Orientador: Maria Suely Kofes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T21:47:26Z (GMT). No. of bitstreams: 1 Oliveira_ManoelaHoffmann_D.pdf: 2382083 bytes, checksum: b8c4c4c8d774aa79db49ef87b59ba866 (MD5) Previous issue date: 2014 / Resumo: O objetivo desta tese é reconstituir ontologicamente a individualidade de Wilhelm Meister, protagonista do romance "Os anos de aprendizado de Wilhelm Meister", de Goethe, defendendo que Wilhelm não pôde efetivar-se por meio de sua autoatividade. No Capítulo 1, apresentamos o caráter do herói, suas qualidades e fraquezas, seus modos recorrentes de pensar, agir e sentir; discutimos, em seguida, como sua sensibilidade é especialmente aberta a certos estímulos, provocadora e atraente de outros, bem como a constituição subjetiva do herói, por meio da interiorização das experiências e da lembrança; em consciência, as ideias que ele faz sobre a realidade que experiencia. No Capítulo 2, demonstramos o modo como Wilhelm foi ativo no decorrer de sua trajetória, os obstáculos que se interpuseram à inclinação e à disposição que existiam nele para a arte teatral e, por fim, como ele redirecionou sua atividade. No Capítulo 3, abordamos as circunstâncias e as relações que Wilhelm trava com outras pessoas, tentando delimitar os contextos e avaliá-los segundo os objetivos do herói; para tanto, apresentamos um grande painel dos personagens. No Capítulo 4, acompanhamos a trajetória do herói sob o ponto de vista da sua passividade e de como essa característica reúne tanto uma necessidade literária quanto uma necessidade real, da vida social na qual Wilhelm está imerso. Por fim, apresentamos o destino do herói, o desfecho de sua trajetória. Deixamos para as Considerações Finais a discussão dos possíveis significados do destino de Wilhelm Meister, entendido como trágico para sua individualidade / Abstract: The objective of this thesis is ontologically reconstruct the individuality of Wilhelm Meister , protagonist of the novel " The years of learning Wilhelm Meister ", Goethe , arguing that Wilhelm could not manifest itself through its self activity. In Chapter 1 , we present the character of the hero , his qualities and weaknesses , their recurring ways of thinking , acting and feeling ; discussed then as its sensitivity is especially open to certain stimuli , provocative and appealing to others as well as the subjective constitution of the hero through the internalization of experiences and souvenir ; in consciousness, the ideas than it does about the reality he experiences . In Chapter 2 , we demonstrate how Wilhelm was active throughout his career , the obstacles brought to the slope and layout that existed in it for the theatrical art , and finally , as he redirected his activity. In Chapter 3 , we discuss the circumstances and relationships that lock Wilhelm with others , trying to define the contexts and evaluate them according to the objectives of the hero ; for this, we present a large panel of characters . In Chapter 4 , we follow the path of the hero from the point of view of their passivity and how this feature brings both a literary necessity as a real necessity of social life in which Wilhelm is immersed. Finally, we present the fate of the hero , the outcome of its trajectory . We leave it to the Final Considerations discussing the possible meanings of the fate of Wilhelm Meister , understood as tragic for his individuality / Doutorado / Ciencias Sociais / Doutora em Ciências Sociais

Identity formation may be more complex for those who have been in foster care in the face of childhood abuse, difficult relationships, unstable environments and multiple care contexts but this does not imply there is anything pathological about it. Given the higher levels of mental health difficulties in looked after children and the known role identity has in mental health, whether as a risk or a protective factor, it seems clinically significant to investigate what factors help construct or hinder the formation of identity for those who have been in care. Interpretative Phenomenological Analysis was used to analyse semi-structured interviews of eight female care-leavers about the understanding of their identity development. Three superordinate themes emerged which encapsulated participants’ identity development. These included Construction of identity – How I became me, Understanding of identity – Who am I and Experience of identity – How my identity plays out. Participants’ construction of identity can be understood in the context of early adverse environments and developmental trauma. This construction of self, in turn mediates how participants understand and experience their identity. Findings were discussed in relation to previous research and limitations were outlined. Implications for future research included giving fuller consideration to the role of developmental trauma in identity formation. Clinical implications encourage understanding of looked after children and care-leavers in the context of developmental trauma, rather than focusing on symptoms of various diagnoses.

