Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T17:38:16Z No. of bitstreams: 1 DIS_JOAO_GILBERTO_ENGELMANN_COMPLETO.pdf: 2355737 bytes, checksum: b235ab6fd1de8e12eec1bf4150705bdf (MD5) / Made available in DSpace on 2017-06-30T17:38:16Z (GMT). No. of bitstreams: 1 DIS_JOAO_GILBERTO_ENGELMANN_COMPLETO.pdf: 2355737 bytes, checksum: b235ab6fd1de8e12eec1bf4150705bdf (MD5) Previous issue date: 2017-03-31 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The work shows the Hegelian interpretation on French Revolution according to Phenomenology of Spirit and Philosophy of History, even with no exhaustive approach. The Hegel? analysis on French Revolution is exposed according to the logic and historic subject in each book, it is, the conscience and the peoples, respectively. The concepts of abstraction and terror both which delimitate the practical reach of French Revolution are taken in Hegel?s account as consequences of an atomist notion of freedom. While the instability of French constitution and republic illustrates the abstraction (pure negativity), the banality of death illustrates the terror. The conscience absolutely free is able to make nothing but laws and mere state acts. In Philosophy of History the abstraction, with better historical limits, culminates considering the liberalism as a principle which oversize particular interests. There is over the end of Philosophy of History the spectrum of an uncertain future marked by the progress of Catholicism and liberalism. Since Phenomenology of Spirit and Philosophy of History the Philosophy of Right delineates the categories which complete the concept of accomplished freedom in both senses individual and political. Thus, the book postulates a unification of individual as much as of civil society into the State. Such postulation implies an integration in a same individual the bourgeois and citoyen. It implies as well the control of the civil society?s excesses. So become clear the fundamental difference between the Hegelian concept of political freedom and the French Revolution?s one (democracy and elective republic). In concluding the work points out possible problems of the Hegelian interpretation of the French Revolution, mainly about the integrity of Hegelian analysis. / O trabalho apresenta a interpreta??o hegeliana da Revolu??o Francesa de acordo com a Fenomenologia do Esp?rito e as Li??es sobre a Filosofia da Hist?ria Universal, ainda que n?o trate exaustivamente qualquer das obras. A an?lise hegeliana da Revolu??o Francesa ? exposta em sintonia com o sujeito l?gico-hist?rico de cada obra, ou seja, a consci?ncia e os povos, respectivamente. Os conceitos de abstra??o e terror, que delimitam o alcance pr?tico da Revolu??o Francesa, s?o considerados por Hegel, na Fenomenologia do Esp?rito, como consequ?ncias da postula??o de um conceito atomista de liberdade. Enquanto a instabilidade da constitui??o e da rep?blica francesas ilustra a abstra??o (a pura negatividade), a banalidade da morte ilustra o terror. A consci?ncia, absolutamente livre, n?o ? capaz de produzir sen?o leis e atos-de-estado. Nas Li??es sobre a Filosofia da Hist?ria Universal a abstra??o, com contornos hist?ricos mais claros, culmina na an?lise do liberalismo como princ?pio que superdimensiona os interesses particulares em detrimento do Estado. Paira sobre o fim das Li??es sobre a Filosofia da Hist?ria Universal o espectro do futuro incerto, das reais possibilidades que o catolicismo e o liberalismo ter?o de desenvolver seus princ?pios. A Filosofia do Direito tra?a, a partir dos diagn?sticos oferecidos pela Fenomenologia do Esp?rito e pelas Li??es sobre a Filosofia da Hist?ria Universal, as categorias que integram o conceito de liberdade realizada, tanto no sentido da liberdade individual quanto da liberdade pol?tica. Postula, portanto, a integra??o ou unifica??o tanto do indiv?duo quanto da sociedade civil-burguesa no Estado. Tal postula??o implica, por um lado, a conflu?ncia, em um mesmo indiv?duo, do bourgeois e do citoyen. Por outro, implica o controle dos excessos da sociedade civil-burguesa. Explicita-se, portanto, a diferen?a substancial entre o conceito de liberdade pol?tica da Revolu??o Francesa (democracia e rep?blica eletiva) e de Hegel. Por fim, o trabalho aponta poss?veis problemas na interpreta??o hegeliana da Revolu??o Francesa, sobretudo no que se refere ? higidez da an?lise hegeliana.

