The purpose of this study was to explore mechanisms through which high school students experience and cope with perceived discrimination and how discrimination and coping mechanisms relate to psychological distress and school engagement. Framed within transactional stress and coping and sociopolitical development theories, I tested a multiple mediation model with an ethnically diverse sample of public high school students (N = 979) and a subsample of Latina/o students (n = 433) to examine the mediating effects of three coping mechanisms (perceived social support, ethnic identity, and critical consciousness) on the relationship between perceived discrimination and the outcomes of psychological distress and school engagement. Additionally, psychological distress was examined as a mediator in the link between perceived discrimination and school engagement. Measurement and structural models were tested and demonstrated an adequate fit to the data. The hypothesized structural model accounts for 54% of the variance in school engagement and 31.2% of the variance in psychological distress in the full sample. The same model accounts for 63.4% of the variance in school engagement and 26.7% of the variance in psychological distress in the Latina/o subsample. A bootstrap analysis revealed that critical consciousness and perceived social support mediate the relationship between perceived discrimination and psychological distress in the full sample. Further, critical consciousness, ethnic identity, perceived social support, and psychological distress mediated the relationship between perceived discrimination and school engagement. A bootstrap analysis in the Latina/o subsample indicated that critical consciousness and psychological distress mediated the relationship between perceived discrimination and school engagement. While there are associated risks, the results highlight critical consciousness development as a protective racism-related coping mechanism for ethnically diverse adolescents and Latina/o youth in particular. Strengths, limitations, and implications of the study are discussed.

Luo, Xueying. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 108-120). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract and appendix also in Chinese.

O objetivo desta dissertação é de apresentar que existe forte relação entre passar no teste de marca e ser capaz de entender representações. Para isso se inicia formando uma base para a discussão da consciência, chegando a conclusão de que a consciência é um problema biológico e como tal deve ser respondido por meio da Biologia. Tendo concluído que a capacidade de se reconhecer (self-recognition) é uma das características da consciência, apresenta-se o teste de marca, faz-se a sua defesa chegando a conclusão de que ele é um teste capaz de apontar se o animal é capaz ou não se de reconhecer por eliminação de qualquer outro tipo de resultado. Por fim, apresenta-se a ligação entre passar no teste de marca e ser capaz de entender representações, colocando a capacidade de se reconhecer como uma prova dessa capacidade / The main goal of this dissertation is to show that exist a strong relationship between have a positive result in the mark test and be capable of understand representations. For it, we began building a base for the discussion of consciousness, concluding that consciousness is a biological issue and for it need to be answered by Biology. We concluded that the capacity of self-recognition is one of features of consciousness and showing that the mark test is capable to show if the animal is or not capable of self-recognition by elimination of any another kind of result. In the end, we show a bond between have a positive result in the mark test and be able to understand representations, putting the capability of self-recognition as a prove of it

Esse trabalho tem como objetivo discutir filmes em que a realidade é vista como um conceito subjetivo de tempo e espaço. A linguagem cinematográfica pode dar luz a uma realidade múltipla, a estrutura em abismo é um meio para isso. As Horas, Espelho e Sans Soleil, três filmes de diferentes épocas e estilos, nos permitirão analisar esse tipo de narrativa com múltiplos níveis de realidade e perceber como nuances predominantemente abstratas encontram corpo na tela de cinema. / This paper aims to discuss feature films in which reality is viewed as a subjective concept of time and space. The cinematographic language is able to show a multiple reality, the mis en abyme is a way for that. The Hours, Mirror and Sans Soleil, three films from different generations and styles, allow us to analyze this type of narrative with multiple levels of reality and realize how hues predominantly abstract could reach the screen.

