Submitted by Kedrini Domingos dos Santos (keds_dom@yahoo.com.br) on 2018-07-14T02:50:45Z No. of bitstreams: 1 Kedrini Santos.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) / Approved for entry into archive by Aline Aparecida Matias null (alinematias@fclar.unesp.br) on 2018-07-16T17:20:21Z (GMT) No. of bitstreams: 1 santos_kd_dr_arafcl.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) / Made available in DSpace on 2018-07-16T17:20:21Z (GMT). No. of bitstreams: 1 santos_kd_dr_arafcl.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) Previous issue date: 2018-05-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Cette thèse vise à réaliser une étude comparative entre les écrivains Guy de Maupassant et Villiers de L'Isle-Adam (1838-1889), d'importants écrivains français de la seconde moitié du XIXe siècle. En réunissant ces deux écrivains, avec des esthétiques si distinctes (Villiers est souvent associé au Symbolisme / Décadentisme tandis que Maupassant est lié au Réalisme / Naturalisme), nous cherchons à voir comment ils développent, de manière personnelle et unique, le thème de l'illusion et l'amour dans ses œuvres, notamment dans les romans L'Ève future (1883), de Villiers, et Fort comme la mort (1889), de Maupassant. Dans ces deux œuvres, l'amour et l'illusion sont associés à la figure féminine, centrale au monde civilisé, considérée avec suspicion. En outre, nous trouvons dans les deux romans la critique à la société française contemporaine et à ses valeurs. L'artiste, au milieu de ce monde illusoire et superficiel, se trouve face au dédoublement du bien-aimé, aspect qui laisse entrevoir la fracture entre le soi et le monde et penser la question de l'existence humaine et de sa finitude / Esta tese tem por objetivo realizar um estudo comparado entre os escritores Guy de Maupassant e Villiers de L’Isle-Adam (1838-1889), importantes escritores franceses da segunda metade do século XIX. Ao aproximar esses dois escritores, com estéticas tão distintas (Villiers é comumente associado ao Simbolismo/Decadentismo, enquanto Maupassant é relacionado ao Realismo/Naturalismo), buscamos observar como eles desenvolvem, de forma pessoal e única, a temática da ilusão e do amor em suas obras, especialmente nos romances L’Ève future (1883), de Villiers, e Fort comme la mort (1889), de Maupassant. Nestas duas obras, o amor e a ilusão associam-se à figura feminina, central no mundo civilizado, a qual é vista com desconfiança. Além disso, encontramos nos dois romances a crítica à sociedade francesa contemporânea e a seus valores. O artista, em meio a esse mundo ilusório e superficial, depara-se com o desdobramento do ser amado, aspecto que permite entrever a fratura entre o eu e o mundo e pensar a questão da existência humana e de sua finitude. / This thesis aims to conduct a comparative study between the writers Guy de Maupassant and Villiers de L'Isle-Adam (1838-1889), important French writers of the second half of the nineteenth century. By approaching these two writers, with so distinct aesthetics (Villiers is commonly associated with symbolism/decadent, while Maupassant is related to realism/naturalism), we seek to observe how they develop, in a personal and unique way, the thematic of illusion and love in their works, especially in the novels L’Ève Future (1883), De Villiers, and Fort comme la mort (1889), of Maupassant. In these two works, love and illusion are associated with the female figure, central to the civilized world, considered with suspicion. In addition, we find in both novels criticism of contemporary French society and its values. The artist, in the midst of this illusory and superficial world, finds himself confronted with the doubling of the beloved, an aspect that suggests the fracture between the self and the world and the question of human existence and its finitude. / 88882.180354/2018-01

Este estudo consiste em uma análise dos elementos e estratégias constitutivos da prosa de Antonio Tabucchi, especificamente observados no romance Notturno Indiano. O romance apresenta-se sob a forma de uma viagem em busca de alguém que se perdeu na Índia, sugerindo uma questão policial. A questão policial será enfocada em consonância como o método investigativo, que se insinua por todo corpo textual, e a sua relação com o desvio de um capítulo. Margeado pela reversão entre ficção e crítica este romance breve afirma-se como referência ilusória que mascara, mas não esconde, as outras vozes que se insinuam na narrativa / The present study is an analysis of the elements and strategies which constitutes Antonio Tabucchi\'s prose, specifically observed in the novel Notturno Indiano. The novel\'s plot is about a journey in which a search for somebody who got lost in India suggests a detective question. This detective story will be treated in consonance with the investigative method which is insinuated through the whole text, and its relation with the deviation of a chapter. Framed by the reverse between fiction and criticism, this short novel shows itself as an illusory reference that masks but does not hide the other voices which insinuate themselves into the narrative

This degree work explores the possibilities of illusory print expressions in fashion design, through the layeringand gathering of opaque and transparent garments. The three-dimensional illusion, in the silhouettes, createan interesting relationship between multiple layering of garment and print. In combination they expressdepth, movement and deception on the human body resulting in an interesting effect that creates an opticalillusion. The discovery of illusionary effect is a result of multiple investigations between diverse prints invarious materials gathered in layers. Depending on which angle the viewer look, different visual illusionsappear and activates the feeling of movement and three-dimensional illusion on the human body. The effectof utilizing different tactility surfaces in the concept of layering is a new visual expression in dressing. Theoutcome should be seen as a motivation to explore and translate things around us by transforming the worldinto a print and decorate it on the body in multiple layers and colors.

