Schizophrenia (SCZ) is a complex psychiatric disorder including various symptoms. Resting-state fMRI investigations mostly focused on functional connectivity alterations in SCZ reflecting the spontaneous activity’s spatial structure. Complementing its spatial structure, the brain’s spontaneous activity can be characterized by a complex temporal structure such as scale-free dynamics or long- range temporal correlations (LRTCs). However, it remains an open question whether the temporal structure of spontaneous brain activity, as indexed by the power-law exponent (PLE), can provide biomarkers specific to SCZ as distinguished from other psychiatric disorders like major depressive disorder (MDD) and bipolar disorder (BP). Here, we studied a large-scale cohort (n = 244) of two independent schizophrenic data sets (n = 45), MDD (n = 28), and BP patients (n = 73, in manic, depressed, and euthymic phases) and 98 healthy controls. We found significant PLE reduction in specifically the medial prefrontal cortex (mPFC) in SCZ. This was replicated in an independent sample and was shown to be specific when compared to MDD and different phases of BP. Due to its disease-specific nature, the mPFC PLE reduction may eventually serve as a biomarker for SCZ.

This thesis dealt with the English pluperfect in the Czech-English direction of translation. The aim of this thesis was to identify indices/motives leading to the use of the past perfect in the English translation, which could be found in the underlying Czech clauses. 200 examples and their English translational equivalents were analysed. Intercorp was used for excerption. It is an online parallel corpus tool made and run by Český národní korpus (Czech National Corpus). After the examples were excerpted, the complete parts of the Czech texts (used for excerption) were analysed. I tried to assess the constructions that should be translated by the past perfect myself. This should help to identify the Czech indices/motives leading to the use of the pluperfect in the English translation. My accuraccy in assessing the Czech constructions translated by the pluperfect was 38.5% (I managed to identify 77 out 200 examples found in the corpus). The examples found in the corpus were later classified according to the supposed reason for the use of the past perfect in the English translation, found in the Czech original. The groups were as follows: An adverbial or another lexical device contributing to specification of temporal relations (72 examples, 36%), Hypothetical past meaning (11 examples, 5.5%),...

The importance of rhythm for speech communication was recognised by ancient orators. Since the forties of the last century, this phenomenon has become more systematic subject of interest of Speech Sciences and there has been a rapid development in this research area in the last decade. Throughout the years concerned, however, this concept was somewhat hazy due to the context, in which it was used in some studies. This master thesis begins with a selective overview of approaches to given issue in the field of phonetic research, trying to identify their critical moments, noticing used methodology and applicability of outputs in particular. Special attention is paid to the rhythmic aspects of Czech and issues of their description. We also bring a message of selected studies, which have already been made in this respect. The aim of this work lies in the experimental study focused on assessment of philologically oriented students' ability to imitate speech rhythm according to given pattern in following modes - word by word, on the monotone syllable and by tapping. The results confirmed the hypothesis that the imitation accuracy depends on the type of repetition - the overall data show significant differences in terms of the lowest, higher and the highest deviations from the model, respectively. To a...

