It is about a study concerning the conceptual, political, aesthetic tensions and legitimations in the field of Brazilian music done from thirty-six ditties-reportages of the songwriter-reporter Tom Zé (1936). His ditties constitute the main sources of the work and they were analyzed considering, principally, the notions of evolutionary line in Brazilian, Popular Music and Tropicalism . The thesis shows the historical objectivation of the referred line, from a situation of the debates concerning the state of BPM (or, in Portuguese, MPB) in the middles of the 1960 s decade which, such historical objectivation, ever since, became a significant parameter to think and organize the history of our music in a BPM historiography. In this context, the art of Tom Zé and his partners is presented like being a quarrelsome speech which reacts and aims its insertion into an evolutionary line of BPM and into a tropicalist musical heritage. The study, in pretext of the referred debate, also reflects about the singular manner how Tom Zé explains and resignifies the supposed origins of the tropicalist movement and certain myths around this one. In order to unveil the historical process in which he is inserted, some emblematic moments of his musical trajectory are coursed, such as: formation, (dis)agreements between himself and his tropicalist colleagues, musical ostracisms and rediscovery via United States. Then, thematic specificities of tomzénian ditties are approached, such as: music, backwoods, cities and politics, as long as their sonorous singularities are detached, as the experimentalist traces from the dialogue between the songwriter and musical vanguard of the second half of the twentieth century. By the end, an essay of a new historiography of the Brazilian, Popular Music is showed from the critics to the memory constructed around the existence of the Tropicalism and the exclusion of the protest music in the Brazilian musical scenario. / Trata-se de um estudo sobre as tensões e legitimações conceituais, políticas e estéticas no campo da música brasileira, feito a partir de 36 letras de cantigas-reportagens do cancionista-repórter baiano Tom Zé (1936). As suas cantigas constituem as principais fontes do trabalho e foram analisadas, tendo em vista, principalmente, as noções de linha evolutiva na Música Popular Brasileira e Tropicalismo . A tese mostra a objetivação histórica da referida linha, a partir de uma situação dos debates sobre o estado da MPB nos meados da década de 1960, objetivação histórica esta que, desde então, passou a ser um significativo parâmetro para se pensar e organizar a história da nossa música numa historiografia da MPB. Neste quadro, a arte de Tom Zé e de seus parceiros é apresentada como um discurso conflituoso que reage e almeja a sua inserção numa linha evolutiva da MPB e numa herança musical tropicalista. O estudo, a pretexto do debate referido, também reflete sobre a maneira singular como Tom Zé explica e ressignifica as supostas origens do movimento tropicalista e certos mitos elaborados em torno do mesmo. Para descortinar o processo histórico no qual ele está inserido, percorrem-se momentos emblemáticos da sua trajetória musical, tais como: formação, (des) encontros com os colegas tropicalistas e ostracismo musical e redescoberta via Estados Unidos. Em seguida, abordam-se as especificidades temáticas das cantigas tomzénianas, tais como: música, sertões, cidades e política, como também destacam-se as singularidades sonoras das mesmas, como os traços experimentalistas provenientes do diálogo do cancionista com a vanguarda musical da segunda metade do século XX. Por fim, apresenta-se um ensaio de uma nova historiografia da Música Popular Brasileira, a partir das críticas à memória construída em torno da existência do Tropicalismo e da exclusão da música de protesto do cenário musical brasileiro. / Doutor em História

O presente estudo buscou identificar fatores de risco para LER/DORT em uma linha de montagem de uma empresa metalúrgica. Foram utilizados o Índice TOR-TOM – indicador ergonômico da eficácia de pausas e outros mecanismos de regulação (COUTO, 2006) e um protocolo de avaliação postural (RODGERS, 1992). Os resultados apontam a necessidade de intervenção imediata para a proteção da saúde dos trabalhadores. O Índice TOR-TOM foi elevado para os dois operadores de solda-ponto e para os dois operadores de prensas, todos com queixas de dor/desconforto/fadiga, o que foi compatível com as queixas relatadas pelos trabalhadores. O protocolo de Rodgers foi mais sensível para identificar a necessidade de adequação de postura para um dos trabalhadores afastado do trabalho por apresentar LER/DORT. A utilização concomitante das duas ferramentas se mostrou mais efetiva para identificar os fatores de risco do que qualquer uma delas isoladamente. / The study analyses the risk factors for CTD/WRMSD in an assembly line, in a metallurgic company, using the TOR-TOM index – an ergonomic indicator of the effectiveness of pauses and other mechanisms of regulation had been used (COUTO, 2006) and a protocol of postural evaluation (RODGERS, 1992). The results showed that an intervention is necessary to protect the worker’s health. The TOR-TOM index was high for two spot welders and for two press operators. All workers presented pain/discomfort/fatigue. The protocol of Rodgers was more sensible to identify the necessity of adequacy of position for one of the workers moved away from the work for presenting LER/DORT. The concomitant use of the two tools if showed more effective to identify the risk factors than any one of them separately.

