This study was undertaken in order to assess the effects of elementary school grade retention on the academic achievement of pupils. For each analysis in the study, norm-referenced standardized achievement tests were used as the dependent variable. Percentile rank score means in reading, language, and mathematics served as achievement indicators.

This thesis aims to solve the apparent problem of the frequent repetitions in Lucretius' De Rerum Natura (DRN). Verbal repetitions of many different lengths pervade DRN, and are noted in the scholarship. Yet a consensus has not been reached as to their purpose and function, or even if they rightly belong in the text. Multi-linear repetitions are viewed as a temporary stop-gap which Lucretius would have removed or adjusted had he lived long enough to effect it; or as later interpolations; while shorter repetitions are underplayed or even ignored altogether. But repetitions and internal allusions in DRN are part of a purposeful, meaningful didactic and rhetorical strategy, and they form much of the intellectual structure of the poem. These internal connections combine in DRN to form a remarkably complex intratextual network. The thesis argues that repetition is a crucial way in which Lucretius conveys his arguments and persuades the reader to pursue a rational life. Chapter 1 analyses the ways in which Lucretius' epic predecessors used repetition and how Lucretius may have applied these models. Chapter 2 looks at the internal evidence for the alleged unfinished state of the poem and examines the function of long repetitions in DRN. Chapter 3 investigates the rhetorical background to and functions of different kinds of repetition in DRN. Chapter 4 explores the didactic and psychological effects of repetitions and internal allusions. Chapter 5 shows how repetition creates an image of the world Lucretius describes: just as Lucretius tells us that atoms and compounds make up different substances depending on their arrangement in combination, so repetitions perform different functions and produce different outcomes depending on their placement in the text. Throughout the poem, repetition serves again and again to reinforce Lucretius' message, creating argumentative unity, and bringing order from chaos.

La obra de César Moro representa la mejor práctica del surrealismo dentro de la literatura hispanoamericana. En La tortuga ecuestre se define su estrategia poética en plena madurez expresiva. En su estilo domina el manejo del automatismo, que, a su vez, se apoya en la profusión de frases nominales, repeticiones, anáfora, etc., de donde se deriva el ritmo del poema. El discurso surrealista de Moro plantea la destrucción de los órdenes previos de percepción y experiencia. Con tensión entre la constancia del deseo y la presencia y la ausencia del amado, se establece un discurso amoroso que se desglosa interminablemente, recreando el mundo, su naturaleza y su sentido. / César Moro’s work represents the main achievement of surrealism in Latin American Literature. His poetic strategy is best defined in La tortuga ecuestre, where he reaches the maximum width of his artistic attainment. His style is characterized by a variant of automatism, which is supported by plenty of nominal phrases, repetitions, anaphors, etc., from where the poem’s rhythm is derived. Moro’s surrealist discourse proposes the destruction of previous orders of perception and experience. The lover’s discourse is established through the tension between the persistence of desire, and the presence and absence of the beloved. It is constantly broken down, thus recreating the world, its Nature and its sense.

[pt] Esta dissertação tem como objetivo a análise e articulação dos conceitos de trauma, repetição e pulsão de morte em Freud, embora algumas contribuições de psicanalistas pós-freudianos também sejam consideradas. A riqueza dos conceitos em questão se apresenta pelo seguinte paradoxo: ao mesmo tempo em que testemunham um limite do aparelho psíquico, lançam para o trabalho. O que motiva essa pesquisa, portanto, é justamente a indagação sobre as vicissitudes destes limites - limite do psiquismo e da representação, com o intuito de problematizá-los. Pois é preciso pensar sempre em uma dupla potencialidade do que se apresenta como limite: por um lado potência de abertura e por outro, agente de fechamento. Não queremos com isso diminuir a importância da representação no trabalho analítico como objetivo essencial, mas apontar para a importância da valorização e discriminação de modos de trabalho do psiquismo que não o trabalho representacional, buscando enfatizar a importância da negatividade para a o enriquecimento e complexificação do psiquismo. / [en] The purpose of this thesis is to analyse and articulate the concepts of trauma, repetition and death drive in Freud, although some contributions of post-freudian psychoanalysts will also be considered. The richness of these concepts can be sustained by the following paradox: they witness a limit of the psychic apparatus, at the same time that lances it for work. What motivates this research, therefore, is precisely the question about the vicissitudes of these limits - limits of the psyche and representation, in order to discuss them. One must always think about a dual capability that presents itself as a limit: one for the power of opening, and the other as a closing agent. This is not to diminish the importance of the representation in an analytical work as an essential goal, but to point out the importance of the valuation and discrimination of other working modes of the psyche rather than a representational work, in order to emphasize the importance of negativity for the enrichment and complexity of the psyche.