The two principal elements comprising this thesis are 1) a description of the development of a theory concerning schizophrenic psychosis and 2) an attempt to develop a treatment strategy based on this theory. The theory was developed by Palle Villemoes on the basis of the French psychoanalyst Lacan's work and may be described as an ego-structuring psychotherapy with its foundation in the castration complex. The psychosis is seen as a consequence of the child's inability, for various reasons, to a apt itself to symbolic castration - i e disappointment and frustration over not constantly having its own way, and over being required to subordinate itself to universal principles and authorities. The psychotic person has not subordinated under symbolic is castration but continues to exist in the original symbiotic relation with the imagined pre-oedipal mother, When the pressures of the teenage and early adult years make themselves felt, such an ego-weak person is unable to withstand and deal with them and develops a psychotic relation to her/his surroundings, The- treatment strategy described in this thesis, was developed by the author and colleagues at the treatment centre Norrgården in Härnösand. It is a milieu therapyoriented treatment during which the patient optimally passes through three phases. During the first - narcissistic - phase the aim is that the patient's contact person develop such a relationship with her/him that "idolization" of the contact person occurs. This idolization is achieved by means of interest on the part of the contactperson, and a non-polarized attitude. The contact person shows interest in the patient and in her/his situation, life-story and interests. The non-polarized attitude means that little or no importance is attached to differences, particularly those due to gender and power position. The contact person avoids provoking the patient in areas about which she/he is sensitive. When a balanced, conflict-free relationship with the patient bas been achieved, treatment moves into a so- called working phase. Now the establishing of her/ his own history in the patient takes over from the idolization built up in the course of the close relationship. The patient is to become the subject of her/his own life-story, to achieve which patient and contact person go through the story together. If all goes well the patient passes through the castration complex and is able to find a realistic place for her himself in the story, the culture, and the society that has to be lived in with all its relations towards other people. The patient now begins to view her/himself, with both possibilities and limitations, more and more realistically. She/he also begins to show interest in the future and in plans for a life after treatment. In the final phase, progressively more responsibility for decisions is left to the patient. The aim of this phase of the treatment is to consolidate the narcissism of the patient's own ego. She/he must be released from the symbiotic dyad with the contact person who now leaves it to the patient to make choices and decisions and to be aware of the passage of time. The thesis discusses the development of the theory in a dialectic relation to the practical experiences of treatment work during the earliest years at Norrgården. A central place in the thesis is occupied by 11 case descriptions of the first patients who completed the treatment at Norrgården. / digitalisering@umu

Submitted by TAMIRIS BATISTA LEITE null (tamiris_bl@hotmail.com) on 2016-02-25T19:12:26Z No. of bitstreams: 1 Tese Pós-defesa Tamiris Batista Leite.pdf: 5180268 bytes, checksum: 7ea9b4399dc78949971ab81f1fd4a132 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-02-26T17:27:37Z (GMT) No. of bitstreams: 1 leite_tb_dr_sjrp.pdf: 5180268 bytes, checksum: 7ea9b4399dc78949971ab81f1fd4a132 (MD5) / Made available in DSpace on 2016-02-26T17:27:37Z (GMT). No. of bitstreams: 1 leite_tb_dr_sjrp.pdf: 5180268 bytes, checksum: 7ea9b4399dc78949971ab81f1fd4a132 (MD5) Previous issue date: 2016-02-05 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Tomando-se como pressuposto a existência de um diálogo criativo e crítico entre textos de natureza literária e de natureza televisual, propomos a investigação, de caráter comparatista, entre o romance Grande sertão: veredas (1956) de João Guimarães Rosa e a minissérie homônima do ano de 1985, roteirizada por Walter George Durst em parceria com o diretor Walter Avancini. No texto adaptado temos um narrador que, no “presente-presente” da diégese, relata o curso épico de suas aventuras resgatadas de um “presente-passado”. Aquele tempo, formado por camadas da memória advindas de um “tempo vivo” passado que é recobrado pelo personagem, traz para o texto uma intensidade porque atualiza o passado da mesma forma que o faz a nossa consciência. Nossa pesquisa visa a esclarecer como se realiza a temporalidade em ambos os suportes textuais. Atentando para este caráter da obra literária, dialogaremos com os estudos de MENDILOW (1972), POUILLON (1974), RICOEUR (1997) e NUNES (1992), além de efetuarmos a revisão da fortuna crítica sobre o romance, direcionada para os estudos que focalizaram sua estruturação temporal. Os resultados esperados voltam-se, no campo da teoria literária, para o aprofundamento do estudo do ritmo narrativo no romance e, no que concerne ao formato televisual, para o desvelamento de sua realização plástica em sua montagem expressiva e rítmica. Para o estudo das características inerentes à linguagem televisual e ao processo de adaptação neste suporte, mobilizaremos as reflexões de BRADY (1994), STAM (2000; 2008) e CARDWELL (2003; 2005; 2007). Com relação aos estudos sobre a minissérie, destacamos os de MORAIS (2001), OLIVEIRA (2003) e BALOGH (2002; 2004). Comparando ambas as produções verificaremos os tipos de transposição e transformações observadas na minissérie e em que sentido esta possibilita outra visão da temporalidade presente no romance. / Assuming the existence of a creative and critical dialogue between the literary text and the televisual text, we propose a comparative investigation between Guimarães Rosa’s Grande sertão: veredas (1956), and Walter George Durst and Walter Avancini’s work, the eponymous miniseries, exhibited in 1985. In the adapted text we have a narrator who, in the "present-present" of the narrative, tells the epic course of his adventures rescued from a "present-past." That time, formed by the memory layers resulting from a "living time" past that is recovered by the character, brings to the text intensity because it updates the past the same way as it does in relation to our conscience. Our research seeks to clarify how temporality is held in both textual supports. Paying attention to this aspect of the literary work, the studies of MENDILOW (1972), POUILLON (1974), RICOEUR (1997) and NUNES (1992) will be employed, and we make a review of literary criticism about the novel, directed to studies that focused in its temporal structure. In the field of literary theory, the expected results are directed to a more thorough study of the narrative rhythm in the novel, and, concerning the televisual format, we will show its plastic realization in the expressive and rhythmic editing. To study the characteristics of the televisual language and the process of adaptation to the miniseries, we mobilized the reflections of BRADY (1994), STAM (2000; 2008) and CARDWELL (2003; 2005; 2007). In the miniseries’s analysis, we will work with the studies by MORAIS (2001), OLIVEIRA (2003) and BALOGH (2002; 2004). Comparing the novel Grande sertão: veredas and the minisseries, the types of transpositions and transformations occurring in the adaptation will be analysed, as well as how the changes provide another view of temporality in the novel. / FAPESP: 2012/08644-1 / FAPESP: 2013/03690-8

