Acmé du voyage et temps fort du récit, la rencontre entre Français et Amérindiens dans les relations de voyage en Nouvelle-France représente à la fois un événement et un avènement. Moment de l'étonnante découverte de l'autre et de l'appréhension de la différence, à l'époque où règnent encore bon nombre d'incompréhensions et de préjugés au sujet des populations amérindiennes, la scène de rencontre cristallise les attentes, l'imaginaire et les craintes des voyageurs. Comment dépasse l'interaction ? Il s'agira ici d'analyser comment la rencontre engendre relation. Nous envisagerons les modalités d'entrée en contact avec l'autre, en portant une attention particulière au langage non verbal. A travers l'étude des sens, la rencontre est présentée comme une expérience sensorielle. C'est sous le prisme du jeu que cette étude souhaite offrir une lecture renouvelée et inédite de la rencontre franco-amérindienne en contexte colonial et du récit de voyage.

Tesis por compendio / [ES] El trabajo de investigación realizado en esta tesis se ha centrado en la aplicación de técnicas recientes e innovadoras en el estudio de la percepción de productos sin gluten. Primero, se estudió cómo tratar la información que hay en Twitter para conocer las opiniones de los consumidores sobre "sin gluten". Los temas más relevantes fueron 5 productos (pan, tarta, galleta, pizza, cerveza), situaciones de consumo, recomendaciones, lugares y aspectos relacionados con la celiaquía. Para explorar automáticamente la información de Twitter, se estudió utilizar redes de co-ocurrencia, que fueron útiles para interpretar los tweets, representar los aspectos más relevantes (ocurrencia) y ponerlos en contexto y en relación con otros (co-ocurrencia). Se observó que es posible automatizar sin un pre-tratamiento manual, permitiendo analizar de forma efectiva gran cantidad de información disponible online. Después, se estudiaron diferentes panes comerciales sin gluten en cuanto al comportamiento en boca para entender mejor los factores involucrados en la percepción de textura. Los panes (5 sin gluten; 2 normales) se caracterizaron en cuanto a propiedades mecánicas, estructura, fragmentación, saliva incorporada y consistencia y adhesividad del bolo. Las sensaciones de textura variaron a lo largo de la masticación, dependiendo de su estructura inicial, propiedades mecánicas, fragmentación, formación de bolo o actividad oral. Posteriormente, se estudió cómo los cambios en la estructura de panes sin gluten obtenidos por modificaciones en panificación (tiempo de fermentación e hidratación) afectan al procesamiento y actividad oral y las sensaciones de textura, que variaron principalmente según el tiempo de fermentación. Especialmente al principio, las diferencias en las sensaciones de textura se explicaron por las diferencias en la estructura y fragmentación en boca. Por último, se estudió la atención visual (con eye-tracking) y la respuesta de consumidores celíacos a paquetes de pan sin gluten, observando que el tipo de marca y la presencia del logo de certificación sin gluten influían en lo que miran. Todos los panes les dieron confianza, sin afectar la presencia del logo, pero condicionando lo que miran. El tipo de marca afectó la confianza y la expectativa de aceptabilidad, que fueron más altas para marcas específicas de sin gluten. La aceptabilidad también se explicó por otras características de cada pan. Se estudió la atención visual (eye-tracking) y las motivaciones de niños celíacos y sus padres al comprar galletas en comparación con los no celíacos. El patrón de fijación cambió en niños y padres: los niños celíacos se fijaron más en ingredientes, palabras y símbolos sin gluten, y menos en la imagen de las galletas; los padres de niños celíacos se fijaron más en ingredientes y símbolo sin gluten, y menos en la imagen de la galleta, nombre, dibujo e información nutricional. Para todos los niños y padres, lo más importante fue elegir una galleta que les gustara, pero solo los niños celíacos mostraron interés en la marca y por probar un producto nuevo. Otro motivo importante para los padres fue la salud, pero por diferentes atributos (padres de celíacos: certificación sin gluten o lista corta de ingredientes; padres de no celíacos: bajo en azúcar o grasa). El precio o la confianza fueron relevantes solo para los padres de niños celíacos. Esta Tesis ha aportado conocimiento sobre el uso y la practicidad de técnicas recientes en ciencia sensorial y del consumidor. La investigación