La donation fait de l’espace une spatialité (extériorité, altérité). Tomber dans le où ? est avoir le sentiment de l’espace qui n’est pas la spatialité. Nous ne sommes plus un corps dans l’espace mais un corps-espace (pas de place pour le là). Le où ? n’est pas un dans absolu mais l’impossibilité du dans et l’impossibilité de l’événement d’être (pas d’ouverture). Il y a une immobilité où tout se meut à vide. Le où ? n’a même pas le où de la question comme réponse. Son point d’interrogation est son impossible repos. Que reste-t-il à l’artiste à donner ? Ne fait-il pas justement autre chose que donner ? L’artiste dé-crée et son œuvre pose alors cette question : où cela ne se passe-t-il pas ?. Tomber dans le où ? c’est tomber dans l’étrangeté de l’autre de l’événement. C’est accueillir l’autre, l’étranger, sans lui ôter son étrangeté. L’impossibilité d’avoir lieu s’in-crée. Le sentiment de l’espace est l’autre de la sensibilité et non pas une autre sensibilité à. Il est l’autre de la rencontre. Le sentir est pris par le corps. Tomber dans le où ? est une désinsertion de l’espace où le déjà vouloir de la donation n’a pas lieu. Accueillir l’autre c’est perdre sa demeure avec soi, c’est accueillir dehors. La désinsertion de l’espace est l’autre du départ. Le venir du dehors est l’appel du dehors, l’appel de l’il y a, mon appel. Dans l’esthétique du où ? nous ne sommes pas dans cet appel du dehors. La relation avec l’Autre sera son exhibition, son débordement, sa profanation, profanation du Tout, de l’Un. L’homme fait autre chose que vouloir, il danse. Tomber dans le où ? c’est sortir du pouvoir pour tomber dans la jouissance tragique de l’éternel retour. C’est penser où ?. / Donation turns space into spatiality (outwardness, otherness). Falling in the 'where ?' is having the feeling of space, which isn't spatiality. We are not a body in space anymore, but a space-body (no place for the here). The where ? is not an absolute into but the impossibility of an into and the impossibility of the event of being (no opening). There is an immobility in which everything runs, but idle. The where ? doesn't even have the where of the question as an answer. It's question mark is it's impossible rest. What is left for the artist to give ? Isn't he precisely doing something else than giving ? The artist de-creates and his work asks the question : where doesn't it flow ? Falling in the 'where ?' is falling in the strangeness of the other of the event. It's welcoming the other, the strange(r), with no lessening of strangeness. The impossibility of taking place un-creates itself. The feeling of space is the other of sensitivity and not another sensitivity to. It is the other of the encounter. The feeling is taken by the body. Falling in the 'where ?' is a dis-insertion from space where the already willing of the donation does not take place. Welcoming the other is losing one's abode with oneself, it is welcoming outside. The dis-insertion from space is the other of departing. The calling from outside is the calling of the outside, the calling of there is, my calling. In the aesthetics of the where ? we are not in the calling from the outside. The relationship with the Other will be it's exhibition, it's overflowing, it's profanation, the profanation of the Whole and the One. Man does something else than willing, he dances. Falling in the 'where ?' is exiting from might into the tragic enjoyment of the eternal return. It is thinking where ?

The purpose for the present study was to examine working memory for what, where, and when information in rhesus monkeys (Macaca mulatta) and adult humans using a computerized task. In Experiment 1, monkeys and humans completed three delayed matching-to-sample (DMTS) tasks: 1) identity DMTS, 2) spatial DMTS, and 3) temporal DMTS. In Experiments 2, the identity and spatial tasks were combined so that monkeys had to report both what and where information about an event. In Experiment 3, the identity, spatial, and temporal tasks were combined in order to examine what-where-when memory integration. In Experiment 4, monkeys and humans were presented with two sequential events, and a memory cue indicated which event they were required to report. The rhesus monkeys and human participants were able to report all three components of the events and there was some evidence suggesting that these components were integrated in memory for the rhesus monkeys.

