosophie correspond à une dimension « artiste » de la pensée, le style d’écriture devenant un enjeu majeur. Deleuze partage avec les romanciers la création d’une langue étrangère dans la langue courante – création qui tend vers une « musicalisation » du langage. Si l’écrivain invente une « petite musique » par une mise en variation continue de la langue, le devenir musical de la philosophie implique une variation continue du concept, notamment parl’usage de la métaphore. Le texte philosophique refuse alors toute approche interprétative pour intensifer la part affective du texte. Un tel devenir n’est pas sans produire une forme d’ambiguïté puisqu’il finit par rendre indiscernable poésie et philosophie. Comment assumer la part musicale de la pensée deleuzienne dans le champ de la philosophie ? Le devenir-conceptuel de la musique correspond à un aspect plus traditionnel de la pensée deleuzienne puisque la musique y est soumise à l’appareillage ontologique du philosophe. En toute logique, l’idéal esthétique vers lequel tend tout agencement musical s’avère être la variation continue. Reprenant à son compte les dualités bergsoniennes, Deleuze assimile lemusical au domaine de l’intensif et du différentiel contre ce qui touche à la représentation. Sur la question fondalementaledu temps musical, Deleuze s’inspire de Wagner Proust, Bergson et Boulez pour développer une métaphysique de la musique autour de deux notions : le passé pur comme Mémoire cosmique et la réminiscence comme moyen esthétique d’y accéder. Du fait de la nature idéaliste de cette conception, Deleuze s’oppose à l’esthétique nietzschéenne pour renouer avec le romantisme / According to Gilles Deleuze, writing about music would be a summit of thought, the idea of superiority of the music is even asserted. Deleuze doesn’t think the relationship between music and philosophy as a comment but as a becoming. Music is not just a subject of analysis since in turn influences the style of conceptualization of the philosopher. The musical question thus revolves around two perspectives : a becoming-music of philosophy, a becoming-conceptual of music. For example,the concept of refrain refers to both a "little song" and the eternal return of Nietzsche.Becoming-music of philosophy is an artistic dimension of thought, so the writing style became a major issue. Deleuze shares with writers the creation of a foreign language in everyday language - which tends to create a « musicalisation » of words. As the writer invents a word music with a continuously variable setting of the language, the music of philosophy implies a continuous variation of the concept, including the use of metaphor. The philosophical text then refuses any interpretative approach to concentrate the affective part of the text. Such becoming is not without producing a form of ambiguity since it ultimately makes indistinguishable poetry and philosophy. How to take music fot the deleuzian concept in the field of philosophy?The same continuous variation is seen under high aesthetic ideal within the becomingconceptual of music. This second perspective corresponds to a more traditional aspect of Deleuze's thought since music is subjected to the ontological apparatus of the philosopher. Inspired by Wagner, Proust, Bergson and Boulez, Deleuze develops a metaphysic ofmusic based on two notions : the pure past and reminiscence. Because of such an idealistic conception of music aspect, Deleuze opposes Nietzsche's aesthetics to revive the romantism

Nairne, Thompson, and Pandeirada (2007) have focused on the evolutionary aspect of memory by showing that when participants rate words relative to their relationship to survival, their subsequent retention of those words is superior to other well-known encoding techniques. Survival processing was induced using a written scenario of being stranded in grasslands that participants read. Several other experiments have replicated their findings, and some incorporated the Deese–Roediger–McDermott (DRM) paradigm with survival-processing (Roediger, & McDermott, 1995). The use of DRM word lists has been shown to increase rates of false memories, and the same pattern held true with the original grassland scenario. The current experiment was designed to illustrate the adaptive memory effect in situations that humans presently experience on a common basis. The grasslands scenario was compared with two other modern scenarios. Furthermore, effect of survival processing on false memory was assessed using both DRM narratives and word lists. Most results support previous findings of the processing advantage elicited by the grassland scenario. However, words rated for relevancy to the non-survival related modern scenario were recalled more often than words from the other two scenarios. As expected, participants’ false and veridical memory was greater in the narrative condition compared with the word list condition. The survival-processing advantage does extend beyond word lists to the narrative format, supporting the evolutionary account that humans have selectively tuned cognitive processing. Keywords: memory, adaptive memory, evolution, survival processing, DRM, narrative, false memory, word list

This investigation used a descriptive approach to explore and evaluate early recollection changes of children in Adlerian counseling. The study addressed seven research questions regarding early recollection change for children in Adlerian counseling as compared with children not in Adlerian counseling. The treatment group was engaged in Adlerian counseling for 10 weeks. The investigator conducted pre-counseling and post-counseling interviews to collect six total early recollections from 9 subjects. The comparison group was not engaged in treatment for counseling. The investigator conducted interviews at an interval of 10 weeks to collect six total early recollections from 9 subjects. The Manaster-Perryraan Manifest Content Early Recollection Scoring Manual was used for analysis of early recollection content. Following training sesions, raters scored absence or presence of content variables in early recollections. Tables were employed to reveal findings of early recollection content change as addressed by the seven research questions of this study. A descriptive evaluation of' the data indicated that the treatment group manifested greater change in early recollection content as compared to the comparison group in six of seven research questions. On the basis of these findings, this study concluded that early recollections of children are a valid source of potential in measuring therapeutic progress and are a reliable measure of the thematic apperception of children. The data from this study provide a foundation from which to build the clinical utility of the early recollections of children. In view of these results, this study recommended the routine use of early recollections of children in Adlerian counseling.

This study sought to determine if there are any "cultural" or economic level patterns of behavior in responding to tasks involving categorizing pictures and recalling general knowledge. The Daberon School Headiness Device (1972), which contains subtests for general knowledge and categorization, was used to assess four groups of children: 1) lower-SES white, 2) lower-SES black, 3) middle-SES white, and 4) middle-SES black. This study involved thirty black and thirty white children between the ages of five years and five years, eleven months. All subjects were screened to determine race, age, auditory acuity, speech intelligibility, subject cooperation, and socioeconomic status (SES). Testing for intelligence was performed at the beginning of the testing situation.

The problem of this study is whether between-channel redundancy in an instructional audio-visual message enhances immediate recall of information more than within—channel redundancy. A secondary purpose was to compare three forms of between—channel redundancy! audio—video, audio—video—caption, and audio-caption with one form of within-channel redundancy: video-caption. These comparisons were designed to demonstrate which form of redundancy had a higher association with recall of information. The subjects were administered the Kentucky Comprehensive Listening Inventory to measure listening skills, and the Receiver Apprehension Inventory to identify subjects who experienced significantly high apprehension as receivers of information. Then the subjects were randomly divided into four treatment groups and shown an eight minute newscast. All four groups were presented the same instructional message, but the mode of presentation differed depending upon the treatment group. After viewing the instructional program each member of each group was given a forty item multiple-choice retention inventory based on the information presented in the newscast. The data were presented in terms of correct responses on the Kentucky Comprehensive Listening Inventory and the forty item retention inventory. Discriminate analysis was used to determine which items from the multiple-choice retention inventory accounted for the most variance. Thirteen items were found to account for the greatest amount of variance. Reliability estimates were calculated for all four story categories and for the forty items collectively. All reliability estimates were acceptable.