Introduction: The Reading the Mind in the Eyes Test is a widely used test for measuring aspects of social cognition. The aim of the present study was to provide results from a group of typically developing Swedish children (age 9-12) and to compare these results with children and adults in other Swedish and English studies, as well as results from a group of children with Asperger syndrome. Method: A Swedish version of the child version of the test was completed by 83 controls and by six children with Asperger syndrome. Results were compared between the two groups and with data from other studies. Results: The children in the current study did not differ on scores compared to children in the same age group in other studies. The children in the current study scored significantly lower than adults in an earlier study. The results from the children with Asperger syndrome did not differ significantly to the results from the controls.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Minion- en ordningsam vän i tvättstugan. Tvättstugan. En samhällstjänst som alla tar för givet eller en arena för dåligt beteende. Vad den än är så är den stället där beteenden som fusk med städning samt stulna tvättider och kläder sker vilket kan mynna ut i riktigt allvarliga bråk som polisanmäls. Att ändra på tvättstugan och hålla ett vakande öga över den kostar pengar och det har inte alla. Under dessa förhållanden kommer problemen som påträffas där, bara att fortsätta att existera tills alla tvättstugor stängs. Forskning har visat att bilder på ögon motarbetar beteenden som orsakar problem i tvättstugan. De skapar en omedveten känsla av övervakning som korrigerar beteenden genom medvetenheten om det dåliga beteendet, eller av rädslan att bli påkommen och bestraffad. När bilder på ögon har en så stor effekt på oss kommer en interaktiv robot försedd med ögon, röst och en snäll personlighet att ha samma effekt samt förstärka känslan av övervakning. Minion är en liten interaktiv robot som håller tvättstugans besökare sällskap och blir dess beskyddare. Minions huvuduppgift är att påminna tvättstugans besökare att de aldrig är ensamma där och därmed motarbeta dåligt beteende som förstärks på avskilda platser. Minion lyckas med det genom att kommunicera, sjunga, dansa, äta ludd från torktumlaren och berätta lite olika saker om världen och sitt eget liv. Till och med i sin tystnad orsakar Minion känslan av övervakning för den som vistas i tvättstugan. Tyvärr är den existerande prototypen bara ett skal och inte en funktionell robot, därför förklarades Minions funktioner muntligt och med hjälp av bilder under användarstudien. Minion mottogs med spänning och godkännande och det visade sig att Minions alla funktioer är relevanta och uppfylls till fullo. Minion skulle kunna vidareutvecklas till andra områden av vardagslivet där en interaktiv robot kan vara användbar, som att förbättra livskvaliteten för människor i behov av en kamrat. / Minion- an orderly friend in the common laundry room The common laundry room. A service to society that everyone takes for granted or an arena for bad behavior. In either case, it is a place where cheating with cleaning up after yourself as well as hijacking appointments and stealing other people’s belongings can lead to really serious fights that are reported to the police. Changing the common laundry room and keeping a waking eye on it, costs a lot of money something that not everyone has access to. Under these circumstances, the problems found there will simply go on existing until all common laundry rooms are shut down.  Research has proven that pictures of eyes can counter act behaviors similar to the ones causing trouble in the common laundry room. These pictures cause an unconscious feeling of being watched that will correct such behaviors either by creating consciousness of the bad behavior or the fear of being caught and then punished. As pictures of eyes have such a severe effect on us, an interactive robot with eyes, a voice and a kind personality will have the same effect as well as reinforce the feeling of being watched. Minion is a small interactive robot that keeps the common laundry room’s visitors company while being its patron. Minion’s main task is to remind the visitors that they are never there alone and can therefore counteract such bad behavior that is reinforced in secluded spaces. Minion succeeds in doing so by having the ability to communicate, sing, dance, eat fluff from the drier and recount facts about the world and its own life. Even while being silent it causes the same feeling of being watched for the ones being in the common laundry room with it. Unfortunately the existing prototype is that only of a shell and not a fully functional robot, as of which Minion’s functions had to be explained through pictures and reenactments during the user study that was made. Minion was embraced with excitement and approval and the case study proved that all of Minion’s functions are relevant as well as completely fulfilled. Minion could be further developed to other areas of daily life where an interactive robot could be of some use, such as in improving the quality of life for people in need of a companion.