A theory of harmony plays a determinant role in the epistemology of tonal structure in music of the common practice, a fact that Schenkerian tonal theorists have long struggled to account for because of the polemical denials issued by Heinrich Schenker regarding the role that harmonic concepts derived from Rameau play in his theoretical frameworks (Schenker [1930] 2014). Attempts have been made recently to rectify the incongruity between Schenker’s uncompromisingly monist musical philosophy and the often-unspoken harmonic premises his ideas rely on (Yust 2015, 2018), but many aspects of how theories of functional harmony relate to the hierarchical structuration of musical time through prolongational processes remain undefined and underexamined. In this thesis, I fill in the lacuna of harmonic accounts in post-Schenkerian frameworks of tonal structure through Harmonic Regional Theory, which defines tonal harmonic process as a containment hierarchy of timespans. Using this framework, I outline a discovery process for properties of tonal stability (Yust 2018, 32) possessed by events and prolongational processes that understands these qualities as the product of stabilizing “forces” (Larson 2012) propagated by the structural influence harmonic-regional “fields” (Quinn 2020). The result is an epistemic model with tremendous analytical utility in both formal and informal analyses of tonal structure, the proof-of-concept for which is provided through the implementation of harmonic-regional theory in an automated analysis of tonal-melodic structure in Beethoven, op. 13, ii.

For neutral genes, uniparental inheritance is expected to reduce effective population size relative to biparentally inherited genes. In finite populations, the ensuing genetic drift can cause stronger spatial and temporal differentiation. An intrapopulation polymorphism in chloroplast DNA was used to examine relative spatial and temporal population structure of chloroplast and allozyme markers in the annual plant Phacelia dubia. There was significant differentiation among populations at chloroplast markers but not for allozyme loci. A fine-scale analysis showed significant structure among sites within populations for chloroplast markers and local heterozygote deficiencies at allozyme loci. These spatial analyses suggest that gene flow via pollen exceeds that via seed. Temporal variation in chloroplast markers, assessed over a 10-year period, was evident in two of four populations, and allozyme loci were characterized by temporal variation in rare-allele frequencies. Population structure appeared to be related to the intensity and type of human disturbance influencing each population. Habitat destruction promoted isolation and enhanced differentiation, whereas mowing increased seed dispersal and reduced differentiation for chloroplast markers. At this time, genetic drift appears to be the primary force shaping chloroplast gene frequencies.

