Made available in DSpace on 2016-08-10T11:22:03Z (GMT). No. of bitstreams: 1 TATIANA LUIZA SOUZA COELHO.pdf: 8309127 bytes, checksum: 314081882ada7cec79035bf9c8ca04d7 (MD5) Previous issue date: 2015-12-08 / In this study we try to explain the tension of speeches set out the cartoons of Ziraldo in the journal O Pasquim during the seventies, in contrast to the feminist discourse that articulates the same period. Housed in a conservative modernization process experienced by the country, feminists politicized public and private shifting the design of the shaft being a woman, tied historically to motherhood, the private sphere and marriage. In fiscal analysis of the cartoons of Ziraldo, they have raised some questions, and that , from the sensitivity and experience the look, invites us to a sharper interpretation by the ( the ) historian ( or ) images. Then we propose the reading of the features of the cartoons of Ziraldo, that give to be read as texts, where traces , scratches and scribbles are given as significant , and that from the perspective of gender, reveal themselves as powerful meanings. / Neste estudo procuramos explicitar a tensão dos discursos enunciados pelas charges de Ziraldo no periódico O Pasquim durante a década de setenta, em contrapartida com o discurso feminista que se articula nesse mesmo período. Inserido no processo de uma conservadora modernização vivenciado pelo país, as feministas politizam o público e o privado deslocando o eixo da concepção do ser mulher, atrelado historicamente à maternidade, à esfera privada e ao casamento. No exercício de análise das charges de Ziraldo, foram suscitados alguns questionamentos, e que, a partir da sensibilidade e experiência do olhar, nos convida a uma interpretação mais aguçada por parte da (do) historiadora (or) de imagens. Propomos então a leitura dos traços das charges de Ziraldo, que dão a ser lidos como textos, onde traços, riscos e rabiscos se dão como significantes, e que sob a ótica de gênero, revelam-se como poderosos significados.

Patients’ beliefs about their illness are known to influence their experiences of illness, its psychological impact, their health behaviours, and overall health outcomes. Research into illness beliefs has typically involved written or oral methods, yet recent studies have suggested that patients’ beliefs about their illness may be embodied in visual form, in their mental images of the disease. Beliefs embedded in mental images may not be captured via traditional modes of assessment, and thus far the possible significance of this kind of ‘visual knowledge’, has been largely overlooked. Studies using visual methods to explore patients’ mental images suggest this is a viable and useful approach which may provide additional insights into their illness beliefs. Research of this kind is in its infancy however, and there are several fundamental questions concerning the existence and nature of mental images, how best to access such images, and their relationship to illness beliefs, which are as yet unanswered. This thesis employed qualitative methods to address these issues and explore the significance of mental images within the context of head and neck cancer. It consists of three empirical phases – a methodological pilot study, a qualitative meta-synthesis, and a longitudinal study. The findings indicate that many patients do generate a mental image of their cancer, and this is significant in terms of their understanding of both the disease and its treatments. Images appear to enhance patients’ comprehension of what is going on inside their bodies, and may both reflect and influence illness beliefs. In this thesis these findings are considered with reference to the methodological issues intrinsic to researching mental images, and the implications for future research and clinical practice.

Orientador: Andrea Lucia Dorini de Oliveira Carvalho Rossi / Resumo: A presente tese tem por intento compreender e questionar a existência, a atuação e o papel desempenhado pelo mito de Dioniso-Zagreu na tradição órfica da Grécia clássica, e na eventual dramatização desses mistérios. Seria este realmente o mito cardinal do orfismo ou ele é uma ficção intencionalmente provocada pelas leituras apologéticas dos estudiosos do século XIX? Integra-se a ele uma antropogonia inovadora ou não há evidências para tal construção teórica? A antiguidade, o conteúdo e a centralidade do mito têm sido motivo de amplo debate entre os estudiosos do tema. E esses debates, muitas vezes, se ajustam a imagens viciadas e induzidas das fontes, referências, métodos e materiais de investigação. Enquanto alguns intérpretes e comentadores inserem sua origem e, sobretudo, sua propagação, a partir V século AEC, outros, influenciados pelo cetiscimo e pelos apelos da hipercrítica, advogam pela inexistência tanto do mito, quanto da doutrina do pecado original que supostamente faria parte da composição desta narrativa. Munida de perspectivas e interpretações plurais, esta pesquisa visa a percorrer a história da tradição órfica, em busca de imagens que deem conta dessa multiplicidade intrínseca e característica do universo dionisíaco, a fim de analisar também as crenças peculiares às práticas de representação dramática e se elas estariam presentes no ritual órfico, em especial no período clássico, a partir da simbologia estabelecida à época pelos testemunhos, pela iconografia e ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis aims to understand and question the existence, the performance and the role played by the myth of Dionysos-Zagreus in the Orphic tradition of classical Greece, and in the eventual dramatization of these mysteries. Is this really the cardinal myth of Orphism or is it a fiction intentionally provoked by the apologetic readings of nineteenth-century scholars? Is an innovative anthropogony integrated into it or is there no evidence for such a theoretical construction? The antiquity, content and centrality of the myth have been the subject of wide debate among scholars. These debates often fit in with misleading and induced images of sources, references, methods, and research materials. While some interpreters and commentators insert its origin and, above all, its propagation, from the 5th century BCE, others, influenced by the eighteenth century and the appeals of the hypercritic, advocate the inexistence of both, myth and the doctrine of original sin, that supposedly would be part of the composition of this narrative. Armed with perspectives and plural interpretations, this research aims to search the history of the Orphic tradition, looking for images that account for this intrinsic multiplicity and characteristic of the Dionysian universe, in order to analyze also the beliefs peculiar to the practices of dramatic representation and if they would be present in the Orphic ritual, especially in the classical period, from the symbology established at the time by the te... (Complete abstract click electronic access below) / Doutor