Research suggests that interpersonal difficulties are reported by those who experience grandiose beliefs, however the processes and the relationship with the belief have seen limited exploration and are poorly understood. The present study aimed to explore the perceptions of interpersonal relationships and self-esteem of people who have grandiose beliefs and to explore if these accounts are consistent with existing theory. A qualitative design was employed using interpretative phenomenological analysis (IPA) to explore participants' subjective understanding of experiences. Semi-structured interviews were carried out with eight individuals who were purposively sampled. Transcripts were analysed using IPA. Four superordinate themes emerged: ‘Others as disregarding’; ‘Fragile sense of self’; ‘Lost in a frightening world’ and ‘Surviving’. The study found that participants' accounts were characterised by difficult interpersonal relationships in both early and adult life. The participants' sense of self was complex and lacking in coherence, thus previously used measures of “self-esteem” may not adequately capture the subtleties of the experiences. The sense of self was set in a social context characterised by feelings of powerlessness isolation and lack of trust. In the context of limited resources the results suggest the beliefs function to make sense of experiences and to help the participants survive. These findings confirm that the belief may, in part, serve to protect participants from poor “social self-esteem”. These findings provide avenues to further exploration of processes and provide recommendations for clinicians and services.

The present study explored how authenticity is constructed by clinical psychologists and asked what might be the implications of these discourses. The study is concerned with offering a focus on the making of authenticity in discourse as well as providing an understanding of the complexity of authenticity within clinical psychology. The study used a discourse analytic approach known as critical discursive psychology to examine clinical psychologists’ talk of authenticity. Participants included twelve qualified clinical psychologists working in adult mental health services who took part in semi-structured interviews. Following a detailed critical discursive analysis of the texts, four discourses were identified with regard to the construction of authenticity. These discourses were commonly used to construct authenticity in extremely positive terms, however, some participants did draw attention to an ideological dilemma of authenticity versus professionalism. Participants used authenticity to establish their identity and manage their relationships with service users, colleagues and institutions. Drawing upon psychotherapeutic and professional discourses positioned participants as having power and being more authentic than others. Authenticity was problematised in relation to the participants need for professional boundaries. It is suggested that psychologists internalise dominant discourses of authenticity from the profession of clinical psychology, which is itself influenced by wider societal discourses around what it means to be authentic or inauthentic. Extra-discursive factors including institutions and embodiment were found to influence and constrain available discourses. The limitations of this study’s research findings are discussed as well as implications for future research and clinical psychology practice.

This study explored how gender expressions were portrayed in the narratives of gay men who view themselves as non-masculine. An adapted life story interview was conducted with seven participants between the ages of 20 and 47 years. Life stories were analysed using content analysis. The study found that non-masculinity was defined in different ways and that social context, including threat, impacted on gender expression. Non-masculinity was strongly associated with male homosexuality. Homophobic verbal and physical abuse was portrayed alongside negative appraisals of non-masculinity. This may be indicative of internalised anti-effeminacy values. Marginalisation in gay communities was also portrayed, including romantic rejection. Intersections of gender-expression and ethnicity or age were important in evaluations of sexual attractiveness. Conversely, masculinity was often eroticised or regarded as aspirational. Positive qualities associated with non-masculinity included expressiveness, humour and flexibility in working with power demonstrations of others. These reinforce the assertion that effeminate and androgynous men bypass facets of gender-role conflict.

With an ever increasing pool of theories designed to help the creator instill emotion, we’reapproaching a point where even the most stubborn audience can’t fully escape the grasp thatfilm can have on their feelings. Thanks to multidisciplinary research for the cognitive andsympathetic structures that make up emotions (Blincoe, 2011; Dolan, 2002; Ekman, 1973;Panksepp, 2004), a larger understanding for emotions has been built. In succession, anintegrative emotion model is becoming a realistic proposition (Loui & Harrison, 2014). Inthis thesis I’m suggesting that to make such a model a success, an understanding of the targetgroup is a requirement. I argue that each project has unique criteria found in the individual,rather than in the current general understanding of the human mind and body, and it’s appliedknowledge in modern design theories. This angle requires new tools, which I attempt tocreate based on Scherer’s (2001) Sequential Check Theory, in combination with establishedethnographic methods. In turn the tools will be tested on a local self-defined group as anintroduction to the workflow and data collection. To prove the model’s transdisciplinarypotential I attempt to apply this data in a real world sound design context, where this methodis hypothetically less effective than earlier stages in production, like writing. To generatequalitative data, the films, in the form of two pilot episodes of a series, will be shown to thetarget group. One episode without our theory applied, and the other with changes accordingto data collection and model directions. Rounding it out with a questionnaire regardingelicited emotion, and qualitative interviews, it stands as a sufficient base for discussion, albeitrather lacking as proof of concept. The thesis ends with a discussion of potential futureapplications where models like this one could be applied. / Med den ständigt ökande mängden teorier designade för att hjälpa skaparen att framhävakänslor börjar vi nå en punkt där till och med den mest envisa åskådaren inte kan undgågreppet som film har på våra känslor. Tack vare multidisciplinär forskning om de kognitivaoch sympatiska strukturerna som står för uppbyggnaden utav känslor (Blincoe, 2011; Dolan,2002; Ekman, 1973; Panksepp, 2004), så har det byggts en bättre förståelse kring ämnet.Därav har en integrativ känslomodell blivit en realistisk proposition (Loui & Harrison, 2014).I denna uppsats föreslår jag att för att göra en sådan modell en succé så är förståelse förmålgrupp ett krav. Jag argumenterar för att varje projekt har unika kriterier som hittas hosindividen, snarare än i den generella förståelse för sinne och kropp, och dess appliceradekunskap i moderna designteorier. Den här vinkeln kräver nya verktyg, som jag försöker skapabaserat på Scherers (2001) Sequential Check Theory, i kombination med etnografiskametoder. I sin tur så testas verktygen på en lokal egendefinerad grupp som en introduktion förarbetssättet och datasamlandet. För att bevisa modellens transdisciplinära potential försökerjag applicera datan i ett verkligt ljuddesignkontext, där metoden hypotetiskt sett är mindreeffektiv än i tidigare stadier inom produktion, som skrivandeprocessen. För att genererakvalitativ data så har filmerna, i form av två pilotavsnitt i en serie, visats för gruppen. Ettavsnitt utan applicerad teori, och ett med ändringar enligt den insamlade datan och modellensriktlinjer. Avrundas med ett frågeformulär som berör de framhävda känslorna utav avsnitten.Detta står som en tillräcklig bas för diskussion, om än aningen otillräcklig för konkreta bevis.Uppsatsen avslutas med diskussion om potentiella framtida applikationer där modeller somdenna kan florera. / HYENOR