Orientador: Rosangella Leote / Resumo: O presente trabalho se desenvolve na fronteira entre a produção artística, científica e tecnológica. É uma procura da interface humana de significado no ambiente, que culminou na elaboração da exposição “A Senhora do Balé: Ancestralidade Maquínica”, que é a junção de diferentes abordagens para os objetos tecnocientíficos. Este trabalho perpassa questionamentos sobre o que são as máquinas, que se revelam na exposição de obras/máquinas, repleta de um imaginário místico e de ferramentas que formam colagens antropomórficas, em um ambiente artístico imerso em luzes e sombras. Se tem como base teórica: O panorama das máquinas mecânicas feitas por Abbott Payson Usher e o Conceito de Tecnologia de Álvaro Vieira Pinto. A pesquisa de Paula Sibila sobre o Pós-orgânico; os conceitos de Emoção e Consciência de António Damásio e as experimentações das interfaces de comunicação entre humano e robô, de Zaven Paré. Como base de processos de criação, se examina obras de Jean Tinguely, que surgem como caminhos para a estrutura do trabalho. Pretende-se, ainda, que as obras sejam metáforas que operem entre diversos sentidos do interator, estimulando-os, gerando assim, material para o estudo da Emoção como agente direto da cognição. De forma artística, o trabalho “Máquinas e Emoções na Arte”, busca paradoxos em quantificar o qualitativo e qualificar o quantitativo. / Abstract: The present work is developed on the frontier between artistic, scientific and technological production. It is a search for the human interface of meaning in the environment, which culminated in the elaboration of the exhibition “A Senhora do Balé: Ancestralidade Maquínica” that is the junction of different approaches for the technoscientific objects. This work raises questions about what machines are, which are revealed in the exhibition of works / machines, full of a mystical imaginary and tools that form anthropomorphic collages, in an artistic environment immersed in lights and shadows. Its theoretical basis is: The panorama of mechanical machines made by Abbott Payson Usher and the Technology Concept of Álvaro Vieira Pinto. Paula Sibila's research on the Postorganic; the concepts of Emotion and Consciousness of António Damásio and the experiments of the communication interfaces between human and robot, by Zaven Paré. As a basis of creation processes, Jean Tinguely's works are examined, which appear os paths to the work structure. It is also intended that works are metaphors that operate between different senses of the interactor, stimulating them, thus generating material for the study of Emotion as a direct agent of cognition. In an artistic way, the work "Machines and Emotions in Art", seeks paradoxes in quantifying the qualitative and qualifying the quantitative. / Mestre

Contemporary studies of the phenomenon of attention uncritically suppose that the only way to go about observing attention is as a modification of consciousness. Consciousness is taken to be always intentional, i.e., distinguished by reference to an object-whether physical or not-toward which it is directed. Observers of attention therefore assume that attention is an intentional modification of consciousness. Such practices of observation, in virtue of the kinds of practices that they are, take for granted that the fundamental constituents of reality are subjects and objects. Edmund Husserl and Martin Heidegger (and Maurice Merleau-Ponty after them) discovered that belief in the world as divided into subjects and objects is merely a convenience designed for the purpose of making a certain kind of sense of experience intelligible-a belief that operates as a controlling assumption which forces the world, if it is to be intelligible, to show up under the oppressively confined ontology that was originally introduced merely as an observational convenience. My work contributes to the prevalent literature an examination of these presuppositions by reconsidering what the landscape of attention studies would look like without the importation of the confinement of a world reduced to subjects in interaction with objects. I do this first by returning to the fundamental and yet strangely forgotten insights into the question that Husserl and Heidegger provided. Then I explore through some of the autobiographical work of Virginia Woolf, Simone Weil, and Pascal a pathway by which we might think differently about what it is to pay attention. I conclude that attention might also be understood as a kind of waiting that does not specify an object, but rather a posture, a way of being that necessarily manifests itself prior to any sort of prejudged or anticipated object. The contribution of my work will serve the community of observers of attention by forcing them to explain what it is to pay attention without reliance on the subject-object distinction.