L’intérêt de cette recherche est d’aider à la compréhension du processus de projet, par l’entremise de ses temporalités. Nous déterminons les structures temporelles de plusieurs projets d’urbanisme, c’est-à-dire des représentations des temps des projets sous forme de découpages d’inspiration archéologique, généalogique et épistémologique. Cette analyse, issue de notre méthode d’appréhension du temps du projet, qui correspond à un projet défini comme processus, dans sa fonction de saisie d’une réalité donnée, mobilise deux notions. L’épaisseur temporelle est une image qui nuance la vision lissée du temps du projet : ce sont les temporalités du projet, actives ou inactives, qui s’ajoutent, apparaissent ou qui s’imbriquent. La transversalité temporelle est dépendante du contexte, et donc d’une analyse du parcours temporel du projet suivant les interactions entre projet et contexte. Plusieurs indicateurs de maturité du projet existent et marquent l’avancement du projet au fil du temps. / The main point of this research is to help to better understand the project through its temporalities. The temporal structure we determine is a visual representation of those temporalities, inspired by archaeological, genealogical and epistemological domains. This analysis, stemmed from a method fitting a (urban) project defined as a process based on a given reality, is guided by two notions. Temporal thickness is an image which is different from the usual linear and chronological perception of the temporal dimension of the project: it refers to the various active or inactive temporalities which appear, pile up or fit into each other. Temporal transversality mainly depends on context, and thus on an analysis of the progression of the project resulting from the interactions between project and context. Several indicators mark the gradual maturity of the project.

中文摘要 當前精神醫療過程中，存在若干矛盾的現象，尤其是生物－生理的以及社會文化的病因解釋與治療手法被交互運用。由於治療方法都是從診斷而來，因此精神治療意義的闡明指向診斷依據的釐清。本研究的目的在於探討當前的臨床精神醫療團隊拿什麼標準對於瘋狂的現象進行觀察，這個觀察的客觀標準的基礎又是什麼。研究方法使用田野觀察和質性訪談。資料分析則採用現象學的方法。 主要研究發現指出，正規臨床精神醫療的診斷標準，其實是社會文化生活中的常識。雖然常識作為衡量瘋狂是否存在的標準是客觀的，但也是不精確的。面對這個難題，臨床精神醫療的診斷採用了一種特殊的技術，亦即在一個已經設定好的時間中進行觀察，並且為這段時間設定好治療的目標。於是瘋狂的差異性就有了被規定出來的邊界，被觀察到的瘋狂將只是在一段治療時間中所觀察到的瘋狂，而且治療的目標也被設定為在這段時間中達成穩定的狀態的維持，以及讓精神病患養成一個不斷連結或憶起這段治療時間所學會的種種「儀式」的習慣。 因此，當今的精神醫療採用生物─心理─社會的社區精神醫療的模式，入院治療只是一種回歸社會的技術。現今的精神科醫療團隊，以治療計劃來為病人擬定「回歸社會」或「復原」的目標，進而提昇病人適應社會的功能，醫療在其中所扮演的角色就是控制瘋狂的差異相，讓它保持「穩定」。 然而，臨床精神醫療的深層結構其實是較不為人意識到的時間結構。透過這個可以被理性所限定與規劃的時鐘時間，形成一套將非理性時間納入理性時間的規範，這種時間的規範才是臨床精神醫療的時間結構的核心現象。時間因此成了一種技術，透過這種技術就能將瘋狂圈圍起來，在這個被限定的範圍內，瘋狂終於得以被認識，進而被有效地控制。 關鍵詞：臨床精神醫療、技術結構、時間結構、慢性病房、復原 / Abstract This study aims to explore the criterion of observation in modern psychiatric team’s madness observing, and to explore what is the basis of the criterion of observation. The research methods involved field observation and qualitative interviews. The data analyses were phenomenological methods. The major findings suggested that the clinical psychiatric team use a special technology in diagnosis which they observe madness phenomena in a schedule, and they set the target of curing for the time of observation and treatment. The target of curing is being setted to maintain a stable situation of symptom.To achieve the goal of recovery, modern psychiatry would place emphasis on one’s ability of adapting to norms of the society. In the beginning of recovering, medication would be used to keep patients' condition in a stable situation. Secondly, the whole team of treatment needs a comprehensive plan to guide themselves. In a way of "location", "orientation" and "connection", doctors and nurses ask patients to pass through a "threshold", and turn the process of treatment into the process of passing through. To find out a "breakthrough point " will be the first important thing in recovering, it is the roadmap of teaching a patient to form new habits by making an appointments, punishing and keeping a watchful eye on her or him. Once the patient has really proved herself or himself the ability of adapting to the society , it is the time for her or him to leave the hospital and go home. The results of the study may help psychiatric team members to rethink the strategies of treatment and to the possible benefits of understanding the modern culture which belongs to us. Key words: Clinical Psychiatry, Technical Structure, temporal structure