A tese investiga como se estabelece o dispositivo do olhar enquanto experiência estética no cinema de horror found footage a partir da materialidade cinematográfica. Realiza-se uma discussão acerca do modo como esses filmes circulam no gênero horror com o cruzamento de teorias de cinema, tecnologia e da Comunicação. A concepção de dispositivo do olhar é pensada, especialmente, a partir de Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser e Philippe Dubois. O dispositivo do olhar é, portanto, delineado como o comportamento visual e de uso de artefatos tecnológicos que aparece nos filmes e o modo como esse olhar de dentro do filme pode afetar a forma de ver do espectador. Não é como a tecnologia é representada nos filmes, mas a estratégia dessa e seus respectivos discursos em intentar o apelo sensível do público. O problema de pesquisa é: Como se constitui o dispositivo do olhar nos filmes de horror found footage e o que esse fenômeno pode indicar da nossa relação com o cinema e a tecnologia na contemporaneidade? De que modo é possível discutir a experiência estética com o cinema de horror a partir dessas produções? Assim, o objetivo geral da pesquisa é compreender como opera o dispositivo do olhar no cinema de horror found footage e a maneira como ele propõe experiências estéticas, a fim de perceber características da nossa relação com o cinema e a tecnologia na contemporaneidade. Já os objetivos específicos são os seguintes: a) Problematizar o dispositivo do olhar no cinema, sua produção imagética nos respectivos aspectos tecnológicos, sociais e culturais, a partir do horror contemporâneo; b) Estudar aspectos estéticos e narrativos do gênero horror com ênfase nos filmes found footage; c) Discutir especificidades da imagem no found footage; d) Analisar os filmes que compõem o corpus, discutindo-os a partir das movimentações do dispositivo do olhar no horror e das experiências estéticas que potencializam. Entre alguns pressupostos abordados pela tese estão os de que o horror found footage é um fenômeno pós-sala de cinema, ainda que muitas produções circulem em grandes espaços de shopping centers e sejam lançadas em 3D. Ou seja, ver filmes é cada vez mais uma atividade privada e individual. O espectador está sozinho, do mesmo modo que as personagens que correm pela noite escura com uma câmera na mão. A visualidade dos games, a navegação pelas interfaces computacionais ou dispositivos móveis, também deixam marcas nas narrativas com esse estilo. Há ainda diversos tipos de imagens, texturas, cores diferentes que até o desenvolvimento do found footage não haviam sido exploradas no gênero horror. Essas imagens intentam ambiências, conceito de Gumbrecht (2014) que auxiliou a análise. As texturas estranhas, as falhas, ruídos, os “erros” dos equipamentos potencializam as experiências a partir de atmosferas, muitas dessas de aparelhos visuais que não são mais consumidos massivamente, como o VHS. Há sim uma presentificação do passado desses artefatos, dos modos como eram usados, um retorno de hábitos que são reconfigurados pelo contexto do horror. As ambiências possíveis pelas imagens, a perseguição pela experiência tátil com a narrativa, marcam um fenômeno contemporâneo de busca pela apreensão do tempo, das memórias, da vida. Um desejo de possuir as imagens e seus mundos, algo que se sobrepõe à intenção de registro ou de representação do mundo. Podemos afirmar ainda que a ideia de Gumbrecht (2015) do presente amplo se aplica aos filmes estudados nesse aspecto. / This thesis investigates the establishment of the apparatus of seeing as an aesthetic experience within found footage horror movies, from their cinematographic materiality. A discussion about the way as these movies circulate in horror genre is made through crossing film, technology and Communication theories. The apparatus of seeing conception is thought, especially, from authors such as Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser and Philippe Dubois. The apparatus of seeing is, therefore, thought as a behavior, both visual and regarding the usage of technological artifact, that appears within the movies and in the way how this seeing from inside the film can affect the spectator habit of viewing. This is not about the representation of technology, but its strategy and its discourses to propose sensitive appeal in the public. The research problem is: How the apparatus of seeing is composed in found footage horror movies and what can this phenomenon denote about our relation with cinema and technology in contemporaneity? How is it possible to discuss the aesthetic experience with horror movies from these productions? Thus, the main objective is to understand how the apparatus of seeing operates in found footage horror movies and how it proposes aesthetic experiences, in order to see characteristics of our relation with cinema and technology in contemporaneity. The specific objectives are: a) To problematize the apparatus of seeing in cinema, its imagistic production in the respective technological, social and cultural aspects, from contemporary horror