Made available in DSpace on 2016-12-23T14:01:44Z (GMT). No. of bitstreams: 1 Denize Mezadri de Almeida.pdf: 4313665 bytes, checksum: 7f0ad1ecd2da6e38f2342a60e01c6248 (MD5) Previous issue date: 2013-05-20 / This study problematizes the issue of teacher formation and Environmental Education in the network of senses woven by teachers from basic education public schools in downtown Piuma-ES, by carrying out experiments in spaces of living together. Guided by this bet, this qualitative research is anchored in narratives and in a methodological proposal of ethnography in the perspective of implied ethnoresearch, resulting from the planning meetings per area at the schools, EMEF "Lacerda de Aguiar" and EEEFM "Professora Filomena Quitiba". Besides, we have mapped experiments undertaken by teachers of the early years of elementary school, through conversations, records in the field diary, photographs and recordings. In these same spacestimes, and motivated by the question "what sense(s) do you assign to experiences with the site?", the teacher narrated experiences and, at the end, named the meaning of them. Such procedures have contributed to the understanding of experiments-senses in the spaces of living together, emphasizing crossed environmental provocations in the ecology of knowledge and complex thinking on multiple teaching senses. The journeys, adventures and passions arise as a proposal of intertwining experiments-senses in sensitivities and sustainabilities with the local, emergent in the reform of utilitarian, individualistic, rationalist and reductionist structures and thoughts. In recounting experiences and naming the meaning of them, in the spaces of living together, each teacher says what he/she does, what he/she goes through, revealing in the inventions, interrelationships, view, surprises, pleasure, among other autopoietic senses, socioenvironmental knowledgesdoings of/in teacher formation and Environmental Education / Este estudo problematiza formação de professores/as e Educação Ambiental na rede de sentidos tecida por docentes de escolas públicas de ensino básico do centro de Piúma-ES, ao realizarem experiências nos espaços de convivência. Norteada por essa aposta, esta pesquisa qualitativa ancora-se nas narrativas e em uma proposta metodológica de etnografia na perspectiva da etnopesquisa implicada, resultantes dos encontros de planejamento de área nas escolas, EMEF ―Lacerda de Aguiar‖ e EEEFM ―Professora Filomena Quitiba‖. Além disso, mapeamos experiências realizadas por professoras dos anos iniciais do ensino fundamental, através das conversações, dos registros no diário de campo, fotos e gravações. Nesses mesmos espaçostempos e motivados pela questão ―que sentido(s) você atribui às experiências com o local?‖, o/a professor/a narrava experiências e, ao final, nomeava o sentido das mesmas. Tais procedimentos contribuíram para a compreensão das experiências-sentidos nos espaços de convivência, enfatizando provocações socioambientais atravessadas na ecologia de saberes e no pensamento complexo, diante dos múltiplos sentidos docentes. As travessias, aventuras e paixões surgem como proposta de entrelaçar as experiências-sentidos em sensibilidades e sustentabilidades com o local, emergentes na reforma de pensamentos e estruturas reducionistas, racionalistas, individualistas e utilitaristas. Ao narrar experiências e nomear o sentido das mesmas, nos espaços de convivência, cada professor/a diz o que faz, o que passa, revelando nas invenções, interrelações, visão, surpresas, prazer, dentre outros sentidos autopoiéticos, saberesfazeres socioambientais da/na formação docente e Educação Ambiental

De nombreuses études ont montré que la fréquence de l'usage, de l'abus et de la dépendance au cannabis sont particulièrement élevés chez les patients atteints de schizophrénie, à tous les stades de leur évolution : lors des prodromes de la maladie, lors du 1er épisode psychotique et au cours de l'évolution. Les raisons de la fréquence de la comorbidité sont multifactorielles et comprennent les effets psychotomimétiques induits par la consommation de cannabis, certains traits de personnalité et une vulnérabilité familiale, dont nous avons étudié certains aspects. Nous avons retrouvé des scores de SNM plus élevés dans une population de patients non psychotiques, dépendants au cannabis que chez les sujets témoins, en particulier des scores de coordination motrice et d'intégration sensorielle. Nous avons retrouvé des niveaux d'impulsivité et de recherche de sensations plus élevés chez les patients atteints de schizophrénie avec abus/dépendance au cannabis par rapport aux patients simples usagers et aux patients abstinents. Nous avons évalué les caractéristiques des patients sensibles aux effets psychotomimétiques induits par le cannabis : ils avaient un âge de début du 1er épisode psychotique plus précoce (2 ans et demi) et des antécédents familiaux de troubles psychotiques plus fréquents par rapport aux patients non sensibles. Dans une étude réalisée dans un service universitaire au Maroc, nous avons retrouvé que le profil des conduites addictives chez les patients schizophrènes était différent de celui retrouvé dans les études antérieures en Europe ou en Amérique du Nord, suggérant que la disponibilité des drogues et le contexte socio-culturel ont aussi une influence.