Dans ce travail, nous proposons une étude de la poétique des Dionysiaques de Nonnos de Panopolis qui tient compte des critères esthétiques en vigueur dans l’Antiquité tardive. Pour cela, nous prenons pour point de départ les images du monstre et de la mosaïque, parce qu’elles cristallisent le goût de l’époque pour la fragmentation et l’accumulation. Ces deux caractéristiques se retrouvent à la fois dans le jeweled style (M. Roberts) et la spatial form (J. Frank), deux concepts développés à partir d’une comparaison avec les arts visuels et destinés à expliquer des esthétiques non classiques comme celle de Nonnos. Nous menons d’abord une étude de la temporalité du récit pour montrer que la picturalité est au centre de son art : non seulement le poète disloque la séquence temporelle, mais surtout il donne la primauté au mode descriptif. Tout son récit est fragmenté en une série de miniatures, comme celles que l’on trouve sur les mosaïques. L’épopée nonnienne exige donc le même type de lecture, à savoir la lecture thématique. Nous explorons ensuite ce deuxième aspect en étudiant les références internes qui dessinent une véritable architecture paradigmatique à l’intérieur de l’œuvre : les épisodes en écho se réécrivent les uns les autres selon une poétique de la métamorphose. Enfin, nous nous intéressons au caractère composite et cumulatif des Dionysiaques en le mettant en parallèle avec la pratique du remploi en architecture et en art : Nonnos conçoit son récit comme un empilement de blocs parmi lesquels il peut intégrer des fragments des œuvres de ses prédécesseurs, valorisant ainsi une hétérogénéité irréductible. / This thesis aims at studying the poetics of Nonnus’ Dionysiaca according to the principles of late antique aesthetic. As a starting point, we consider the images of the monster and the mosaics because they illustrate the then current tendencies towards fragmentation and accumulation. These two characteristics are part of both jeweled style (M. Roberts) and spatial form (J. Frank), which were based on a comparison with visual arts and designed to explain non classical aesthetics such as Nonnus’. First of all, we study the temporal organization of the narrative and show that picturality lies at the core of his art : Nonnus not only dislocates the narrative sequence, but he also gives the primacy to the descriptive mode. The whole narrative is fragmented into a series of miniatures just like a mosaic. Therefore Nonnus’ epic calls for the same kind of reading, i.e. the thematic reading. We then turn to an analysis of the internal references which are the key to a paradigmatic architecture inside the poem : echoing episodes are rewritten according to the poetics of metamorphosis. Lastly, we are concerned with the composite and cumulative aspect of the Dionysiaca, which can be paralleled with the use of spolia in architecture and art : Nonnus conceives of his narrative as a stacking of blocks among which he can insert fragments of former works — a way to advertise an irreducible heterogeneity.