Detta arbete undersöker hur man kan bearbeta och formulera upplevelser av en film med hjälp av figural analys. Denna analys har jag hittat i filmvetenskapens fält. Syftet är att med hjälp av denna vidga filmens möjligheter som verktyg i skolan. Tillsammans med en fenomenologisk ansats och gestaltande metod söker jag en didak-tisk metod/upplägg för elever att formulera upplevelser, som ett komplement till tra-ditionell filmanalys.Med utgångspunkt i Svenska filminstitutets filmhandledningar konstaterar jag vad som inte behandlas när man i skolan ser en film. I filmhandledningarna uppmanas eleverna till en diskussion från frågor som rör värdegrunden, och upplevelsen av filmens bilder lämnas därhän. Jag har undersökt det figurala som ett sätt att komma åt möjligheten att formulera upplevelsen av en spelfilm man har sett i skolan, med hjälp av rörliga bilder. Det figurala är ett begrepp som syftar till vårt omedvetna begär och primära fantasi och vår upplevelse. Med en figural analys kan man fokusera på bildmaterialet utan att söka tecken och betydelse för de bildelement man finner. Teknikens möjligeter, såsom dubbelexponeringar, animeringar, hastighetsvariationer och så vidare utgör nya visuella uttryck.I filmen ”Where wild things are” har jag undersökt vad jag kan komma åt i en spelfilm med hjälp av en figural analys. Detta har jag sedan arbetat med i min gestaltande metod som utgår från en filmad skogspromenad. I gestaltningen har jag återberättat scener ur filmen från mitt eget liv, där jag har liknande upplevelser, då upplevelser kan sägas bottna i tidigare erfarenheter. Vidare har jag förstärkt min upplevelse, med teknikens hjälp, i filmredigeringen. Jag har, bland annat, arbetat utifrån Deleuzes tankar om montage som det effektfullaste sättet att med hjälp av teknikens möjligheter bana väg för en upplevelse hos betraktaren. Till min hjälp har jag Karl Hanssons avhandling, ”det figurala och den rörliga bilden” i Filmvetenskap vid Stockholms universitet .Min slutsats är att man i skolsammanhang, utan att nämna ett svårt begrepp som det figurala, kan använda sig av denna analys och metod för att ge elever möjlighet att också få fokusera på sin egen upplevelse, och resonera kring sin egen vardag som något större. På detta sätt kan man lägga fokus på en större del av människan, då hela människan ska få plats i skolan, så som värdegrunden är formulerad.

No description available.

The purpose of this study is to identify the existential themes present in the movie Where the crawdads sing (2022) by using the method thematic content analysis. The method is used when the aim is to identify themes or patterns within the data. In the movie the main character, Kya, faces challenges in life that raise existential thoughts and questions that together point to the existential themes being identified. Furthermore, the study examined how the main character deals with these existential challenges by applying Pargament’s religious coping theory. The theory explains how people use religious or spiritual beliefs to cope with stress and adversity. The research questions for this study are:  What existential themes challenge Kya? How does Kya relate and deal with these existential challenges? The result of the study showed that the movie explores themes of social context, to be exposed to threats and thoughts of life and death. When researching how Kya copes with her challenges, it was discovered that nature and social relationships are significant for Kya throughout the movie. However, she uses a reconstructive coping mechanism in order to conserve her significance. Kya does this by getting rid of obstacles in her way.