confirma que se puede conseguir una comprensión plena de la compleja respuesta del consumidor recabando información desde perspectivas muy distintas. Sin embargo, para responder a cuestiones específicas en investigación, cada una de estas técnicas (análisis de las redes sociales, estudio del procesado oral de los alimentos o la técnica eye-tracking) puede contribuir de forma individual a entender mejor la aceptabilidad o la elección de alimentos del consumidor. / [CA] El treball de recerca realitzat en esta tesi s'ha centrat en l'aplicació de tècniques recents i innovadores en l'estudi de la percepció de productes sense glútens. Primer, es va estudiar com tractar la informació que hi ha en Twitter per a conéixer les opinions dels consumidors sobre "sense glútens". Els temes més rellevants van ser 5 productes (pa, pastís, galeta, pizza, cervesa), situacions de consum, recomanacions, llocs i aspectes relacionats amb la celiaquia. Per a explorar automàticament la informació de Twitter, es va estudiar utilitzar xarxes de co-ocurrència, que van ser útils per a interpretar els tuits, representar els aspectes més rellevants (ocurrència) i posar-los en context i en relació amb uns altres (co-ocurrència). Es va observar que és possible automatitzar sense un pre-tractament manual, permetent analitzar de manera efectiva gran quantitat d'informació disponible en línia. Després, es van estudiar diferents pans comercials sense glútens quant al comportament en boca per a entendre millor els factors involucrats en la percepció de textura. Els pans (5 sense glútens; 2 normals) es van caracteritzar quant a propietats mecàniques, estructura, fragmentació, saliva incorporada i consistència i adhesivitat de la bitla. Les sensacions de textura van variar al llarg de la masticació, depenent de la estructura inicial, propietats mecàniques, fragmentació, formació de bitla o activitat oral. Posteriorment, es va estudiar com els canvis en l'estructura de pans sense glútens obtinguts per modificacions en panificació (temps de fermentació i hidratació) afecten el processament i activitat oral i les sensacions de textura, que van variar principalment segons el temps de fermentació. Especialment al principi, les diferències en les sensacions de textura es van explicar per les diferències en l'estructura i fragmentació en boca. Finalment, es va estudiar l'atenció visual (amb eye-tracking) i la resposta de consumidors celíacs a paquets de pa sense gluten, observant que el tipus de marca i la presència del logotip de certificació sense gluten influïen en el que miren. Tots els pans els van donar confiança, sense afectar la presència del logotip, però condicionant el que miren. El tipus de marca va afectar la confiança i l'expectativa d'acceptabilitat, que van ser més altes per a marques específiques de sense glútens. L'acceptabilitat també es va explicar per altres característiques de cada pa. Es va estudiar l'atenció visual (eye-tracking) i les motivacions de xiquets celíacs i els seus pares en comprar galetes en comparació amb no celíacs. El patró de fixació va canviar en xiquets i pares: els xiquets celíacs es van fixar més en ingredients, paraules i símbols sense glútens, i menys en la imatge de les galetes; els pares de xiquets celíacs es van fixar més en ingredients i símbol sense gluten, i menys en la imatge de la galeta, nom, dibuix i informació nutricional. Per a tots els xiquets i pares, el més important va ser triar una galeta que els agradara, però només els xiquets celíacs van mostrar interés en la marca i per provar un producte nou. Un altre motiu important per als pares va ser la salut, però per diferents atributs (pares de celíacs: certificació sense gluten o llista curta d'ingredients; pares de no celíacs: baix en sucre o grassa). El preu o la confiança van ser rellevants solo per als pares de xiquets celíacs. Esta Tesi ha aportat coneixement sobre l'ús i la practicitat de tècniques recents en ciència sensorial i del consumidor. La investigació confirma que es pot aconseguir una comprensió plena de la complexa resposta del consumidor recaptant informació des de perspectives molt diferents. No obstant això, per a respondre a qüestions específiques en investigació, cada una d'estes tècniques (anàlisis de les xarxes socials, estudi del processament oral dels aliments o la tècnica eye-tracking) pot contribuir de manera individual a entendre millor l'acceptabilitat o l'elecció d'aliments del consumidor. / [EN] The research of this thesis is