O presente estudo buscou identificar fatores de risco para LER/DORT em uma linha de montagem de uma empresa metalúrgica. Foram utilizados o Índice TOR-TOM – indicador ergonômico da eficácia de pausas e outros mecanismos de regulação (COUTO, 2006) e um protocolo de avaliação postural (RODGERS, 1992). Os resultados apontam a necessidade de intervenção imediata para a proteção da saúde dos trabalhadores. O Índice TOR-TOM foi elevado para os dois operadores de solda-ponto e para os dois operadores de prensas, todos com queixas de dor/desconforto/fadiga, o que foi compatível com as queixas relatadas pelos trabalhadores. O protocolo de Rodgers foi mais sensível para identificar a necessidade de adequação de postura para um dos trabalhadores afastado do trabalho por apresentar LER/DORT. A utilização concomitante das duas ferramentas se mostrou mais efetiva para identificar os fatores de risco do que qualquer uma delas isoladamente. / The study analyses the risk factors for CTD/WRMSD in an assembly line, in a metallurgic company, using the TOR-TOM index – an ergonomic indicator of the effectiveness of pauses and other mechanisms of regulation had been used (COUTO, 2006) and a protocol of postural evaluation (RODGERS, 1992). The results showed that an intervention is necessary to protect the worker’s health. The TOR-TOM index was high for two spot welders and for two press operators. All workers presented pain/discomfort/fatigue. The protocol of Rodgers was more sensible to identify the necessity of adequacy of position for one of the workers moved away from the work for presenting LER/DORT. The concomitant use of the two tools if showed more effective to identify the risk factors than any one of them separately.

Because of the many similarities between the life of George Eliot and the lives of Maggie and Tom Tulliver in The Mill on The Floss, Eliot’s novel has been understood as an autobiographical novel. The aim of the essay is to, by using a psychoanalytical perspective, examine if the fictional characters could be said to be engaged in an incestuous relationship even though they do not engage in a sexual relationship. Though their relationship never becomes sexual, there are factors which could support a claim that brother and sister are engaged in an non-sexual incestuous relationship.

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This is a study of what I argue is a neglected side of Aestheticism. A standard definition of Aestheticism is that its practitioners turn away from the general current of modernity to protest its utilitarian and materialistic values, but this generalization ignores the profound influence of contemporary philosophical and scientific thought on such major figures of British Aestheticism as Walter Pater and Oscar Wilde. This study focuses on Aesthetes who are not in flight from modernity. I call their type of Aestheticism "Epicurean Aestheticism" and argue that since this temperament is characterized by a willingness to engage with the flux of modern times it must be distinguished from the more familiar, escapist form of Aestheticism I call "Platonic Aestheticism." I propose that Aestheticism be viewed as a spectrum with Epicurean Aestheticism on one side and the Platonic variety on the other. While Platonic Aesthetes like W. B . Yeats and Stephane Mallarme continue the Romantic project of trying to counter modernity with various idealist and absolutist philosophies, Epicurean Aesthetes adopt materialist and relativistic strategies in their desire to make the most of modern life. I argue that the first unmistakable signs of Epicurean Aestheticism are to be found in Thomas De Quincey, that the sensibility is fully formulated be Pater, continued by Wilde, and finds a current representative in Tom Stoppard. All Aesthetes are dedicated to the pursuit of beauty, but Platonic Aesthetes seek beauty in an eternal and transcendent realm, while Epicurean Aesthetes have given up such absolutist habits of thought. Pater writes: "Modern thought is distinguished from ancient by its cultivation of the "relative" spirit in place of the "absolute." Epicurean Aesthetes want a new aesthetic that will parallel the paradigm shift from absolutism to relativism. While a nostalgic, quasi-religious longing for a purely ideal realm characterizes Platonic Aesthetes, Epicurean Aesthetes accept that the high, idealistic road to eternal beauty is closed. Instead of lamenting this fact, they start looking for beauty among the uncertainties of the phenomenal world: by viewing life as an aesthetic spectacle to be observed and experimented on with playful detachment they become Epicureans of the flux of modernity. / Arts, Faculty of / English, Department of / Graduate

Anxiety and socio-emotional functioning were examined in a single case study of a girl with autism. The objective was to determine the effect of visualization on the experience of anxiety during social interaction, and three target situations that triggers anxiety responses were therefore selected. The ATEC checklist, personal observations and adapted behavior during the specified target behaviors, measured reduced levels of anxiety. The results and conclusions indicate that visualization, as intervention, may be successful in promoting the social and emotional functioning of a child with autism by reducing the high levels of anxiety associated with social interaction. Additionally, increased levels in general functioning, as indicated by the ATEC checklist, and of functioning in different developmental areas were observed. / Dissertation (MEd (Educational Psychology))--University of Pretoria, 2007. / Educational Psychology / unrestricted

