Stereotypy refers to a class of operant repetitive motor and vocal responses with no readily apparent goal or purpose (Rapp & Vollmer, 2005; Singer, 2009; Wunderlich et al., 2023). Although most stereotypy is clinically insignificant and does not warrant treatment (i.e., nail biting, hair twirling), some stereotypy persists at a frequency or severity which interferes with skill acquisition, social interactions, and daily living skills. Stereotypy which persists at this level is considered clinically significant and is often the target of treatment (Wunderlich et al., 2023). A variety of evidence-based treatments for the reduction of stereotypy exist, though some neurodiversity advocates contend that its treatment is not always warranted or ethical (Bakan, 2014; Farenheit, 2020) and can even be considered abusive (Shoyer, 2015). Though this current climate calls for increased justification of its treatment, only a few of the current stereotypy studies report the use of any social validity measures (e.g., Casella et al., 2011; Love et al., 2012; Callahan et al., 2023). Thus, the current study created a pre-treatment social validity questionnaire which aims to assess the degree to which motor stereotypy affects the client and their family and warrants treatment. We used response interruption and redirection (RIRD) to reduce stereotypy in two participants in the context of a multiple schedule. RIRD was chosen due to its efficacy in reducing stereotypy and its potential to increase contextual engagement. Moreover, a multiple-schedule arrangement was chosen to potentially increase the social acceptability of the treatment by decreasing stereotypy during learning contexts while teaching participants when it is acceptable to engage in stereotypy (e.g., play, leisure time). At the conclusion of treatment, we assessed generalization across settings for one participant and re-administered the social validity questionnaire to stakeholders of both participants to assess the extent to which the intervention transferred to additional contexts and improved the quality of life of participants and their families. We found that RIRD was effective in reducing stereotypy during work contexts for both participants, though the effects did not generalize to an additional setting for one participant. Additionally, we saw a decrease from pre- to post- treatment scores on the social validity questionnaire for both participants, which provides evidence toward the effectiveness of RIRD in reducing the severity of stereotypy.

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Cette thèse consiste en une recherche sur la représentation du paysage dans les arts poétique et visuel, à partir d’un éclairage réciproque entre cultures occidentale (principalement française et antique) et chinoise. Notre recherche est inspirée par la définition canonique du paysage: le paysage est une portion de l'espace terrestre, représentée ou observée à l'horizontale comme à la verticale par un observateur. En conséquence, pour les chercheurs de la littérature moderne, c’est le surgissement de la notion de « sujet » qui engendre la notion du paysage dans son sens étymologique. En revanche, dans la poésie chinoise ancienne dont la syntaxe est nominale, l’être, comme prédicat dominant qui structure la vision du sujet vis-à-vis du paysage, est souvent absent. Le langage chinois reflète une perspective non-anthropocentrique du paysage en Chine ancienne. Une deuxième étude significative conduit à la révision de la conception canonique du paysage: Celle de l’art visuel et poétique ancien, qui permet d’écrire une préhistoire du paysage (les éléments naturels) et de proposer une théorie de l’émergence du paysage dans l’Antiquité. Cette tentative proposant la naissance du paysage dans l’Antiquité se distingue dès lors de celle qui la fait naître à la Renaissance. Je m’efforce d’esquiver « le grand récit » proclamant une vérité universellement valable, pour préconiser « les petits récits » qui précisent « les représentations localisées du domaine restreint ». J’ai choisi un certain nombre de thèmes fondamentaux concernant le paysage - le sublime, la Stimmung, les ruines et le vide -, que j’interroge sur des problématiques comme celle du lien entre sujet et objet, la conscience de l’histoire et le lieu de mémoire, etc. / This dissertation focuses on the representation of landscape in poetry and visual arts, with the reciprocal illumination of Western (mainly French and Antiquity) and Chinese culture. This research is inspired by the canonical definition of landscape that the landscape is a portion of space represented or observed horizontally or vertically by an observer. Accordingly, for researchers of modern literature, the emergence of the concept of "subject" generates the notion of landscape in the etymological sense. However, in ancient China, “be” as a predicate is often absent in poetry, especially in the nominal syntax. The Chinese language reflects a non-anthropocentric perspective of landscape, about which Stimmung and Qingjing (the emotion-landscape) deconstruct the notion of landscape structured by the “subject“. The Approach to the revision of the canonical landscape concept is to introduce the ancient visual art and poetry so as to write a prehistory as well as a history of landscape (natural elements) and to propose about the emergence of the landscape in Antiquity, even if I can not find a term corresponding exactly to the modern landscape. This attempt, proposing the birth of the landscape in ancient times, is different from the well-known claim that the landscape was born in the Renaissance. In this research, I try to dodge the "grand narrative" proclaiming a universally valid truth, but to advocate "small stories" that specify "localized representations of the restricted area." Thus, I chose four fundamental themes such as sublime, Stimmung, ruins and vide, so as to discuss the relationship between subject and object, consciousness of history and place of memory, etc.