focused on the application of recent and innovative techniques to study the perception of gluten-free products. First, it was studied how to manage the information available on Twitter to get consumers' opinions about "gluten-free". The most relevant topics when talking about gluten-free on Twitter were five products (bread, cake, cookie, pizza, beer), situations of consumption, recommendations, places, and aspects related to coeliac condition. To automatically explore the information from Twitter, the possibility to use co-occurrence networks was studied. Co-occurrence networks were useful for interpreting tweets' content, representing the most relevant aspects mentioned (occurrence) and putting them into context and in relation to others (co-occurrence). It was found that automated without manual pre-treatment of text is possible, as an efficient analysis of big amounts of online data. Secondly, different commercial gluten-free breads were studied in terms of in-mouth behaviour to better understand the factors involved in texture perception. The breads (5 gluten-free; 2 regular) were characterised regarding mechanical properties, structure, fragmentation, saliva incorporated, and bolus consistency and adhesiveness. Texture sensations varied along mastication, depending on their initial structure, mechanical properties, fragmentation pattern, bolus formation or oral activity. Subsequently, it was studied how changes in structure of gluten-free breads achieved by modifications in breadmaking (fermentation time and hydration) affect oral processing, oral activity and texture sensations. Oral behaviour and texture perception varied mostly according to the fermentation time. Especially at the beginning, differences in texture sensations were explained by the differences in structure and how it fragmented in mouth. Lastly, visual attention (with eye-tracking technique) and response of coeliac consumers to gluten-free bread packages were studied, finding that the type of brand and presence of gluten-free certification logo influenced the visual behaviour. All gluten-free breads were perceived as trustworthy, not being affected by the presence of gluten-free certification logo, but conditioning the visual behaviour. The type of brand affected trust and expected acceptability, being both higher for brands specific of gluten-free. Liking was also explained by other individual characteristics of breads. Visual behaviour and motivations of coeliac children and their parents when purchasing biscuits were studied in comparison to non-coeliac ones. Eye-tracking showed that fixation pattern changed for coeliac children and their parents. Coeliac children fixated more on ingredients, gluten-free words and symbols, and less on biscuit image. Parents of coeliac children fixated more on ingredients and the gluten-free symbol, and less on biscuit image, product name, cartoon, and nutritional information. For all children and parents, liking was the most important reason for choosing a biscuit, but only coeliac children showed interest in brand and unknown products. Other important motivation for parents was health, but the attributes were different (parents of coeliac group: having gluten-free certification or a short ingredients list; parents of non-coeliac group: low sugar or fat contents). Price or trust were relevant motivations only for parents of celiac children. On overall, this Thesis provided knowledge about the usage and practicality of recent techniques or approaches in sensory and consumer science. This investigation confirms that a full understanding of complex consumer's response can be achieved by gathering consumer's information from different perspectives. However, for answering specific research questions, these different tools (social media exploration, food oral processing approach or eye-tracking technique) can individually contribute to better understand consumer acceptability or food choice. / Puerta Gil, P. (2022). Novel Techniques in Sensory and Consumer Research Applied to Understand Gluten-Free Products Perception [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/182293 / TESIS / Compendio

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