This work is strictly theoretical reasoning and comparation of the two important trains of thought, humanistic socialism and liberal competition, which conflict with each other in everyday events of the present world. I am trying in this work to consider arguments, which F.A. Hayek is using to defend his idea about functioning of a liberal order which according to him absolutely spontaneusly creates the best possible environment for an assertion and development of a free individual and these arguments i am trying to follow subsequently with humanistic thinking of Erich Fromm placing the emphasis on his different conception of the individual but also spontaneus freedom and to analyse if it is possible for such individual who is humanly oriented to find full exercise of his inner needs and at the same time to remain useful member just of such society which Hayek submit us. Aim of this work is consideration of every discovered contrast of these two conceptions and thinking about humanistic ideas if they are for the liberal order only past drowned in selfish competitive acting or if they are still actual or if they even have opportunity to fully develop in such order. Benefit of this work I see first of all in the analysis of though not quite sought after but extremely actual problem if free individual is able to spontaneusly create such social order over the time in which his individuality may fully develop or if he dies out in unconconsciously created all embracing conformability.

Since the problem of criticism of Conrad has deteriorated often into a case study of supposed or imagined abnormalities, this study will survey this body of criticism and then attempt to place in proper perspective the various elements which comprise Conrad's artistic individuality. This thesis is intended to present an over-all view of the artistic individuality of Conrad, coupled with a more intensive interpretation of representative novels to illustrate this individuality.

This dissertation thesis describes the phenomenon of audiovisual performance in different connotations. A substantial part is devoted to psychological survey into my own subconscious and subsequently to metaphorical processing of this introspection. An important part of the work is a resume of the general knowledge of the physical properties and its metaphorical application on mental and creative processes. This analysis and explanation of internal cognitive models are implemented in terms of the study of relationships, interactions based on cooperation or confrontation, but also the inability to grasp the objective reality from the subjective position due to the merged distinctions of real and fictional. The importance of audiovisual performance is also studied in linear perspective of history, in order to point out the general principle of repetition patterns, which reveals that audiovisual performances is an activity which is a necessary expression of life itself and not just the concept in the field of arts.

My dissertation seeks to restore the sentiment of pity to Rousseau’s moral and political system. Rousseau scholarship tends to offer a proto-Kantian interpretation of Rousseau’s concepts of moral liberty and the general will. I argue that these readings neglect Rousseau’s own definition of virtue as the product of an individual’s pity moderating rational self-interest (amour de soi). I offer an account of Rousseau’s moral liberty dependent on this concept of virtue that incorporates the sentiments. I then argue that pity must perform a similar role in the general will because it is through the general will that people express their moral agency. To do so, I explore how Rousseau’s account of pity as a social sentiment is more expansive and active than standard interpretations allow, and thus it is better described as expanded pity or sympathy. Understanding pity’s role in the general will also affects Rousseau’s accounts of equality and individuality. Because virtue demands that pity moderate impulses to excess, the general will that arises from a virtuous citizenry will tend toward distributive equality. A state then best achieves equality by cultivating virtue through private institutions like education and public institutions like civil religion. Finally, I argue that Rousseau’s account of pity alleviates the perceived conflict, first posed by Judith Shklar, between the individual life of man and the homogenized life of citizen. In its expanded form, pity motivates individuals to care about others’ pursuits of their own personal interests while also maintaining a separation between self and other. Exploration into Rousseau’s pity thus has important implications for the kind of political emotions we should look to revitalize in modern democratic society.