genre; b) To study aesthetics and narrative aspects of the horror genre, especially the found footage films; c) To discuss the specificities of the image within found footage; d) To analyze the corpus of films, discussing them from changes of apparatus of seeing and the aesthetic experiences that it potentiates. Among the assumptions the thesis approaches, are that the found footage is a post-cinema phenomenon, although many productions circulate in large spaces of shopping centers and are released in 3D. In other words, watching movies is increasingly a private and individual activity. The spectator is alone, just like the characters that run through the dark night with a camera in their hands. The game visuality, the navigation through computational interfaces or mobile devices, also leave marks in the narratives marked by this style. There are still several types of images, textures, different colors that, until the development of found footage, had not been explored in the horror genre. These images attempt to establish ambiences, a concept of Gumbrecht (2014) that aided the analysis. The strange textures, the flaws, the noises, the "errors" of the equipments potentiate experiences from atmospheres, many of them of visual devices that are no longer massively consumed nowadays, like the VHS. There is rather a presentiment of the past of these artifacts, the ways that they were used, a return of habits that are reconfigured by the context of horror. The possible ambiences of the images, the persecution for a tactile experience with the narrative, mark a contemporary phenomenon of search for the apprehension of the time, the memories, the life. A desire to possess the images and their worlds, something that overlaps the intention of recording or representing the world. We can also affirm that the idea of Gumbrecht (2015) of the broad present applies to the films studied in this aspect.

CineScrúpulos es una revista digital que recopila los trabajos desarrollados por los alumnos en la clase de Historia del Cine de la Facultad de Comunicaciones de la UPC. El curso no pretende brindar una visión historicista del cine repleta de fechas, nombres de directores, títulos de películas y lugares exóticos, sino que intenta evidenciar la linealidad casi genética que es intrínseca al quehacer fílmico, una tradición que no solo se repite sino que se reinterpreta en distintos escenarios y en distintos momentos. Porque se entiende que el cine es, ante todo, la herencia permanente de lo que se ha hecho antes. Los textos de la revista CineScrúpulos han sido elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas. Las imágenes utilizadas han sido obtenidas de distintas páginas web y el uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / ... porque hay motivos de sobra para celebrar, pero la más importante de todas es el alumbramiento de la tercera edición de CineScrúpulos, plagada de demoras de distinta índole: desde la entrega a destiempo de algunos textos (o la digitalización de los mismos) hasta el hecho improbable de que al día de pronto se le ocurra tener 36 horas y no las consabidas 24. Y es que, lamentablemente, las obligaciones socialmente consensuadas impiden dedicar tiempo a los proyectos que colman de alegría y felicidad. Pero ya no hay ningún tipo de obstáculo para que puedas tener entre manos (o mejor dicho, en la pantalla), la tercera edición de esta revista elaborada con mucho cariño (y algo de mandato) por los alumnos del curso de Historia del Cine. Esta edición le rinde tributo al gran mago de la fantasía, de la hipérbole narrativa y de la personificación circense: Federico Fellini, quien solía decir que había inventado tantas cosas en torno a él que le resultaba muy difícil definir qué sucesos eran verdaderos y cuáles eran producto de su fantasía e imaginación. La principal razón de ser para entender su cine es justamente esa: perderse en la libertad con la que el autor plantea sus historias, puesto que si se intenta decodificar de manera convencional alguna de las películas de Fellini, entonces nos frustaremos sobremanera porque es prácticamente imposible hacerlo. El viaje delirante que se presenta ante nuestros ojos debe ser aceptado y disfrutado como si se tratara de una función del Circo del Sol. Y a propósito de ello, también indagamos en el movimiento neorrealista para preguntarnos en qué medida uno de los paradigmas de la modernidad cinematográfica influyó o no en la artesanía fílmica de Fellini. En cuanto al sabor nacional, el reciente éxito de Asu mare: la película nos animó a formular una pregunta: ¿existe en el cine peruano la tendencia de utilizar personajes populares para crear un subgénero en el que se combinan el documental, el biopic y los elementos populares? La respuesta en estas páginas. Y por último, pero no menos importante, el ingrediente esencial en todo buen plato fílmico que se precie: la sangre. Al parecer, la hemoglobina que inunda las películas de terror modernas no guardan mucha semejanza con las obras clásicas de las que heredan su razón de ser. Baila, Saraghina. Luego descansa.