Th. Etat--Art et archéologie--Paris 4, 1996. / Catalogues des oeuvres de H. Valensi et d'autres peintres musicalistes p. (t.2 et 3). Bibliogr. p. 645-679 (t.1).

A presente tese de doutoramento tem como propósito analisar e justificar a emergência e a importância da noção de psicologia dentro do projeto filosófico nietzscheano a partir do primeiro aforismo de Humano, Demasiado Humano. Ao observarmos o conjunto do programa, percebe-se que o filosofo anunciou no primeiro aforismo do livro de 1878 tanto um projeto, quanto um plano interpretativo. Portanto, ao analisar MA I 01, tem-se contato (i) com a natureza da empresa crítica nietzscheana, (ii) com os termos de sua proposta metodológica e (iii) com o alcance positivo de sua perspectiva teórica. Esses três fatores apontariam para dois conceitos fundamentais em sua filosofia: história e psicologia. Defendemos que tanto a história quanto a psicologia denotam a influência de Paul Rée como um dos interlocutores mais presentes na obra de Nietzsche desse período. A determinação da psicologia, oriunda das exigências metodológicas trazidas pela filosofia histórica, remete à pergunta pela emergência das significações e das construções provenientes dos chamados sentimentos morais. Nesse curso, Nietzsche produziu sua filosofia sobre um solo psicológico em que as sensações e os sentimentos funcionariam como os elementos empíricos constitutivos das coisas humanas._________________________________________________________________________________________ ABSTRACT: This doctoral thesis aims at analysing and justifying the coming to light and the importance of the notion of psychology within Nietzsche's philosophical project, departing from the first aphorism of Human All Too Human. When one observes this program as a whole, one realizes that Nietzsche has announced in the first aphorism of the 1878 book at the same time a project and a plan of interpretation. Analysing, therefore, MA I 01, one approaches (i) the nature of Nietzsche's critical undertaking, (ii) the terms of his methodological proposition and (iii) the positive scope of his theorietical perspective. All of these three elements would indicate fundamental philosophical concepts: history and psychology. Such determinations denote the especial influence of Paul Rée as one of the most present philosophical interlocutors of Nietzsche's life. The determination of psychology which comes to light in virtue of methodological demandings (historical philosophy) leads back to the question concerning the coming to light of the meanings and productions grounded in moral sentiments. Thus, on this way Nietzsche elaborated his philosophie on the ground of the psychology, where the sensations and the sentiments could be taken as the empirical elements which constitute human things.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-10-31T15:19:27Z No. of bitstreams: 2 Dissertação - Paula Roberta Santana Rocha - 2013.pdf: 2566757 bytes, checksum: 8aaea6b087002ed417182158a82f6510 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2014-10-31T15:21:34Z (GMT) No. of bitstreams: 2 Dissertação - Paula Roberta Santana Rocha - 2013.pdf: 2566757 bytes, checksum: 8aaea6b087002ed417182158a82f6510 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-31T15:21:35Z (GMT). No. of bitstreams: 2 Dissertação - Paula Roberta Santana Rocha - 2013.pdf: 2566757 bytes, checksum: 8aaea6b087002ed417182158a82f6510 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-12-18 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Based on the observation that the study of affective manifestations can enable another interpretation position to the field of Communication, this dissertation seeks to work with the presence of aesthetics, sensations, emotions and affections immersed in the communication field, specifically in the universe of journalism. What interests us here is to understand, rather than the representative and intellectuals signs that constitute journalistic language, but mainly the powerful devices of affection and aesthetic whereby the language uses in the construction of its discourse. Thus, the main objective of this research is to perform a counterpoint between what, on one side we’ll name it aestheticized journalism, and in another, sensational or sensationalist journalism. Our main intent is to take emergency broader concept of aesthetics (like “faculty of feeling”) and link it to the practice of journalism to demonstrate that the communication field cannot be defined only by its operating instrumentality, but that other requirements as sensitivity and subjectivity are notoriously important for the construction of a journalism that integrates community and otherness . From another point, we take the concept of sensational journalism, or sensationalist journalism to demonstrate the dual facet that is the universe of sensation. For this, besides the elaboration of the theoretical framework , we will have support in the empirical analysis of two reports from Época magazine , using for this the Analysis of Discourse of the French line. / Partindo da constatação de que o estudo das manifestações afetivas pode viabilizar uma outra posição interpretativa ao campo da Comunicação, esta dissertação busca trabalhar com a presença da estética, das sensações, emoções e afetos imersa no campo comunicacional, especificamente no universo do jornalismo. O que nos interessa aqui é compreender, mais do que os signos representativos e intelectuais que constituem a linguagem jornalística, mas principalmente os poderosos dispositivos do afeto e da estética pelos quais essa linguagem utiliza na construção de seu discurso. Assim, o objetivo principal desta pesquisa é realizar um contraponto entre aquilo que, de um lado denominaremos jornalismo estetizado, e de outro, jornalismo sensacional ou sensacionalista. Nosso intento maior é tomar a emergência do conceito mais amplo de estética (como a “faculdade de sentir”) e vinculá-lo à prática do jornalismo para demonstrar que o campo comunicacional não pode ser definido apenas por sua instrumentalidade operacional, mas que outros requisitos como a sensibilidade e a subjetividade são notoriamente importantes para a construção de um jornalismo que integre a comunidade e a alteridade. De outro ponto, tomaremos o conceito de jornalismo sensacional, ou jornalismo sensacionalista para demonstrar a dupla faceta em que consiste o universo da sensação. Para isso, além da elaboração do quadro teórico de referência, nos apoiaremos na análise empírica de duas reportagens da revista Época, utilizando para isso, a Análise do Discurso de linha francesa.