Thèse (M. A.)--Université Laval, 1997. / Bibliogr.: f. 105-112. Publié aussi en version électronique.

This dissertation examines the feminist intersections of composition studies, visual rhetoric, and comics studies in order to identify a rhetorically interdisciplinary approach to composition that moves beyond composition studies’ persistent separation of qualitative and quantitative research methodologies, rhetoric and ideology, and analysis and composition. Chapter one transgresses the qualitative/quantitative divide using keyword analysis and visualization of 2,573 dissertation and thesis abstracts published between 1979 – 2012 to engage in what composition studies scholar Derek Mueller terms a “distant reading” of the extent and contexts of composition studies’ self-identified interdisciplinarity. Complementing my more traditional literature review, the results of this analysis validate the necessity of my analytical and pedagogical interventions by suggesting that composition studies has not yet addressed comics through the feminist intersections of visual rhetoric and critical pedagogy. Chapters two and three develop a rhetorical analytical approach to comics that moves beyond comics studies’ persistent separation of rhetoric and ideology by positing conflict as an identifiable form of rhetorical persuasion in the Martha Washington comics. These comics were collaboratively created by Frank Miller and Dave Gibbons between 1989 – 2007. Following feminist rhetorician Susan Jarratt’s case for rhetorical conflict as a pedagogical tool and extending Chicana feminist Chela Sandoval’s conceptualization of meta-ideologizing in which oppressive ideologies are re-signified via recontextualizations that juxtapose ‘old’ and ‘new’ signs of ideological meaning, I explore the rhetorically persuasive conflict arising from visual, conceptual, and embodied juxtapositions of race, class, and gender made visible in these comics. Chapter four outlines a feminist, critical, visual rhetorical – what I call prismatic – approach to composition pedagogy that requires (1) contexts in which differences and conflicts can be identified and engaged, (2) explicable sites of intersection between ideological perspectives and rhetorical construction, and (3) models for the transition from ideological critique to (re)composition. This is not an add-pop-genre-and-stir approach to composition pedagogy; rather, it intentionally deploys comics’ inherent multimodality as a challenge to students’ often narrow definitions of rhetoric and composition.