The aim of this essay is to examine how Donna Tartt’s The Secret History expresses the sublime experience and what its’ primary function is in the novel. The essay begins with discussing the concept of the sublime through a historical perspective, connecting primarily to Edmund Burke’s ideas and further contrasting them with the feminist criticism of Kristina Fjelkestam. A critical aspect of this study is to examine the notion of terror in the definitions of the sublime and to analyze how Tartt incorporates it into the story by introducing the theme “beauty is terror”, in the beginning of the novel. The essay introduces different techniques used to express this terror, and simultaneously touches upon gothic conventions – such as sublime nature – as well as the postmodern convention of “the unpresentable”, put forward by Jean-Francois Lyotard. This leads to a minor presentation of gothic-postmodernism – a fairly new genre which highlights similarities in the terror experience of the French Revolution and the one we experience from terrorism and media in the modern world. Further, the essay wants to demonstrate how Tartt uses Friedrich Nietzsche’s idea of the Apollonian and Dionysian – how it is concretely embedded in the storyline but also how it functions as a theme throughout the novel, expressing not only a Nietzschean philosophy but also using this dichotomy to further establish a sublime expression.

Past research has examined the many ways individuals behave in response to unconscious primes. For instance, unconsciously activating stereotypes leads people to exhibit behavior that parallels the target stereotype (e.g., Bargh, Chen, & Burrows, 1996; Dijksterhuis & van Knippenberg, 1998). Priming methodology has also been extended to inducing mortality salience, such that specific behaviors emerge in response to thinking about one’s own death. Two theories, socioemotional selectivity theory and terror management theory, hypothesize how individuals cope with thoughts about the end of life. The present study attempted to extend past research by comparing older and younger adults’ responses to unconscious mortality salience. Fifty-nine younger adults and 52 older adults were randomly assigned to one of two prime conditions: death prime or negative prime. The unconscious primes were administered through word searches, which contained 20 target words related to each prime. Defenses to the primes were assessed via suitability ratings and reaction times to a picture-caption task, which contained both neutral and emotional (positive and negative) captions paired with neutral pictures. A defense was operationalized as higher suitability ratings and faster reaction times to the positive captions, as well as lower suitability ratings and slower reaction times to the negative captions. Based on terror management theory, it was expected that individuals who were primed with death would display specific defensive behavioral responses as compared to those who were primed with negativity, regardless of age. Socioemotional selectivity theory, however, predicts that these defenses may also emerge when older adults are primed with negativity due to the increased tendency for older adults, relative to younger adults, to automatically implement default emotion regulatory goals. Analyses revealed that both younger and older adults embraced the neutral and positive captions after being primed with death. Participants primed with negativity were also more likely to embrace positivity. Age differences emerged such that younger adults were faster when reacting to emotional captions in the death condition than in the negative condition. Conversely, older adults primed with negativity reacted faster to emotional captions than those primed with death. Implications for terror management theory and socioemotional selectivity theory are discussed. Overall, both young and older adults displayed defenses to prime-activated threats of death and negativity. The implementation of death-related defenses was stronger for younger adults than the implementation of negativity-related defenses, but the opposite was true for older adults.