Introduction: More than half of all patients seeking care for chest pain do not have a cardiac cause for this pain. Despite recurrent episodes of chest pain, many patients are discharged without a clear explanation of the cause for their pain. A lack of explanation may result in a misinterpretation of the pain as being cardiac-related, causing worry and uncertainty, which in turn leads to substantial use of healthcare resources. Psychological distress has been associated with non-cardiac chest pain (NCCP), but there is limited research regarding the relationship between different psychological factors and their association with healthcare utilization. There is a need for interventions to support patients to manage their chest pain, decrease psychological distress, and reduce healthcare utilization and costs. Aim: The overall aim of this thesis was to improve care for patients with  non-cardiac chest pain by describing related psychological distress, healthcare utilization and societal costs, and by evaluating an Internet-delivered cognitive behavioural intervention. Designs and methods: This thesis presents results from four quantitative studies. Studies I and II had a longitudinal descriptive and comparative design. The studies used the same initial cohort. Patients were consecutively approached within 2 weeks from the day of discharge from a general hospital in southeast Sweden. In study I, 267 patients participated (131 with NCCP, 66 with acute myocardial infarction (AMI), and 70 with angina pectoris (AP)). Out of these, 199 patients (99 with NCCP, 51 with AMI, 49 with AP) participated in study II. Participants were predominantly male (about 60 %) with a mean age of 67 years. Data was collected on depressive symptoms (Study I), healthcare utilization (Study I, II), and societal costs (Study II). Study III had a cross-sectional explorative and descriptive design. Data was collected consecutively on depressive symptoms, cardiac anxiety and fear of body sensations in 552 patients discharged with diagnoses of NCCP (51 % women, mean age 64 years) from four hospitals in southeast Sweden. Patients were approached within one month from the day of discharge. Study IV was a pilot randomized controlled study including nine men and six women with a median age of 66 years, who were randomly assigned to an intervention (n=7) or control group (n=8). The intervention consisted of a four-session guided Internet-delivered cognitive behavioural therapy (CBT) program containing psychoeducation, exposure to physical activity, and relaxation. The control group received usual care. Data was collected on chest pain frequency, cardiac anxiety, fear of body sensations, and depressive symptoms. Results: Depressive symptoms were prevalent in 20 % (Study IV) and 25 % (Study I, III) of the patients, and more than half of the patients still experienced depressive symptoms one year later (Study I). There were no significant differences in prevalence and severity of depressive symptoms between patients diagnosed with NCCP, AMI or AP. Living alone and younger age were independently related to more depressive symptoms (Study I). Cardiac anxiety was reported by 42 % of the patients in study III and 67 % of the patients in study IV. Fear of body sensations was reported by 62 % of the patients in study III and 93 % of the patients in study IV. On average, patients with NCCP had 54 contacts with primary care or the outpatient clinic per patient during the two-year study period. This was comparable to the number of contacts among patients with AMI (50 contacts) and AP (65). Patients with NCCP had on average 2.6 hospital admissions during the two years, compared to 3.6 for patients with AMI and 3.9 for patients with AP (Study II). Four out of ten patients reported seeking healthcare at least twice during the last year due to chest pain (Study III). On average, 14 % of patients with NCCP were on sick-leave annually, compared to 18 % for patient with AMI and 25 % for patient with AP. About 11-12 % in each group received a disability pension. The mean annual societal costs for patients with NCCP, AMI and AP were €10,068, €15,989 and €14,737 (Study II). Depressive symptoms (Study I, III), cardiac anxiety (Study III) and fear of body sensations (Study III) were related to healthcare utilization. Cardiac anxiety was the only variable independently associated with healthcare utilization (Study III). In the intervention study (Study IV), almost all patients in both the intervention and control groups improved with regard to chest pain  frequency, cardiac anxiety, fear of body sensations, and depressive symptoms. There was no significant difference between the groups. The intervention was perceived as feasible and easy to manage, with comprehensible