CARMO, Isabel Paz Sales Ximenes. (Des)aparições do rosto em Os olhos sem rosto. 2017. 115f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Comunicação Social, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-05-03T12:07:17Z No. of bitstreams: 1 2017_dis_ipsxcarmo.pdf: 4511031 bytes, checksum: f579bd3aa9cf226a636107f759f8ba48 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-05-03T14:35:46Z (GMT) No. of bitstreams: 1 2017_dis_ipsxcarmo.pdf: 4511031 bytes, checksum: f579bd3aa9cf226a636107f759f8ba48 (MD5) / Made available in DSpace on 2017-05-03T14:35:46Z (GMT). No. of bitstreams: 1 2017_dis_ipsxcarmo.pdf: 4511031 bytes, checksum: f579bd3aa9cf226a636107f759f8ba48 (MD5) Previous issue date: 2017 / Eyes without a face (George Franju, 1960) tells the tale of Christiane, whose face was gravely disfigured by a car accident caused by her father, the professor and medical doctor Génessier. In an attempt to recover his daughter’s visage, Génessier and Louise, his assistant and former patient, start kidnapping young women who resemble Christiane in order to transplant their skin onto the girl’s face and reestablish her normal life. Our present study begins with the analysis of the film and its thematic as a way of reflecting on the figurative emergencies of the face in artistic form and its relevance in contemporary society. We then attempted to establish a dialogue with various authors from the fields of anthropology, philosophy, sociology and literature (AGAMBEN, 2015; BAKHTIN, 1987; BAQUÉ, 2007; BRETON, 1992, 1998, 2013; COURTINE; HAROCHE, 1988; TUCHERMAN, 2012) in order to outline a trajectory of the face in figurative forms. Our concern was particularly in two crucial historical axis, which at certain points overlap: the transition from the medieval depictions to the modern aesthetics; and the turn from the XIX to the XX century. In the third chapter, our goal was to trace the development of the close-up shot and other forms of framing the face throughout movie history, with the aid of theorists, film critics and moviemakers who approached the theme (AUMONT, 1992; BALÁZS, 2010; DELEUZE, 1983; EISENSTEIN, 2002; EPSTEIN, 1974). Finally, the final chapter conducts the analysis of the three main characters of Eyes without a face, with focus in their (dis)appearances in the reel. Our purpose was to construct a net of interpretations around the materialization of these countenances, their links with the general assembly of the movie and their relationships with categories such as mask, gaze, touch and disfiguration. / Os olhos sem rosto (Georges Franju, 1960) narra a história de Christiane, cujo rosto foi gravemente desfigurado em um acidente de carro provocado pelo próprio pai, o médico e professor Génessier. Na tentativa de recuperar o rosto da filha, Génessier e Louise – sua assistente e também antiga paciente – sequestram moças fisicamente semelhantes a Christiane para, em operações ilegais, transplantar a pele do rosto das vítimas na jovem e, assim, reestabelecer sua vida. Nosso estudo, em sua segunda parte, parte do filme e de sua temática para discutir a figuração do rosto em algumas formas artísticas (principalmente no cinema) e a importância dessas figurações em nossa sociedade. Em seguida, convocamos autores da antropologia, filosofia, sociologia e literatura (AGAMBEN, 2015; BAKHTIN, 1987; BAQUÉ, 2007; BRETON, 1992, 1998, 2013; COURTINE; HAROCHE, 1988; TUCHERMAN, 2012) para esboçarmos uma breve trajetória antropológica do rosto em dois momentos históricos cruciais: a transição entre a Idade Média e a Moderna; e a virada do século XIX para o século XX. Na terceira parte, nosso objetivo foi traçar o desenvolvimento do grande plano e das demais formas de enquadrar e figurar o rosto ao longo da história do cinema. Esse percurso foi embasado por teóricos, críticos e cineastas que abordaram o tema (AUMONT, 1992; BALÁZS, 2010; DELEUZE, 1983; EISENSTEIN, 2002; EPSTEIN, 1974). Por fim, é realizada a análise de três personagens do filme-objeto a partir de suas (des)aparições, no intuito de construir uma rede de interpretações em torno da materialização desses rostos, de suas ligações no nível da montagem e de suas relações com categorias como a máscara, o olhar, o toque e a desfiguração.

Este trabalho é dedicado à análise de duas obras ficcionais, “Their Eyes Were Watching God”, de Zora Neale Hurston, e “Light in August”, de William Faulkner. O ponto de partida da análise é a ideia que identidades são construídas de acordo com injunções discursivas específicas, que variam de contexto para contexto. Para tanto, foram analisados os dois personagens principais dos textos, Janie Crawford, uma mulher negra, e Joe Christmas, um homem cuja identidade racial é desconhecida. A comparação entre os dois se baseou na forma como ambas as identidades são construídas nos romances, em relação ao seu acesso à língua e a possibilidade de articulação dentro dela, e ao contexto no qual estão inseridos. / This research is dedicated to the analysis of two fictional works, Their Eyes Were Watching God (1937) by Zora Neale Hurston and Light in August (1932) by William Faulkner. The starting point of the analysis is the idea that identities are constructed according to specific discursive injunctions, which vary from context to context. The study is focused on the main characters of both novels, Janie Crawford, a black woman, and Joe Christmas, a man whose racial identity is unknown. The comparison between the two characters is based on how their identities are constructed in the novels in relation to their access to language and their possibility of articulating within it, and the context in which they are inserted.