This work explores the relation between the body and garments by illustrating the cycle of dressing, wearing and undressing in woven images. Based on experimental methods, such as scanning and photographing, images of garments are generated capturing garment details, surface qualities, movement, folds and volume. These demonstrate the constantly changing relation between the body and garments within the cycle of dressing, wearing and undressing. In translating the photographs and scans of the garments into weaves, a shading technique for jacquardweaving is applied that enables a translation of an image of a 3D-garment into a flat weave keeping the 3D qualities present in the picture. Through a gradation of satin weaves, different hues are created in order to define shadows and other surface qualities.  The changing relation between the body and garments is interpreted in different ways including the body’s presence as well as its absence which results in immediate material responses of the garments and demonstrates the various appearances of the body within this relation. This work results in a variety of woven images pointing out the different stages within the cycle of dressing, wearing and undressing. By using the image as a tool, its pictorial value of capturing moments of change and succession is emphasized. With this work, a new perception of bodily shapes in textiles is provided. Instead of imitating the body’s presence in garments through 3D – forms, alternative ways are shown in how to achieve a corporal illusion in flat weaving-constructions.

Pour Edmund Husserl et Maurice Merleau-Ponty, la perception est une voie d’accès fiable à la réalité. Confrontés à certains problèmes qui pourraient remettre en doute la fiabilité de la perception, ils argumentent en faveur de solutions en apparence analogues. En retraçant le détail de leurs solutions à deux de ces problèmes – la transcendance de l’objet et la possibilité de l’illusion –, l’objectif de ce mémoire sera de démontrer qu’il existe, en dépit de leur accord apparent, une opposition fondamentale dans leur manière d’envisager la perception. En effet, pour Husserl, la perception d’un objet réel et la perception d’un objet illusoire sont intrinsèquement indiscernables, et seule une différence contextuelle permet donc de les départager. Nous argumenterons qu’en adoptant cette position, c’est-à-dire en réduisant la différence entre l’illusion et la perception véridique à une simple différence contextuelle, Husserl révoque le privilège ontologique de l’acte perceptif : la perception n’est pas une voie d’accès fiable à la réalité, parce qu’elle est toujours, au final, potentiellement illusoire. Nous verrons cependant que Merleau-Ponty permet de sortir de cette impasse en expliquant qu’il y a une bel et bien une différence intrinsèque entre l’illusion et la perception véridique. Ce faisant, Merleau-Ponty parvient à démontrer la primauté ontologique de l’acte perceptif. Mieux que Husserl, Merleau-Ponty est dès lors à même de montrer en quoi et comment la perception est une voie d’accès fiable à la réalité. / According to Edmund Husserl and Maurice Merleau-Ponty, perception is a reliable path to reality. Confronted with various problems challenging perception’s reliability, they argue toward similar solutions. By comparing their solutions for two problems, namely the possibility of illusion and object transcendence, this Master’s thesis argues that, in spite of their apparent agreement on how to solve the above issues, Husserl and Merleau-Ponty defend fundamentally incompatible views concerning perception. Notably, according to Husserl, genuine and illusory perceptions are fundamentally (intrinsically) indistinguishable. Il follows that only a contextual difference allows the subject to distinguish them. We will argue that, in admitting only a contextual difference between illusion and genuine perception, Husserl revokes perception’s ontological privilege : perception is not a reliable path to reality, since it is always potentially illusory. By way of contrast, Merleau-Ponty avoids such a conclusion, since his account admits a fundamental difference between illusion and genuine perception. Merleau-Ponty can then argue for the ontological primacy of perception, which, in turn, allows him to demonstrate better than Husserl why and how perception is a reliable path to reality.

