• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 97
  • 14
  • 13
  • 3
  • 3
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • Tagged with
  • 169
  • 169
  • 31
  • 28
  • 27
  • 21
  • 20
  • 18
  • 18
  • 18
  • 17
  • 16
  • 16
  • 15
  • 15
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
161

Development and mechanisms of past and future episodic memory : comparison of autobiographical and virtual reality tasks / Développement et mécanismes de la mémoire épisodique passée et future : comparaison des tâches autobiographiques et de réalité virtuelle

Abram, Maria 28 November 2014 (has links)
La mémoire épisodique est la fonction neurocognitive humaine permettant de se souvenir des événements passés situés dans leur contexte spatio-temporel ainsi que de se rappeler d'exécuter des actions futures spécifiques et d'imaginer des événements futurs variés. Comme d'autres capacités complexes, son développement est lié à d'autres fonctions telles que les fonctions exécutives et la théorie de l'esprit. Elle peut être évaluée avec du matériel de laboratoire nécessitant une mémorisation de nouvelles informations et d'actions futures à réaliser plus tard (mémoires rétrospective et prospective, respectivement), ainsi que via des événements personnels (rappel du passé et imagination du futur ou mémoire autobiographique passée et future, respectivement). L'objectif de cette thèse était, d'une part, de comparer les aspects passé et futur de la mémoire épisodique dans une approche développementale de l'enfant d'âge scolaire au jeune adulte, tout en explorant les mécanismes sous-jacents. D'autre part, le but était également de comparer des tâches autobiographiques et des tâches de laboratoire plus écologiques en réalité virtuelle.Les résultats suggèrent un développement plus progressif de l'aspect futur de la mémoire épisodique (plus de différences chez les enfants), tandis que l'aspect passé semble être bien développé à l'adolescence. Concernant les mécanismes, les performances aux tâches autobiographique et en réalité virtuelle (corrélées entre elles) sont liées aux fonctions exécutives et aux capacités narratives ; de plus, les capacités de rappel lors du test de réalité virtuelle dépendent des fonctions exécutives, la mémoire autobiographique passée et future et la théorie de l'esprit (seulement pour le futur), tandis que les capacités de mémoire autobiographique dépendent de la mémoire du futur en réalité virtuelle en plus des fonctions exécutives et de l'âge.Ces données démontrent que malgré un développement plus progressif de l'aspect futur que passé de la mémoire épisodique, le fonctionnement mnésique dans des environnements virtuels est comparable à la mémoire au quotidien, compte tenu de leurs inter-corrélations et de leurs mécanismes au moins en partie communs. Par ailleurs, les tâches de réalité virtuelle peuvent trouver toute leur utilité dans l'évaluation des patients pédiatriques neurologiques dont les déficits mnésiques peuvent être plus ou moins subtils et se refléter plus aux contextes quotidiens qu'aux contextes des évaluations de type papier-crayon. / Episodic memory is the uniquely human neurocognitive function that enables us to recall past events situated in their spatio-temporal context and to remember to carry out specific future actions as well as imagine various personal future events. As all complex abilities, its functioning is linked to other cognitive capacities such as executive functions and theory of mind. It can be assessed with laboratory-based materials requiring the memorization of information and future actions to be recalled later (retrospective and prospective memory, respectively) and via personal events (recalling past ones and imagining future ones or past and future autobiographical memory, respectively). The aim of this thesis was, on the one hand, to compare both past and future aspects of episodic memory functioning in a wide developmental age span (from young schoolchildren to young adults), and to explore underlying developmental mechanisms. On the other hand, we also aimed to compare personal events¿ (autobiographical) tasks with more ecological laboratory tasks using virtual reality. Results suggest a more progressive development of the future aspect of episodic memory (more differences between children), whereas both retrospective and past autobiographical memory seem to be quite functional by adolescence. Regarding mechanisms, both autobiographical and virtual reality performance, in addition to correlating with each other, are linked to executive functions and narrative abilities; also, memory abilities assessed via virtual reality depend on executive functions, past and future autobiographical memory and (only future memory) on theory of mind performance, whereas autobiographical memory abilities depend on virtual reality-based future memory in addition to executive functions and age. Our data demonstrate that despite a more progressive development of the future aspect of episodic memory than of its past aspect, memory functioning in virtual environments is indeed comparable to daily life memory, as these abilities are strongly inter-linked and have at least partly common mechanisms. Also, virtual reality tasks can be used for memory assessments in pediatric neurological patients whose potential memory deficits can be more or less subtle and thus more detectable in daily life contexts as opposed to paper-and-pencil types of contexts.
162