Tarefas: uma estratégia para criação de performances é uma pesquisa em poéticas visuais que teve origem no processo de criação de Figuras e Fantasmas e nos desdobramentos que as apresentações públicas desta performance produziram. A investigação teórica e prática desenvolvida para performance Figuras e Fantasmas conduziu este estudo à noção de tarefa, um processo de trabalho criado por Anna Halprin, no final dos anos 1950. Estudamos a tarefa em termos processuais e conceituais e, a partir desse referencial teórico, analisamos os meios pelos quais podemos empregar contemporaneamente um procedimento que espelha uma época na qual a simbiose entre arte e vida somada ao papel do artista estavam em questão. Nossa investigação propõe um recorte que elegeu a não-atuação, atuação, repetição e duração como elementos estruturais das tarefas. Constatamos que esses elementos dosados e articulados permitem que noção original de tarefa possa ser atualizada. / Tasks: an strategy to the creation of performances is a research in Visual Poetics that was originated with the process of creation of Figuras e Fantasmas and the results that unfolded from its public presentations. The theoretical and practical investigations developed for the performance Figuras e Fantasmas directed this study to the notion of task, that was a process of work created by Anna Halprin in the end of the 1950s. From these theoretical references, the task was studied in processual and conceptual terms and there was made an analysis of the means through which, contemporaneosly, we could use a procedure mirroring a period when the symbiosis between art and life in conjunction with the role of the artist were in question. In this investigation, the not-acting, acting, repetition and duration were chosen as structural elements of the tasks. It was verified that these elements - measured and articulated - allow the original notion of task to be updated.

Esta pesquisa tem como tema a questão da repetição e sua utilização em processos artísticos na contemporaneidade, abordando tanto a poïética como a poética. Nesta temática, a partir da análise de trabalhos dos artistas Anna Maria Maiolino, Nick Rands e Patrícia Franca, são estabelecidas relações entre o pensamento artístico contemporâneo e conceitos advindos dos campos da teoria psicanalítica, da filosofia da diferença e do pensamento utópico. Outras produções artísticas são abordadas na medida em que interessam para a discussão de questões relacionadas à repetição, como a da série, do múltiplo, da representação, reprodução e cópia. Os principais autores referenciais são: Gilles Deleuze, Sigmund Freud, Jacques Lacan e Ernst Bloch. A partir destes cruzamentos entre poéticas contemporâneas e diversos campos teóricos proponho a problematização da questão da repetição em arte, vista como modo operacional, como elemento constitutivo do objeto artístico, em seu potencial de produção do novo e, ao mesmo tempo, como forma de operar sobre os mecanismos de repetição presentes nos modos de viver e de organização sócio-cultural e política. Pode-se pensar a repetição em arte como transgressão a partir de suas articulações com as possibilidades de produzir rupturas em sistemas ideológicos que prezam a repetição do sempre mesmo, que interessa à perpetuação de uma lógica de dominação. / The topic of this research is the issue of repetition and its contemporary utilization in artistic processes, dealing with poïetics as well as with poetics. This way, based on the analysis of the artwork of Anna Maria Maiolino, Nick Rands, and Patrícia Franca, relations between contemporary artistic thought and concepts coming from psychoanalytic theory, philosophy of difference, and utopian thought are established. Approaches in other samples of artwork occur as they are important to discuss issues related to the repetition: series, multiples, representation, reproduction, and copy. This research is based mainly on the works of: Gilles Deleuze, Sigmund Freud, Jacques Lacan and Ernst Bloch. From these intersections between contemporary poetics and different theoretical fields, I propose the problematization of repetition in art, as an operational mode, as a constitutive element of the art object, in its potential of producing newness, and, at the same time, as a way to operate on the mechanisms of repetition present in the ways of living and sociocultural and political organization. Repetition, in art, can be thought of as transgression; from its articulations with the possibilities to produce ruptures in ideological systems characterized by the repetition of the always same, which interests the perpetuation of a logic of dominance.