Foi desenvolvido nesta pesquisa um estudo sobre a utilização de imagens de olhos humanos em um sistema biométricos de identificação. Este trabalho apresenta os resultados obtidos na comparação de olhos humanos utilizando a técnica Scale Invariant Feature Transform (SIFT). A técnica SIFT é uma ferramenta capaz de identificar objetos, tendo como principais características: a invariância as transformações de rotação, translação, escala e oclusão do objeto dentro da imagem. Uma pesquisa sobre os principais sistemas biométricos de identificação existentes foi realizada. Para as comparações entre as imagens utilizou-se um banco de imagens de olhos humanos denominado, UBIRIS, obtendo resultados muito interessantes. / This research developed a study about the use of images of human eyes in a biometric identification system. This work presents the results of the comparison of human eyes using the technique Scale Invariant Feature Transform (SIFT). The SIFT technique is a tool capable of identify objects, with the main features: the alteration of rotation invariance, translation, scale and occlusion of the object within the picture. A search on the main systems of biometric identification was made. For the comparisons between the images we used a bank of images of human eyes called UBIRIS, getting very interesting results.

Libertação, Conversão e Catequese em Jo 9 tem o propósito de identificar o itinerário percorrido por uma pessoa cega de nascença para confessar sua adesão de fé, publicamente, a Jesus, como o Filho do homem, em tempos de exclusão da sinagoga. A libertação das normas e leis que não estão em defesa da vida e, que, por isso, não são de Deus, exige coragem, a partir da abertura dos olhos e da mente, frente a uma situação que exclui. O primeiro capítulo aborda o evangelho segundo a comunidade joanina como um todo, evidenciando suas principais características, sua relação com as festas judaicas e o sábado. O segundo capítulo aprofunda o estudo da narrativa da cura do cego de nascença, para evidenciar como a libertação, conversão e catequese aparecem no texto. Essa narrativa apresenta o processo de adesão a Jesus como o Filho do homem e, como, para isso, Ele precisa ser visto perfeitamente como Ele é. Para tal, é necessária a abertura gradativa da visão, mesmo em tempo de punição e exclusão, por parte dos judeus fariseus, a quem nEle confessa sua fé. O entendimento a respeito de quem é Jesus dá-se a partir do fazer o que ele manda; enfrentar com coragem os interrogatórios do grupo dos judeus fariseus e não temer mostrar opinião contrária a eles, mesmo que isso resulte em uma punição. O cego curado é modelo para a comunidade ao se deixar iluminar por Jesus. O terceiro capítulo aprofunda como a catequese pode ser feita a partir do texto de Jo 9. Estuda a forma como a comunidade joanina desenvolveu o seu processo catequético, o da comunidade judaica e da comunidade cristã primitiva. Com base no itinerário de libertação e conversão, realizado pelo cego curado, apresentamos alguns elementos indicativos para a catequese de adultos em nossos dias. / Liberation, Conversion and Catechesis have the purpose, in John 9, to identify the itinerary of a person born blind in order to profess publicly his adhesion of faith to Jesus, as the Son of Man, in a time of exclusion from the synagogue. The liberation from laws and rules not directed towards defending life and, therefore, not according to the will of God, with regard to an excluding situation, takes courage after having opened eyes and mind. The first chapter considers the gospel according to the community of John as a whole, pointing out its main characteristics, its relation to the Jewish Feasts and the Sabbath. Chapter two deepens the study of the narration about the healing of the man born blind so as to make clear how liberation, conversion and catechesis become evident in the text. The narration presents the process of adhesion to Jesus as the Son of Man, showing how, accordingly, Jesus has to be seen exactly like he is. Therefore, the person who professes faith in Him, even in times of punishment and exclusion by the Jews and Pharisees, needs having his eyes gradually opened. The understanding of who Jesus is begins with doing what he orders, confronting courageously the questionning by the group of Jews Pharisees and not fearing to express an opinion contrary to theirs, even at the risk of punishment. The man born blind now healed, who lets himself be illuminated by Jesus, is a model for the community. Chapter three shows how the text of John 9 can be used for catechesis and how the community of John, the Jewish and the ancient Christian communities developed their catechetical process. Based on the itinerary of liberation and conversion made by the man born blind now healed, indicative elements for the catechesis of adults in our days are presented.

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