The purpose of this study was to consider the development of social consciousness in female nonprofit leaders. The problem undergirding the study is that we do not know enough about social consciousness to know how it is learned, if it can be taught, if it is stable over a lifetime, and what factors and life events shape its unique expression. A further concern is understanding how people come to enact caring about social justice causes and why they enacted caring about certain causes but not others. The research investigated learning related to the social consciousness of female nonprofit leaders who work with organizations focused on social justice issues. The research method utilized, life history collage, employed a combination of art and life history to investigate this phenomenon. Once collages were made, participants were interviewed to further explore emergent themes and these themes were analyzed using the learning theory enactivism to understand how learning influenced each woman’s social consciousness. Findings indicate that organizing structures emerged in childhood that both enabled and shaped the potential of each woman’s social consciousness. This “potential” was inherent in the structure of each woman’s world view, but was enacted in the way this structure coupled with opportunities in her environment. In other words, each woman’s social consciousness coemerged within environments that shaped her social consciousness and that were shaped by her social consciousness. Thus, social consciousness and environment are mutually specifying.

In a society focused on the individual, how is community formed? As individuals predisposed to the built-in barrier of our body, our skin, how do we mediate between the self and the external? During this mediation on the barriers between our body, ourselves, and the outside world, how is consciousness simultaneously conflicted and built upon? What does it mean to be alive, to be a complex individual surrounded by a multitude of complex individuals? Can we, as a society, learn to focus balance the community and the individual? ONLY WE CAN PULL attempts to answer these questions through a series of first-person singular “I” poems, first-person plural “we” poems, and a range of second- and third-person poems interspersed throughout. The poems in this collection show language as a transformative force, able to shape consciousness, depending on the lens and distance through which one views a person, experience, or moment. In the hopes, ONLY WE CAN PULL is a sample-sized collage foregrounding the multiple, fragile paths that lead to the deceptively simple four-letter word “life.”

I believe creativity can be a direct link to the soul, a space to have a conversation with the divine and I seek to explore this idea in my art. I also want to invite the observer to move through my work and explore the space contained within their own emotions and sensibilities, beyond boundaries, allowing the work to linger and sink in. Translating these ideas into the form of my works, following my intuition intelligently, involves an intensive process of many layers of paint and textures combined with thread. My work involves the intersections of spirituality and art making through the experience of meditation. Engaging in traditional painting methods with abstract formations and intertwining thread to symbolize body and mind. Exploring the invisible, which is something you cannot obtain like meditation and making it visible through human experience. Inspired by Maurice Merleau-Ponty theoretical thinking on placing consciousness as the source of knowledge. Painting is my meditation, it is a tool to connect, dissolve, and release. Thread is the link to my ancestral consciousness and femininity. My work creates a wild boundless space, welcoming all emotions and thoughts to manifest into gestural and abstract landscapes. There is no right or wrong way to experience the work, what matters most is the totality of presence and observation of the spaces in-between.

This dissertation is an interpretive inquiry of the conception of self in the Hindu Advaita (non-dual) school. I focus on the original works of Sankara (8th-9th CE) and Abhinavagupta (10th-11th CE), both of whom played a significant role in developing the Advaita philosophy within the Hindu tradition. I offer an innovative analysis of the Advaita thought, drawing upon the fields of religious studies, philosophy, psychology, and history and philosophy of science. This multidisciplinary exploration focuses on the structure of human consciousness and its relation to the existential dimensions of human experience. On the basis of non-dualism, I examine the subject-object relationships in the contexts of cognitive activity, aesthetic experience and interpersonal relationships. I argue that certain structures of self-object or self-other relations, which I characterize as the sacred, point to experiences of depth which do not merely reduce to cultural phenomena or socio-political dynamics, though their expression often take specific cultural forms. Such structures play a crucial role in developing authentic dynamics with the other, in enhancing creativity and enriching aesthetic activities. Thus the sacred create the possibility for a vital and caring relationship with one's environment. Because my investigation focuses extensively on subjective awareness, it will add important dimensions to questions concerning the nature of cognition.