Área de risco é um conjunto de quinze proposições poéticas que apresenta um estudo sobre a expressão das oposições sensórias geradas na acumulação e/ou repetição de objetos de uso cotidiano. Tendo as ambivalências sensórias entre os corpos dos objetos como foco de pesquisa, o trabalho estabelece relações entre os conceitos de extensão e intensidade, matérias e qualidade. A investigação inclui ainda temas como o da coleção, da trivialidade, da uniformidade, da heterogeneidade, da regularidade e da artesania, A criação de campos sensórios instaura zonas de vizinhança entre seres de natureza diversa, capazes de dissolver as formas cristalizadas e de recriar, por toda parte, uma visão inventora de blocos de sensação. / Risk area is an ensemble of fifteen poetic propositions that present a study on the expression of sensory oppositions created by the accumulation and/or repetition of eveyday objects. Focusing on the sensory ambivalences between the bodies of the objects, the work estabilishes relationships between the concepts of extension and intensity, and matter and quality. The research also includes topics such as collection, trivia, consistency, heterogeneity, regularity and artisanship, The creation if sensory fields introduces zones of proximity between beings of different natures, capable of dissolving the crystalized forms and recreating, everywhere, a vision designing sensations blocks

Anxiety involves both bodily reactions and subjective feelings.Research suggests a positive link between heightened interoception -the perception of bodily signals - and experiences of emotions andanxiety. It has also been theorized that believing bodily signals to havenegative implications (interoceptive fear) can increase the awarenessof these signals, in turn increasing levels of anxiety. In this master’sthesis the goal was to assess this proposal. Self-reported fear of bodilysensations (interoceptive fear) and awareness of bodily sensations(interoceptive sensibility) were used to predict levels of anxiety. Theresults showed that all three variables were positively related and thatincluding interoceptive fear as a second predictor of anxiety in amultiple regression model attenuated the unique predictive value ofinteroceptive sensibility. Despite some limitations, such as the factthat some potential confounders could not be controlled for, and thatthe study was cross-sectional, the study highlights the importance ofconsidering fear and awareness of bodily sensations in anxiety.

No description available.

Bakgrund: Fantomsmärta upplevs av cirka 50-85% av alla som genomgår amputation. Antalet amputationsingrepp ökar i världen likväl som i Sverige, detta på grund av en generellt åldrande befolkning samt ökad sjukdomsprevalens. Trots ett så pass vanligt förekommande fenomen är patienters erfarenheter sparsamt beskrivet och då även i svensk vårdkontext. Syfte: Syftet med detta arbete är att beskriva patienters erfarenheter av att leva med fantomsmärta efter amputation.  Metod: Åtta kvalitativa studier identifierades till denna studie. Relevanta data söktes fram i CINAHL och PubMed. Innehållsanalys utfördes med inspiration av Fribergs modell, innehållande fem steg. Resultat: Patienters erfarenheter av fantomsmärta presenteras i fyra kategorier och nio subkategorier: Olika dimensioner av smärta, Självbild i förändring, Nya utmaningar i vardagslivet och Behöver stöd från omgivningen. Konklusion: Att leva med fantomsmärta är komplext. Amputation medför en förändringsprocess med både påfrestningar och begränsningar men också anpassning till en förändrad livssituation. Livskvalitet trots dessa utmaningar är möjligt och som sjuksköterska är det således essentiellt att identifiera varje enskild patients hinder för och möjligheter till anpassning. Detta för att gemensamt uppnå hälsa i största möjliga mån. / Background: Phantom limb pain occurs in circa 50-85% of all the cases of amputation. Amputations are increasing worldwide as well as in Sweden because of an ageing population and an increase of disease-prevalence. Although phantom limb pain is common, there is a lack of knowledge and information when it comes to patients’ experiences. Aim: The aim of this study is to describe patients’ experiences of living with phantom limb pain after amputation. Methods: Eight qualitative studies were identified for this review. Relevant data was collected from CINAHL and PubMed. Qualitative content analyses were conducted, inspired by Friberg’s five step model for analysis.  Results: Patients’ experiences of phantom limb pain were presented in four categories and nine subcategories: Different dimensions of pain, Self-image in change, New challenges in everyday-life and The need of support from the surroundings.  Conclusion: Living with phantom limb pain is complex. Amputation induces a process of change, presenting limitations, stresses and a need to adapt. However, good quality of life is possible and as a nurse it is essential to identify patients’ possibilities and obstacles to strive for the best possible health care.