language, adequate and varied content, and  manageable homework assignments. Conclusions: Patients with NCCP experienced recurrent and persistent chest pain and psychological distress in terms of depressive symptoms, cardiac anxiety and fear of body sensations. The prevalence and severity of depressive symptoms in patients with NCCP did not differ from patients with AMI and patients with AP. NCCP was significantly associated with healthcare utilization and patients had similar amount of primary care and outpatient clinic contacts as patients with AMI. The estimated cumulative annual national societal cost for patients with NCCP was more than double that of patients with AMI and patients with AP, due to a larger number of patients with NCCP. Depressive symptoms, cardiac anxiety and fear of body sensations were related to increased healthcare utilization, but cardiac anxiety was the only variable independently associated with healthcare utilization. These findings imply that screening and treatment of psychological distress should be considered for implementation in the care of patients with NCCP. By reducing cardiac anxiety, patients may be better prepared to handle chest pain. A short guided Internet-delivered CBT program seems to be feasible. In the pilot study, patients improved with regard to chest pain frequency, cardiac anxiety, fear of body sensations, and depressive symptoms, but this did not differ from the patients in the control group who received usual care. Larger studies with longer follow-up are needed to evaluate both the short and long- term effects of this intervention.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Quels étaient les modernismes existant en Asie de l’Est pendant les années 1920 et 1930 où la première vague des mouvements modernistes a eu lieu ? À travers les études du transfert littéraire de Paul Morand à partir de la France vers la Chine, en passant par le Japon, on s’interroge sur la façon dont les acteurs du monde littéraire japonais et chinois impliqués dans la réception littéraire de Morand ont pensé le modernisme et la modernité. On compare les réflexions des communautés littéraires des deux pays vis-à-vis du modernisme au sein de cette réception morandienne en trois grandes parties : tout d’abord, les traducteurs principaux japonais et chinois des œuvres morandiennes, Horiguchi Daigaku et Dai Wangshu ; ensuite, les critiques qui ont introduit Morand dans le débat du modernisme des années 1920 et 1930, allant jusqu’à créer un champ littéraire dédié à la réception de Morand. Dans le cas japonais, ce sont Chiba Kameo, la communauté littéraire établie, l’École des sensations nouvelles japonaise et sa revue de cercle L’Époque littéraire. Tandis que dans le cas chinois, ce sont l’École des sensations nouvelles chinoise et sa revue littéraire affilée Trains sans rail ; enfin, les deux écrivains représentatifs des Écoles des sensations nouvelles japonaise et chinoise, Yokomitsu Riichi et Liu Na’ou, dont les styles littéraires ont souvent été comparés avec celui de Morand. Par les analyses de ces trois parties, nous voudrions présenter les configurations particulières du modernisme en Asie de l’Est de l’époque. / What were the modernisms of East Asia during the 1920s and the 1930s? By studying the literary journey of Paul Morand from France to China via Japan, we question how the intellectuals of Japanese and Chinese literary world who were involved in this literary reception during the 1920s and the 1930s, considered modernism through French ideas. The Japanese and the Chinese reflections on modernism are compared in three main aspects: first, the translation of Morand’s works done by Horiguchi Daigaku and Dai Wangshu. Second, the criticisms which involved Morand into the debate concerning modernism in this period, created a literary field for the reception of Morand in these two countries. For the Japanese case, the parties that were concerned the most were Chiba Kameo, the established literary community, the Japanese Neo-Perception School and her coterie magazine Age of Literature. Whereas for the Chinese case, the Chinese Neo-Perception School and her affiliated magazine Trains without Railway were the most relevant. Third, two representative writers of the Neo-Perception Schools, Yokomitsu Riichi and Liu Na’ou, whose literary styles were often compared to those of Morand’s. Through the analysis of these three aspects, we seek to show the configurations of modernism in East Asia.