A adaptação hedônica consiste na atenuação das reações afetivas decorrente da posse e do uso contínuos de um produto (WANG; NOVEMSKY; DHAR, 2009). Esse fenômeno depende da repetição do consumo (REDDEN, 2008) e explica por que as pessoas gostam menos dos produtos ao longo do tempo. Apesar dos efeitos da repetição serem conhecidos pela linha de pesquisa sobre adaptação hedônica, os impactos da percepção dos consumidores sobre a repetição de uso na previsão da adaptação hedônica ainda não foram investigados. Esta pesquisa procura suprir esta lacuna. Especificamente, os estudos experimentais testam se a saliência da repetição de uso leva os consumidores a preverem um prazer de consumo menor (adaptação mais acelerada). Com base na literatura sobre previsão afetiva (WILSON et al., 2000), este trabalho propõe, também, que o focalismo é o mecanismo subjacente da relação entre saliência da repetição de uso e previsão da adaptação hedônica. Para melhor compreender esse fenômeno, são testadas duas possíveis condições limitantes para sua ocorrência, o grau em que o produto chama atenção e a variedade do sortimento apresentado aos consumidores. Além de verificar o impacto da saliência da repetição na previsão da adaptação, esta pesquisa investigou se a saliência da repetição é capaz, também, de levar a mais escolha por uma opção que permita variedade no consumo. Os resultados mostram que a saliência da repetição de uso leva a previsão da adaptação mais acelerada e que o focalismo medeia essa relação. Além disso, a presença de variedade do sortimento anula o efeito da saliência da repetição na previsão da adaptação e a saliência da repetição de uso leva a mais escolha por uma opção que ofereça variedade. Não foram encontradas evidências para suportar a hipótese de que o grau em que o produto chama atenção influencia a relação entre saliência da repetição e previsão da adaptação. / Hedonic adaptation is the attenuation of affective reactions resulting from ongoing ownership and usage of a particular product (WANG; NOVEMSKY; DHAR, 2009). This phenomenon depends on the consumption repetition (REDDEN, 2008) and explains why individuals enjoy their products less over the time. Although the effects of repetitive consumption are known in the body of research about hedonic adaptation, the impact of consumer beliefs about usage repetition on hedonic adaptation prediction has not yet been investigated. Our research addresses this issue. Specifically, we test whether people predict less future enjoyment (faster adaption) with a product when the usage repetition is made salient. Based on literature about affective forecasting (WILSON et al., 2000), we propose that the focalism is the mechanism underlying the effect of salient usage repetition on the increased hedonic adaptation prediction. Aiming to understand this effect, we sought to provide evidence about two boundary conditions of the effect of usage repetition salience on hedonic adaptation prediction: assortment variety and how much the product draws attention. Moreover, we tested whether people prefer products that allow consumption variety when usage repetition is made salient. Our results show that participants are more likely to predict less future enjoyment when the usage repetition is salient, and they suggest that this effect occurs because of focalism. The assortment variety is a boundary condition of this effect, and the usage repetition salience explains why people prefer products that allow consumption variety. There is no evidence that how much the product draws attention affects the relationship between usage repetition salience and hedonic adaptation prediction.

Nous abordons le problème de la synchronisation automatique d'un contenu audiovisuel avec une procédure textuelle qui le décrit. La stratégie consiste à extraire des informations sur la structure des deux contenus puis à les mettre en correspondance. Nous proposons deux outils d'analyse vidéo qui extraient respectivement : * les limites des évènements d'intérêt à l'aide d'une méthode de quantification de type dictionnaire * les segments dans lesquels une action se répète en exploitant une méthode d'analyse fréquentielle : le YIN. Ensuite, nous proposons un système de synchronisation qui fusionne les informations fournies par ces outils pour établir des associations entre les instructions textuelles et les segments vidéo correspondants. Une "Matrice de confiance" est construite et exploitée de manière récursive pour établir ces associations en regard de leur fiabilité. / We address the problem of automatic synchronization of an audiovisual content with a procedural text that describes it. The strategy consists in extracting pieces of information about the structure from both contents, and in matching them depending on their types. We propose two video analysis tools that respectively extract: * Limits of events of interest using an approach inspired by dictionary quantization. * Segments that enclose a repeated action based on the YIN frequency analysis method. We then propose a synchronization system that merges results coming from these tools in order to establish links between textual instructions and the corresponding video segments. To do so, a "Confidence Matrix" is built and recursively processed in order to identify these links in respect with their reliability.