Alzheimer's Disease Narratives and the Myth of Human Being

Rieske, Tegan Echo 11 December 2012 (has links)
Indiana University-Purdue University Indianapolis (IUPUI) / The ‘loss of self’ trope is a pervasive shorthand for the prototypical process of Alzheimer's disease (AD) in the popular imagination. Turned into an effect of disease, the disappearance of the self accommodates a biomedical story of progressive deterioration and the further medicalization of AD, a process which has been storied as an organic pathology affecting the brain or, more recently, a matter of genetic calamity. This biomedical discourse of AD provides a generic framework for the disease and is reproduced in its illness narratives. The disappearance of self is a mythic element in AD narratives; it necessarily assumes the existence of a singular and coherent entity which, from the outside, can be counted as both belonging to and representing an individual person. The loss of self, as the rhetorical locus of AD narrative, limits the privatization of the experience and reinscribes cultural storylines---storylines about what it means to be a human person. The loss of self as it occurs in AD narratives functions most effectively in reasserting the presence of the human self, in contrast to an anonymous, inhuman nonself; as AD discourse details a loss of self, it necessarily follows that the thing which is lost (the self) always already existed. The private, narrative self of individual experience thus functions as proxy to a collective human identity predicated upon exceptionalism: an escape from nature and the conditions of the corporeal environment.
163

Transparencies: New Zealand from 1953 to 1974 through the slide photography of Gladys Cunningham

Benjamin, Julie Maree January 2009 (has links)
Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.
164

Transparencies: New Zealand from 1953 to 1974 through the slide photography of Gladys Cunningham

Benjamin, Julie Maree January 2009 (has links)
Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.
165

Transparencies: New Zealand from 1953 to 1974 through the slide photography of Gladys Cunningham

Benjamin, Julie Maree January 2009 (has links)
Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.
166

Transparencies: New Zealand from 1953 to 1974 through the slide photography of Gladys Cunningham

Benjamin, Julie Maree January 2009 (has links)
Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.
167

Transparencies: New Zealand from 1953 to 1974 through the slide photography of Gladys Cunningham

Benjamin, Julie Maree January 2009 (has links)
Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.
168

Transparencies: New Zealand from 1953 to 1974 through the slide photography of Gladys Cunningham

Benjamin, Julie Maree January 2009 (has links)
Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.
169

Outo-etnografie, apologie en belydenis in outobiografieë van Elsa Joubert, André P. Brink en Koos Kombuis

Rothmann, Jan-Ben 02 1900 (has links)
Text in Afrikaans / ’n Merkbare opbloei in die publikasie van literêre niefiksietekste wêreldwyd het gelei tot die klassifikasie van sodanige tekste as ’n vierde genre. Die politieke oorgang in Suid-Afrika in 1994 het gelei tot ’n soortgelyke toename in outobiografiese tekste waarin kommentaar gelewer word op die Suid-Afrikaanse politieke werklikheid deur die vertel van sowel persoonlike as kollektiewe geskiedenisse. Daymond en Visagie (2012) identifiseer outo-etnografie, apologie en belydenis as kenmerke van die Suid-Afrikaanse outobiografie ná 1994. In hierdie navorsingsverslag word enkele resente skrywersoutobiografieë van onderskeidelik Elsa Joubert (’n Wonderlike geweld: jeugherinneringe (2005); Reisiger (2009)), André P. Brink (’n Vurk in die pad (2009)) en Koos Kombuis (Seks & drugs & boeremusiek: die memoirs van ‘n volksverraaier (2000); Die tyd van die Kombi’s: ‘n persoonlike blik op die Afrikaanse rock-rebellie (2009)) gemeet aan die kriteria wat deur Daymond en Visagie voorgestel word. Die beskrywing en interpretasie van verskeie outo-etnografiese merkers lei daartoe dat hierdie outobiografieë as ’n vorm van kulturele introspeksie beskou kan word. / A marked proliferation in the publication of literary nonfiction globally led to the classification of such texts as a fourth genre. The political transition in South Africa in 1994 caused a similar increase in autobiographical texts in which commentary is offered on the South African political reality through the telling of both personal and collective histories. Daymond and Visagie (2012) identify autoethnography, apologia and confession as characteristics of post-1994 South African autobiographies. In this research report some contemporary writers’ autobiographies, respectively those of Elsa Joubert (’n Wonderlike geweld: jeugherinneringe (2005); Reisiger (2009)), André P. Brink (’n Vurkin die pad (2009)) and Koos Kombuis (Seks & drugs & boeremusiek: die memoirs van ‘n volksverraaier (2000); Die tyd van die Kombi’s: ‘n persoonlike blik op die Afrikaanse rock-rebellie (2009)) are evaluated using the criteria proposed by Daymond and Visagie. The description and interpretation of various autoethnographical markers confirm that these autobiographies can be considered a form of cultural introspection. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Page generated in 0.4917 seconds