Do nations' allies and trading partners affect their vulnerability to transnational terrorist attacks? Prior research has focused on how the attributes of individual nations, such as regime type, economic stability, and international power, affect their likelihood of being the target of transnational terrorist attacks. However, prior research has not addressed the impact of a nation's economic and foreign policy ties on this phenomenon. Specifically, the question I ask is whether terrorists attempt to indirectly affect the status quo policy stance of a powerful nation by attacking the allies and trading partners of that nation. I develop a theoretical framework to explain why terrorists are likely to target allies of powerful nations in the international arena to force the more powerful nation to change its policy stance. Focusing on the United States, I examine how a nation's economic and foreign policy ties to the U.S. affect its vulnerability to transnational terrorist attacks. I test my expectations using the ITERATE database of transnational terrorist events from 1968 to 2000. The results suggest that a nation's economic and foreign policy ties may have a significant impact on its vulnerability to transnational terrorism.

War and war-fighters have become immortalized through performance; generations of service-men and women are defined by actions on the battlefield artfully altered on stage and screen. This reciprocal relationship, whether war-fighters intentionally participate or not, has imbued the entertainment industry with the power to characterize war-fighters in lasting ways. Performance enters the military in other ways as well: war-fighters reenact moments from war films; combat training takes on theatrical tactics and rhetoric; war-fighters of the War on Terror record and stage their own war performances. We accept that current war performances will inevitably affect the perception and reputation of war-fighters, not only for the duration of the war but for decades afterward, but do we fully understand the cost of the relationship between today's war-fighters and performance's role in the military? In this MA thesis, based on ethnographic fieldwork with veterans of the War on Terror, I explore the intersection between war-fighters, war, and performance. By examining how veterans relate to cinematic and stage performances of war, I will discuss how war-fighters of the War on Terror use performance to surrogate their warrior identities, to train for and defer the war experience, and to produce their own war performances. Combining my ethnographic fieldwork with archival film and play research, I illuminate how performance constitutes and challenges the war-fighter?s identities in the War on Terror.

At present the county and city governments universally establish the fixed speed traps on the roads for clamping down on speeding and running a red light based on the reason of the traffic safety. It causes the populace to violate the traffic regulations incidentally and have the bad impression on the county and city governments who seem to enrich their local budget through setting traps. Essentially do speed trap devices have absolute relationship with the improvements in traffic condition and safety? It still needs verification and study. The governments raise the fine quite subjectively to curb speeding; however, now the domestic lacked research and discussion on the standard reliability of the speed traps. In addition, few people have the recognition of risks and terror appeal messages, such as fine or possible traffic accidents that might happen to the speeding populace. Therefore, we have to research into the aspects of changing the driving behaviors. The study range and the questionnaire design mainly define if the establishment of speed traps in fongsan city Kaohsiung County is a terror appeal to the drivers through risk communication and cognition. To survey the intention of obeying the laws and obtain the data, we implement the questionnaire survey on the common populace. It takes the risk communication and cognition as independent variable and the intention of obeying the laws as dependent variable. Through its deduction and the empirical study, it proves that the establishment and law enforcement of speed traps have the reinforcement and altruism on the law-abiding perception and the constraint to the populace. They will behave appropriately according to the information and the establishments; the governments will also make the most proper laws, regulations and the policies according to the data; finally this will help the individuals, the organizations or the society to make the choices tending to luck and avoiding disasters.