The purpose of this study was to critically evaluate Tom Stoppard’s application of chaos theory and quantum science in ROSENCRANTZ AND GUILDENSTERN ARE DEAD, HAPGOOD and ARCADIA; and determine the extent to which Stoppard argues for the importance of human action and choice. Through critical analysis this study examined how Stoppard applies the quantum aspects of: (1) indeterminacy to human epistemology in ROSENCRANTZ AND GUILDENSTERN ARE DEAD; (2) complementarity to human identity in HAPGOOD; and (3) recursive symmetry to human history in ARCADIA. It also examined how Stoppard excavates the complexities of human action, choice and identity through the lens of chaos theory and quantum science. These findings demonstrated that Tom Stoppard is not merely juxtaposing quantum science and human interactions for the sake of drama; rather, by excavating the complexities of human action, choice and identity through the lens of chaos theory and quantum science, Stoppard demonstrates the fundamental connection between individuals and the post-Newtonian universe.

The purpose of this study was to explore how master jazz pedagogues and artist-level jazz musicians used pedagogical content knowledge to sequence their instructional methods when teaching jazz improvisation. Pedagogical content knowledge served as the theoretical framework for this study. To gain insights into how they used their knowledge when teaching jazz improvisation, I first sought to explore how they learned to improvise. For this study, an overarching research question “How did the participants learn to improvise in jazz?” aided me with contextualizing how they learned content and pedagogy when they began to improvise. Then, the following questions guided my investigation into how these participants used their pedagogical and content knowledge when they taught jazz improvisation: (1) How, if at all, did the participants’ curriculum knowledge influence their approaches to teaching jazz improvisation? (2) How, if at all, did the participants’ pedagogical knowledge influence their approaches to teaching jazz improvisation? (3) How, if at all, did the participants’ content knowledge influence their approaches to teaching jazz improvisation? In this study both the artist-level musicians and master jazz pedagogues all subscribed to an organic mode of teaching jazz improvisation, and not a one size fits all approach that many published jazz materials espouse. Most of these participants did not utilize an established curriculum for teaching, but rather relied on the knowledge of their students and their own content knowledge of what they know and how they learned for the best practices of teaching. Based on the pedagogical content knowledge they provided in this study, I devised a model for teaching jazz improvisation to undergraduate students. I organized this model by developing an eight-semester, or four-year sequence, of pedagogy and content for instruction. For each academic year, I present a description of what I learned from the participants, and how this pedagogical content knowledge can be used with students to learn how to improvise in jazz. I then present a two-semester outline (one academic year) that demonstrates how the pedagogical principles and content knowledge shared by the participants in this study can be sequenced. Each of the participants in this study taught their students based on their own content knowledge and the knowledge of their students. In order to teach jazz and jazz improvisation, preservice teachers need more than just a casual experience with jazz pedagogy, and should look to increase their own content knowledge in the area of jazz through both formal and informal educational opportunities. Furthermore, the scope of this study was limited to world renowned jazz musicians and educators who taught at the university level and only considered the perspectives of jazz educators. Additional studies could focus on active school music teachers who identify as jazz educators or could involve researchers studying the perspectives of the students regarding how they learn pedagogy and content and how they use/retain this knowledge with improvisation. Keywords: jazz, jazz pedagogy, jazz improvisation, pedagogical content knowledge, jazz education

A common impairment after a traumatic brain injury (TBI) is a deficit in emotional recognition, such as inferences of others’ intentions. Some researchers have found these impairments in 39\% of the TBI population. Our research information needed to make inferences about emotions and mental states comes from visually presented, nonverbal cues (e.g., facial expressions or gestures). Theory of mind (ToM) deficits after TBI are partially explained by impaired visual attention and the processing of these important cues. This research found that patients with deficits in visual processing differ from healthy controls (HCs). Furthermore, we found visual processing problems can be determined by looking at the eye tracking data developed from industry standard eye tracking hardware and software. We predicted that the eye tracking data of the overall population is correlated to the TASIT test. The visual processing of impaired (who got at least one answer wrong from TASIT questions) and unimpaired (who got all answer correctly from TASIT questions) differs significantly. We have divided the eye-tracking data into 3 second time blocks of time series data to detect the most salient individual blocks to the TASIT score. Our preliminary results suggest that we can predict the whole population's impairment using eye-tracking data with an improved f1 score from 0.54 to 0.73. For this, we developed optimized support vector machine (SVM) and random forest (RF) classifier.