The application of the label music to complex sound requires structure. Musical or rhythmic structure can be thought of as being due to the interaction of two theoretically distinct structures of phrase and metre. Perception of both metrical and phrase structure is dependent not only on the physical structure of the acoustic presentation but also upon cognitive structure being imposed on the auditory sensations. Early work in the psychology of music focused on establishing the perceptual cues that determine the parsing of music in time. These perceptual determinants can be categorized on the basis of the theoretical components of music: melody, harmony, rhythm, and timbre. With the exception of accent strength based on stability judgments of tones or chords (i.e., structural accenting), phenomenal accents have been assumed by some theorists to be equally-salient, additive, and categorical. The assumption of equal accent strength not only has been applied to different phenomenal accents within a theoretical component category but also between categories. Three series of experiments were conducted to test the assumption of equal weight and additivity of rhythmic cues. In the first series, a harmonic and a temporal accent were pitted against each other in such a way as to form different rhythm patterns. As well, two harmonic conditions which varied in the frequency of chord presentations (i.e., the compositerhythm) but not the frequency of chord changes (i.e., the harmonic-rhythm) were presented. Musicians and nonmusicians were requested to report perceived rhythm patterns in an attempt to determine the relative salience of the harmonic and temporal accents. In addition, a behavioural measure of the perceived metre was taken. Results indicated that the location of chord changes was the main determinant of subjects' rhythmic perceptions and the perceived onset of a measure. As well, although subjects primarily inferred different metres based on the composite-rhythm, an interaction of metrical and rhythmic choices was found indicating that perception of rhythm patterns and inference of metrical structure may not always be independent. In the second series of experiments, the contribution of harmonic-temporal and harmonic-structural features to the perception of rhythm patterns was investigated by pitting a harmonic and a temporal accent against each other in such a way as to form 5 possible rhythm patterns. Across the experiments, the chord progressions employed were varied, as was the timing of chord onsets (i.e., the composite-rhythm) and changes (i.e., the harmonic-rhythm). In all experiments, musicians and nonmusicians were requested to report perceived rhythm patterns in an attempt to determine the relative salience of the various accents. Results indicated that changes in the composite-and harmonic-rhythm led to a predictable change in an inferred metrical structure, and that all diatonic chord progressions lead to similar patterns of responses in which coincidences of harmonic, temporal, and inferred metrical accents were perceptually salient events. When a nondiatonic chord progression was employed however, there was neither evidence of an inferred metre, nor of responses on the basis of accent coincidence. Overall, musicians were found to primarily report rhythm patterns defined by the location of harmonic accents, while nonmusicians reported rhythm patterns defined by an inferred metrical structure. In the third series of experiments, the relative contribution of cues for metre inference was determined. In many theories of metre inference, the cues which serve as markers for major metrical accent locations are the basis from which one infers or determines a metre. However, phrase and metrical structure often support one another with phrase boundaries coinciding with metrically important locations. Thus, it becomes difficult to determine which cues, if any, are used exclusively, or predominantly as the basis for metre inference. Three experiments were conducted in which different time-spans defined by harmonic, melodic, and temporal accents, and their coincidences were systematically pitted against one another. Musicians and nonmusicians were requested to identify the metre of the stimuli as belonging to a category of either a triple (e.g., 6/8 or 3/4 time), or a duple metre (e.g., 2/4 or 4/4 time). It was found that musicians use harmonic information much more often and reliably than do nonmusicians who also use the temporal accent to define a metrical structure. Nevertheless, across the experiments, when a harmonic accent was present, subjects used that accent to define the metre. Furthermore, the coincidence of melodic accents was used more often than a temporal accent to determine a metrical structure. Together the three series of experiments highlight the significant role of harmonic accents in the perception of rhythm patterns in music. / Thesis / Doctor of Philosophy (PhD)