In her book How We Became Posthuman (1999), Katherine Hayles analysed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital. This process, however, was not innocuous: it made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge, a process that Hayles contends originates in the Macy Conferences and the evolution of cybernetic theory. This research identifies an analogous process within the artistic realm: when Clement Greenberg delineated the concepts of opticality and colour field as the main characteristics that “defined” Modernist painting, he conceived of these in a purely disembodied subject (Krauss 1993). In this context, this work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman, tracing its origin to Marcel Duchamp and his invention of the readymade, and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research will question. A first aim of this work will be to unify the main concepts and theories of the artistic field with those of cybernetics, to bring together ‘Turing land’ and ‘Duchamp land’ (Manovich 1996). For achieving this, digitalisation processes are not to be understood as representations of some material reality, but rather as ontological repetitions through which difference is conveyed. This is why the consideration of the temporal dimension of the archive as event is fundamental for understanding that the archive can only exist in its change, in its movement, in its action, in its metamorphosis, and thus the relevance of digitalisation processes in this regard becomes evident. Therefore, the archive is not only an issue of memory, but also a question yet to come, of conformation both of the future and subjectivities (Derrida 1967b, 1995). In this context, the present work advances the emergence of a digital subject with the emergence of new media, and theorises that the constitution of this subject happens by assuming a ‘point of view’ (Deleuze 1988) in the technological unconscious (Vaccari 1979). Reflecting upon the effects of digitalisation and actualisation (Deleuze 1968) on the subject, on how the digitised artwork and event affects, and changes, the subject observing and interacting with it, the present research will demonstrate that it is pertinent to talk about a subject who is embodied in the digital. In this sense, if the digitised artwork in the archive needs a subject to be actualised, this process also has its consequences for the subject. Therefore, the digital subject is the possibility of actualisation of the archive, and at the same time changes with it: she assumes an always-different ‘point of view’ constituted for her by the floating signifier in the technological unconscious. All these theories, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large.

Esta pesquisa tem como tema a questão da repetição e sua utilização em processos artísticos na contemporaneidade, abordando tanto a poïética como a poética. Nesta temática, a partir da análise de trabalhos dos artistas Anna Maria Maiolino, Nick Rands e Patrícia Franca, são estabelecidas relações entre o pensamento artístico contemporâneo e conceitos advindos dos campos da teoria psicanalítica, da filosofia da diferença e do pensamento utópico. Outras produções artísticas são abordadas na medida em que interessam para a discussão de questões relacionadas à repetição, como a da série, do múltiplo, da representação, reprodução e cópia. Os principais autores referenciais são: Gilles Deleuze, Sigmund Freud, Jacques Lacan e Ernst Bloch. A partir destes cruzamentos entre poéticas contemporâneas e diversos campos teóricos proponho a problematização da questão da repetição em arte, vista como modo operacional, como elemento constitutivo do objeto artístico, em seu potencial de produção do novo e, ao mesmo tempo, como forma de operar sobre os mecanismos de repetição presentes nos modos de viver e de organização sócio-cultural e política. Pode-se pensar a repetição em arte como transgressão a partir de suas articulações com as possibilidades de produzir rupturas em sistemas ideológicos que prezam a repetição do sempre mesmo, que interessa à perpetuação de uma lógica de dominação. / The topic of this research is the issue of repetition and its contemporary utilization in artistic processes, dealing with poïetics as well as with poetics. This way, based on the analysis of the artwork of Anna Maria Maiolino, Nick Rands, and Patrícia Franca, relations between contemporary artistic thought and concepts coming from psychoanalytic theory, philosophy of difference, and utopian thought are established. Approaches in other samples of artwork occur as they are important to discuss issues related to the repetition: series, multiples, representation, reproduction, and copy. This research is based mainly on the works of: Gilles Deleuze, Sigmund Freud, Jacques Lacan and Ernst Bloch. From these intersections between contemporary poetics and different theoretical fields, I propose the problematization of repetition in art, as an operational mode, as a constitutive element of the art object, in its potential of producing newness, and, at the same time, as a way to operate on the mechanisms of repetition present in the ways of living and sociocultural and political organization. Repetition, in art, can be thought of as transgression; from its articulations with the possibilities to produce ruptures in ideological systems characterized by the repetition of the always same, which interests the perpetuation of a logic of dominance.