A presente dissertação é um estudo de mestrado para consolidar a licenciatura e o bacharelado em artes visuais. Versa sobre as forças que atingem o artista no ato criador. A metafísica de Spinoza nos esclarece que corpo e espírito comunicam-se entre si, atravessados por uma exterioridade que interfere no regime de afetabilidade do ser; na capacidade do indivíduo afetar e ser afetado. Nosso pensar e nossas ações não são ações isoladas, mas sim, expressões de potências que nos transbordam e ultrapassam. Apesar de sermos nós que sentimos, não somos a única causa do sentir e do experimentar. Portanto, o afeto é ao mesmo tempo, singular e impessoal. Para criar, o artista precisa ser atingido por forças que com suas potencialidades o torne consciente de percepções que se transformam em sensações. São as sensações que dão novos estados ao corpo. O querer realizar vem das pulsões que transmitem os desejos das criações. Logo, o processo criativo em artes significa o atravessamento das forças que tomam o corpo do criador pedindo a materialização e existência física. Ex_Tensão é tudo isso: força, sensações, pulsações, desejos, com a única finalidade da criação. Para tanto, a pesquisa foi realizada como dissertação em primeira pessoa, onde escrevo e coloco em letras forjadas à tinta, meus pensamentos, sentimentos e realizações. Todas as minhas sensações, recorrentes ou não, gravadas em papéis outrora brancos. No modelo qualitativo, por haver referências teóricas de excelentes autores, que abriram o caminho do conhecimento, e que me proporcionaram a compreender o movimento criador. Foram relatadas várias instalações executadas por alguns autores, assim, como as de minha própria autoria. Os experimentos serviram para exemplificar as alteridades que trespassaram meu corpo, nos momentos de criação. / This dissertation is a master's study to consolidate the degree and bachelor's degree in visual arts. Is about the forces that affect the artist in the creative act. The Spinoza's metaphysics explains us that body and spirit communicate with each other, crossed by an externality that interferes with afetabilidade regime of being; the individual's ability to affect and be affected. Our thinking and our actions are not isolated actions, but rather expressions of powers that spill over us and beyond. Although we we feel that we are not the only cause of the feeling and experience. So affection is both singular and impersonal. To create, the artist must be achieved by forces with its potential to become aware of perceptions that become sensations. These are the sensations that give new states to the body. The want to perform comes from impulses that convey the wishes of the creations. So the creative process in the arts means the crossing of the forces that make the body of the creator asking materialization and physical existence. Ex_Tension is all about: power, experience, pulsations, desires, for the sole purpose of creation. Therefore, the research was conducted as a dissertation in the first person, where I write and put in forged letters to paint my thoughts, feelings and accomplishments. All my feelings, recurrent or not, written in white papers once. In the qualitative model for having theoretical references of excellent authors, who paved the way of knowledge, and gave me to understand the creative movement. It has been reported several installations performed by some authors, as well as those of my own. The experiments served to exemplify the otherness that pierced my body in moments of creation. / Dissertação (Mestrado)

Ce mémoire aborde la manière dont ma synesthésie agit comme une source d’inspiration lors de la composition d’oeuvres dans le cadre de ma maîtrise. Une première partie est d’abord consacré à expliquer la définition de la synesthésie, à retracer l’historique de son utilisation en musique et à faire état de la recherche actuelle à son sujet. Une seconde partie présente ensuite quatre principales oeuvres que j’ai composées durant ma maîtrise : Blizzard sylvestre, háptô, Multillusions et Stellogonie. Chacune de ces pièces est réalisée en explorant un angle différent de la synesthésie et leurs contexte de création, forme, matériaux thématiques et organisations des hauteurs et rythmiques sont analysés en fonction de cette recherche. D’autres pièces ayant été composées dans un cadre extra-académique ou d’un séminaire sont aussi brièvement présentées afin d’avoir un point de vue global de ma démarche artistique. / This paper addresses how my synesthesia acts as a source of inspiration when composing musical works as part of my master. A first part is dedicated to defining synesthesia and retracing the history of its application in music and to reviewing the current state of the research on the matter. Then, a second part presents four main works that I composed during my master. Each one of them is realized with a different angle to the synesthesia and their context of creation, formal structure, thematic material and pitch and rhythm organizations are analyzed according to this research. Other pieces composed for an extra-academic purpose or in a seminar are also presented briefly to give a global point of view of my artistic approach.