Affective forecasting refers to the process of predicting future emotions in response to future events. The overall aim of the present thesis was to investigate, by applying the framework of Affective forecasting, how car users predict their satisfaction with public transport services. Study 1, Part 1 revealed a satisfaction gap between users and non-users of public transport, whereby non-users reported lower satisfaction than users, in overall satisfaction as well as in two quality factors resulting from a factor analysis of a major survey on satisfaction with public transport. It was hypothesized that non-users were biased in their satisfaction reports, something which was subsequently investigated in Study 1, Part 2, where a field experiment revealed that car users suffer from an impact bias in their predictions about future satisfaction with public transport due to being more satisfied with the services after a trial period than they initially predicted they would. Addressing the question of whether or not a focusing illusion is the psychological mechanism responsible for the impact bias, two experiments containing critical incidents were conducted during Study 2, in order to investigate whether or not car users exaggerate the impact of specific incidents upon their future satisfaction with public transport. For car users with a stated intention to change their current travel mode, in Study 2, Part 1, as well as for car users with no stated intention to change their travel mode, in Study 2, Part 2, the negative critical incident generated lower predicted satisfaction with public transport, in support of the hypothesis that the impact bias in car users’ predictions about future satisfaction with public transport is caused by a focusing illusion.

The feeling of owning a body part is often investigated by conducting and manipulating the rubber hand illusion, a three-way integration of vision, touch, and proprioception. In the last decade, more research on the role of interoception, the sense of the body's’ internal state, in the illusion has been made. One of the studied factors has been the affective touch, a caress-like, gentle, touch that is performed at a slow specific speed (1-10 cm/sec). Affective touch activates the C tactile afferents which send interoceptive signals to the brain, specifically the insula. The present systematic review investigated the role affective touch has on the strength of the rubber hand illusion. A range of electronic databases was searched for papers reporting research findings published in English before March 20, 2020. Twelve different articles were identified, but only five papers met the inclusion criteria. This thesis looked at the results from these five different studies and compared the effect of affective touch and discriminative, regular, touch have on the rubber hand illusion to see whether there is a significant difference. The results could not show a main effect of stroking velocity, site of stimulation, or social touch, which are components of affective touch. The results was based on four different measurements, the subjective experience of the illusion, pleasantness ratings, proprioceptive drift, and temperature difference in the skin. Opposed what was hypothesized, it could not be demonstrated that affective touch would induce a stronger rubber hand illusion than discriminative touch.

Body ownership can be studied via the rubber hand illusion (RHI), in which an artificial limb can be perceived as belonging to oneself. In the so-called moving RHI paradigm, both body ownership and sense of agency, induced by self-produced movements, can be investigated. The key question of this approach is whether movements generated by oneself increase the illusion of body ownership. Thus far, the results from moving RHI studies are inconsistent.This has led to uncertainty regarding the influences of the motor control mechanism on body ownership. Therefore, this study will present the first meta-analysis on moving RHI to estimate the illusory effectiveness induced by self-produced movements. A total of 23 experimental comparisons with 821 subjects were included in the meta-analysis. The results showed that the overall illusory effect induced by self-produced movements was superior toits control (e.g., asynchronous active movements) (Hedge’s g = 1.38, p < 0.001). However, due to dissimilarity in results between the studies, the sample size in the meta-analysis may not represent the general population. The subgroup analysis showed that studies using physical hands, such as wooden hands, yielded the largest effect compared to studies using a virtual projected hand or a video recorded image of the participant’s own hands. It can be speculated whether a three-dimensional hand with “realness” has an illusory advantage compared to hands presented in virtual or video image settings. Future studies need to apply aunified framework, particularly in experimental setups and measurements. This would obtain consistent results of the strength of the illusion within the moving RHI paradigm.

The rubber hand illusion is an experimental paradigm that induces the illusion of ownership over a fake hand. The illusion was originally induced using visuotactile stimulation but can also be induced using movements. Self-produced movements are active movements, and if they are produced by external force, they are passive movements. According to the comparator model, only active movements produce a sense of agency. As both passive and active movements can be used to induce the sense of ownership in the rubber hand illusion, but only active induce a sense of agency, they can be compared to determine the effect agency has on bodily ownership. This meta-analysis included nine studies with a total of 359 participants that compared the induced sense of ownership using active and passive movements in the rubber hand illusion to determine these effects. The results show that agency has a small but significant effect on body ownership.

This study was designed as an attempt to extend Schneider and Shiffrin's (1977) automatic versus controlled processing distinction into the area of visual perception. Hasher and Zacks (1979) proposed a continuum of automatic processes, with processes which encode the fundamental aspects of the flow of information as the anchor of the continuum. They presented evidence that depressed people perform more poorly than nondepressed on effortful (controlled) memory tasks, but not on automatic tasks. Tachistoscopic and free inspection presentation of Piaget's (1961/1969) primary geometric illusions meet two of Hasher and Zack's criteria for automatic and effortful tasks, respectively. Consequently, multiple regression techniques were used to determine the relationship between depression (operationally defined as score on the Beck Depression Inventory) and method of presentation of a Piagetian primary illusion, the Müller-Lyer. Furthermore, correlations were determined between tachistoscopic versus free inspection of the Müller-Lyer illusion and forward versus backward digit span (operationally defined as score on the WAIS Digit Span subtest), since forward and backward digit span have been linked theoretically to automatic and effortful processing, respectively.