Despite the widespread prevalence of bombing in Iraq, no study has investigated its psychological impact on civilians. This thesis aimed to address this gap in the literature. Four studies were conducted consequently using civilians in Iraq. The first study aimed to explore the subjective experience in response to the bombing attack. A qualitative approach was taken and twenty semi-structured interviews were employed and analysed using Interpretative Phenomenological Analysis (IPA). This identified seven categories including interpersonal relationships, loss of self, changes in attachment, shattering of world assumptions. Subsequent studies were then conducted to understand these themes as possible predictors of PTSD and psychiatric comorbidity in regards to bombing attacks. The second study was a prospective longitudinal design aimed to investigate the trajectory of PTSD symptoms, psychiatric comorbidity, and attachment styles among survivors. It also aimed to examine the role of a variety of variables, namely shattering of world assumptions, altered self-capacity, perceived social support to predict PTSD and psychiatric comorbidity. One hundred and eighty Iraqi civilians were recruited and assessed approximately 1 month and 5 months after their experience of being in a bombing attack using a battery of questionnaires. A control group data (n=178) of people who had not been exposed to a bombing was also collected. Results indicated that 19.4% and 57.2% of the participants met the screening criteria for partial and full PTSD symptoms at T1, which declined overtime. The bombing group displayed significantly higher rates of psychiatric comorbidity and insecure attachment than the control group. After controlling for the severity of bombing attack, controllability of events and affect dysregulation significantly predicted both PTSD and psychiatric co-morbidity symptoms. None of these dimensions predicted PTSD and psychiatric co-morbidity at T2. The complementary study 3 looked further at selected predictors indicated by the findings of study 1, namely death anxiety, coping strategies, religious coping and meaning in life. This study employed a longitudinal design in which 185 participants were recruited and assessed approximately 2 months and 7 months after bombing using a package of self-report questionnaires. Results indicated that religious coping and cognitive avoidance had a significant role to play in predicting PTSD and psychiatric comorbidity shortly after the bombing. Death anxiety was also emerged another picture in predicting PTSD and psychiatric comorbidity through mediators, namely religious coping and searching for meaning in life. Literature showed that PTSD and psychological distress are treatable after people had received various forms of professional and personal strategies. Study 4 employed mixed methods in order to provide further understanding regarding the helpful coping strategies that participants had attempted to use to manage their psychological distress. Six participants (n=3 recovered well, n=3 still struggle) were recruited for the qualitative phase and 243 for the quantitative. Social support was found as the most frequent and helpful strategy to manage post-bombing distress, followed by avoiding thinking about the bombing and religious strategies. Different psycho-social factors that hinder or foster recovery between participants were also highlighted. In conclusion, the findings confirmed related studies that, following bombing, there is a high risk that victims develop PTSD and psychiatric co-morbidity symptoms which decline to some extent over time. A variety of factors, such as social support and religious strategies were identified as helpful. However, these were also related to the victims’ prior attachment strategies. Implications for assisting victims and the population of Iraq are offered, in particular the need to support families and friends (social networks) in the context of very limited professional sources of support in a country where terrorism is rife.

Theory and research suggests a link between self-esteem and cardiac vagal tone (parasympathetic nervous system influence on the heart). A literature review suggests that vagal tone protects the body against physiological threat responding (e.g., sympathetic responding) and that vagal tone is highest when we feel secure. Terror management theory posits that humans, who live in a largely symbolic world, derive feelings of security and protection from threat by way of acquiring and maintaining self-esteem. Thus we hypothesized that if vagal tone provides physiological security, and we derive a sense of security through symbolic means by way of self-esteem, then high or increased self-esteem should lead to high or increased vagal tone. To test this hypothesis we conducted two studies in which we manipulated self-esteem by giving participants positive or negative feedback. We predicted that positive feedback would lead to higher vagal tone than negative feedback. Consistent with these predictions, in both studies we found indications that positive feedback increased vagal tone relative to negative feedback. In Study 2, to more fully test our theoretical perspective we induced threat by leading participants to believe they would receive electric shocks. We predicted that both self-esteem and vagal tone would buffer against sympathetic threat responding. Consistent with our model we found that the positive feedback eliminated the sympathetic response to threat of shock that was elicited in the negative feedback condition. Also consistent with our model, higher vagal tone predicted lower sympathetic responding to threat of shock. We discuss future directions for this research and implications for physical health.