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2016-09-14T16:15:04Z No. of bitstreams: 1 arquivototal.pdf: 2412011 bytes, checksum: adf2606f46d74fde5f51bff921362506 (MD5) / Made available in DSpace on 2016-09-14T16:15:04Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2412011 bytes, checksum: adf2606f46d74fde5f51bff921362506 (MD5) Previous issue date: 2016-02-29 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Human aging causes different decline in many cognitive function. Episodic processing, among all memory systems, shows to be the most affected along aging. The episodic memory is a subsystem of memory responsible for receiving and storing information about certain episodes or events, temporally dated, high lighting a spatiotemporal relationship between them. One way of assessing this construct would be using behavioral criteria for identifying information about what happening, where and when, which are the basic components of “What-Where-When” paradigm, or else, by proposing to replace the temporal component by context, “What-Where-Which” paradigm. Thus, the objective of this research was to analyze the effect of aging on episodic memory, assessed by two experimental paradigms, to study the correlation of these tests with classic measures of episodic memory. We used a sample with 70 volunteers, divided in two group: younger (N = 35, M = 22,74; SD= 2,99) and older (N = 35, M = 62,54; SD = 4,82) adults. The evaluation protocol was composed of: (i) test based on the paradigm "What-Where-When"; (ii) test based on the paradigm "What-Where-Which"; (iii) classic episodic memory tests; and (iv) a neuropsychological battery, the latter being applied only to the elderly group. The results showed that different episodic memory task apparently measuring something in common. Comparisons between group showed effective impairment associated with aging for all aspects evaluated by the test "What-Where-When", and the integration aspect was the component that suffered the greatest decline associated with age [F(1, 68)= 53,86; p < .001; η² = .442]. Other results showed that Free Recall also presented decline [F(1, 68)= 18,60; p < .001; η² = .215]. However, it was not found significant differences between groups for the task based on the paradigm "What-Where-Which". The findings of this study show that task-based paradigm "What-Where-When" and "What-Where-Which" are promising instruments for measurement of episodic memory. However, apparently the temporal aspect was more sensitive to detect possible changes related to age. / O envelhecimento humano provoca declínios em diversas funções cognitivas. O processamento episódico, dentro todos os sistemas de memória, demonstra ser um dos mais afetados durante a velhice. A memória episódica é um subsistema mnemônico responsável por receber e armazenar informações sobre determinados episódios ou eventos temporalmente datados, existindo uma relação espaço-temporal entre eles. Uma forma de avaliação desse construto seria através de critérios comportamentais para identificação de informações sobre o que aconteceu, onde e quando, sendo esses os componentes básicos do paradigma “Que-Onde-Quando”, ou então, por meio de outra proposta que substitui o componente temporal pelo contextual “Que-Onde-Qual contexto”. Diante disso, o presente trabalho objetivou analisar o efeito da idade sobre a memória de integração, mensurada por dois paradigmas experimentais, e estudar os correlatos destas tarefas com medidas clássicas de memória episódica. Para tal utilizou-se uma amostra de 70 voluntários, dividida em dois grupos: Adultos jovens - GA (N = 35, M = 22,74; DP= 2,99) e Idosos – GI (N = 35, M = 62,54; DP = 4,82). O protocolo de avaliação utilizado foi composto por: (i) Teste baseado no paradigma “Que-Onde-Quando”; (ii) Teste baseado no paradigma “Que-Onde-Qual contexto”; (iii) Testes clássicos de memória episódica; e (iv) uma bateria neuropsicológica, sendo essa última aplicada apenas ao grupo de idosos. Os resultados mostraram que as diferentes medidas de memória episódica utilizadas aparentemente estão medindo algo em comum. As comparações efetivamente mostraram haver comprometimento, associado ao envelhecimento, de todos os aspectos avaliados pelo teste baseado no paradigma “Que-Onde-Quando”, sendo a “integração” o componente que sofreu maior declínio proporcional associado ao aumento da idade [F(1, 68)= 53,86; p < .001; η² = .442]. Achados similares a esse também foram verificados para tarefa de Recordação Livre Imediata (testes clássico de memória episódica) [F(1, 68)= 18,60; p < .001; η² = .215]. Entretanto, não foi registrada diferença significativa entre os grupos para a tarefa baseada no paradigma “Que-Onde-Qual contexto”. Os achados do presente estudo evidenciaram que tarefas baseadas no paradigma “Que-Onde-Quando” e “Que-Onde-Qual contexto” são promissores instrumentos válidos de mensuração da memória episódica. Porém, aparentemente a proposta relacionada ao aspecto temporal mostrou-se mais sensível para detecção de possíveis alterações relacionadas à idade.

The female protagonist Catherine Danielle Clark (Kya) in Delia Owens’ Where the Crawdads Sing is abandoned by her family at a young age and grows up alone in a marshland environment in 1950s North Carolina. Shunned by the local community, Kya relies on nature to help her survive and to teach her about life and love—until one day she finds herself accused of murder. The purpose of this essay is to examine how the author uses nature and the protagonist Kya in order to promote environmental consciousness in the novel, interlinking them in ways that advance identifiable environmental concepts. Therefore, the essay carries out a close reading of the text using three different ecocritical lenses—postcolonial ecocriticism, ecofeminism, and climate change criticism—and with a focus on three themes, respectively—voice, agency, and urgency. It finds first, through an exploration of voice and a postcolonial ecocritical lens, that both nature and Kya are othered in the novel but come to be heard and respected over time; second, through an exploration of agency and an ecofeminist lens, that activity rather than passivity is ascribed to nature and Kya, and their interconnectedness acts as a positive force for change; and third, through an exploration of urgency and a climate change criticism lens, that the interconnectedness of nature and Kya persuades readers to care about the natural world and appreciate the need to respect and protect it, using a subtle rather than overtly political message. Overall, Delia Owens’ use of nature and the protagonist promotes three key environmental concepts: the voice of nature, the agency of nature, and the urgency of respecting nature. This essay concludes that Where the Crawdads Sing speaks to the environmental consciousness of readers in these times of troubling climatic change, lending itself to a variety of ecocritical readings and offering a glimmer of hope. / Den kvinnliga huvudpersonen Catherine Danielle Clark (Kya) i Delia Owens Where the Crawdads Sing överges av sin familj i ung ålder och växer upp ensam i en våtmarksmiljö i 1950-talets North Carolina. Kya är utstött av lokalsamhället och förlitar sig på naturen för att hjälpa henne att överleva och för att lära henne om liv och kärlek—tills hon en dag finner sig anklagad för mord. Syftet med denna uppsats är att undersöka hur författaren använder naturen och huvudpersonen Kya för att främja miljömedvetenhet i romanen och koppla samman dem på sätt som främjar identifierbara miljökoncept. Därför utförs en närläsning av texten med tre olika ekokritiska linser—postkolonial ekokritik, ekofeminism och klimatkritik—och med fokus på tre respektive teman—röst, agens och brådska. Den konstaterar först, genom ett utforskande av röst och en postkolonial ekokritisk lins, att både naturen och Kya är sedda som ”den andre” i romanen men kommer att höras och respekteras med tiden; för det andra, genom ett utforskande av agens och en ekofeministisk lins, att aktivitet snarare än passivitet tillskrivs naturen och Kya, och deras sammankoppling fungerar som en positiv kraft för förändring; och för det tredje, genom ett utforskande av brådska och en klimatkritik lins, att sammankopplingen av naturen och Kya övertalar läsarna att bry sig om den naturliga världen och uppskatta behovet av att respektera och skydda den, med hjälp av ett subtilt snarare än öppet politiskt budskap. Sammantaget främjar Delia Owens användning av naturen och huvudpersonen tre viktiga miljöbegrepp: naturens röst, naturens agens och brådskan att respektera naturen. Denna uppsats drar slutsatsen att Where the Crawdads Sing talar till läsarnas miljömedvetenhet i dessa tider av oroande klimatförändringar, lämpar sig för ett antal olika ekokritiska läsningar och erbjuder en strimma av hopp.

Le Dasein ne pourra jamais « être » son « là ». Une telle remarque pourra surprendre. Toutefois, dès lors que la totalité ou la plénitude d'un « là » soient pensées, ce dernier se révèle transi de néant. Or, parler du néant implique une méthode propre, car c’est l’absence de tout « phénomène ». Devons-nous plutôt, et « déjà », constater la mort de la phénoménologie, son incapacité de « dire » ce qui est radicalement « sans » phénomène, même à entendre ce qu’elle nous aura enseigné ? C'est alors une Méthode du Néant qui se « donne » – ou plutôt « qui se sera déjà donnée », maintenant, comme dans l’Histoire – comme reste irréductible, têtu et tenace. Ce Néant implique qu’il est tant sans « temporalité » que sans « spatialité ». Il nous importe, par conséquent, de pouvoir « penser » le « non-lieu » et d’entendre à nouveaux frais ce que l’histoire nous en informe, notamment dans la pensée de Sohravardî. Le paradoxe est que cette histoire est peut-être elle-même hors histoire. / The Dasein cannot « be » its « be-ing-there ». Such a proposition may surprise us. However, where the totality of a « there » is considered, the latter reveals itself as kneaded by « nothingness ». Further, nothingness would imply its own method. Here, one is dealing with the absence of all phenomena. Should we, and « already », find in favour of the death of phonemenology, of its incapacity to « say » what is radically « without » phenonmenon, even where we are to heed what this tradition has taught us ? A Method of Nothingness, the kind which is sought here, seems to propose itself – or rather « has already proposed itself », as it is within History – as an irreducible, stubborn and tenacious one. Nothingness does imply the absence of « temporality » as well as « spatiality ». Consequently, we are driven to « think » the « no-where » and to heed afresh what history has taught us, namely the thought of Sohravardî on the matter. The paradox is this may bring us outside history itself.

Comparative research on event memory has typically focused on the binding of spatial and temporal information in memory, but much less is known about how animals remember information about the source of their memories (i.e., whether the event is something they performed themselves or whether they observed it). The purpose of the present study was to examine how rhesus monkeys (n = 8) and 3- to 4- year-old children (n = 20) remember this information along with other relevant event features (object identity, spatial location, temporal properties and contextual features) in working memory. In Experiment 1, rhesus monkeys completed five different delayed matching-to-sample tasks to assess independent encoding of these five event components. In Experiment 2, the monkeys either performed or observed an event and then had to respond to a randomly selected pair of memory tests used in the previous experiment. In Experiment 3, children were presented with the same memory task, but were given a brief demonstration to learn how to perform the task. Both children and monkeys responded to these tests using photos and shapes (for the identity and spatial tests) and icons (for the temporal, agency and context tests). The monkeys demonstrated significantly above-chance performance on the identity, spatial, temporal and agency tasks. The children were above chance on the one component the monkeys had difficulty with (context), but conversely demonstrated difficulty on the temporal memory test. There was evidence of feature integration in both monkeys and children. Specifically, the children were significantly more likely to respond correctly to the second memory test if they had also been correct on the first memory test. Two of five rhesus monkeys also showed this effect, indicating that for these individuals, the features were integrated in working memory. Implications of this research are discussed in relation to self-awareness and episodic memory research in children and nonhuman species.

This essay argues that Sara Ahmed’s methodology for reading the emotionality of texts, through its focus on the relationships between emotions, language and bodies, can be applied to the emotional responses of Australians to refugees and asylum seekers. This essay specifically focuses on the emotions of disgust and pain in the participants of Go Back To Where You Came From, a three-part Australian documentary/realia TV series, because these two emotions’ preoccupation with surface and proximity provide a useful metaphor for what can be observed in the participants’ emotionality. Sensuous proximity in the form of sight, taste, smell, touch and hearing underlies the disgust experienced by the Go Back participants, while shared surfaces enable the participants to feel the pain of others. The essay concludes that Ahmed’s methodology is indeed an effective tool for analysing the emotions of people “affected” by the transnational movements of others.