Global ETD Search

1	An Ontological Analysis of Mainstream Addiction Theories: Exploring Relational Alternatives Hill, Wiley Benjamin, III 18 March 2010 (has links) (PDF) Individuals and societies have long struggled to understand and confront, by constructive means, the nemesis of addiction. No other human ill has provoked more concern, accounted for more suffering, or elicited greater consequence than addiction in all its diverse forms. Although alcoholism and drug abuse symbolize the traditional essence of addiction; compulsive sexuality, pathological gambling, eating disorders, tobacco use, etc., are also believed to have addictive properties according to contemporary concepts. Numerous commendable theories and therapies have been offered down through history to explain and mediate addictions conceptually enigmatic and therapeutically resistant nature. As this paper will clarify, many of these time-honored conceptions and resultant treatments of addiction have been inclined to proceed from a particular philosophical perspective known as abstractionism. The first purpose of this dissertation, therefore, is to explore and analyze the influence of abstractionist ideologies in addiction theory and therapy. Further on, this paper will suggest an alternate theory of addiction that derives its meaning and significance from a philosophical basis known as relationality. A relational perspective of addiction theory and treatment will be proposed along with a number of therapeutic suggestions. Ontology abstractionism relationality addiction Psychology
2	The Good Life in Psychotherapy: Implicit and Influential Morris, Emily Lonas 01 December 2011 (has links) (PDF) The good life, or a flourishing life, is a vision of how people ought to best live their lives. Though this vision is vital to the conduct of psychotherapy, it is generally overlooked, and thus unexamined. The therapist's vision of the good life for the client guides his or her implicit and explicit interventions. Despite this, there is relatively little discussion about this vital topic, and relatively little training into the various approaches to the good life. In this thesis, I argue that this relative lack of examination and training is due to the lack of perceived options regarding conceptions of the good life. As I will show, the seeming diversity of psychotherapy theories is actually uniformly underlain with individualism. I will address this lack of diversity by revealing how abstractionism is the ontology that underlies individualism in order to present a competitor. Ontological relationality is presented as an alternative ontological framework for visions of the good life, along with practical applications and therapeutic implications. good life ontology abstractionism relationality psychotherapy Psychology
3	"RAUDONA KOMPOZICIJA" / „RED COMPOSITION“ Nauronis, Gintautas 03 September 2010 (has links) “Raudona Kompozicija” – tai trijų darbų kolekcija, kurioje perteiktas įvairiausių spalvų ir atspalvių, o daugiausiai raudonos spalvos veikimas žmogui. Darbuose dvelkianti ramybė, šiluma, energija, gyvybė, optimizmas, ryžtas, jautrumas ir net meilė užpildo naujais pojūčiais kiekvieno žiūrovo sielą ir nuotaiką. Diplominis darbas susideda iš dviejų dalių: teorinio aprašo ir praktinio kūrybinio darbo. Teorinėje dalyje apžvelgiama idėjos ir temos paieška; priemonės ir atlikimo technika; abstrakcionizmo ir kompozicijos samprata; pateikiama teorinė medžiaga apie spalvų poveikį žmogui. Praktinį-kūrybinį darbą sudaro trijų darbų kolekcija pavadinimu “Raudona Kompozicija” (100 x 122, medžio plokštė, aliejus). Darbai yra abstraktūs, skirtingų nuotaikų, kiekvienas veikia vis kitaip. / “Red Composition“ – it‘s a collection of works of art, which presents the influence of color on the human mind and the world around. The breath of tranquility, warmth, energy, spark, optimism, strength, sensitiveness and even love fills up everyone‘s sole and mind. The final work consists of two sections. The first section describes the search of idea and theme; means and techniques of performance; concept of abstractionism, composition and colors theories. Practical – creative section of final work consists of three paintings, which make a collection named „Red Composition“ (100 x 122, wood slab, oil). Art Criticism Raudona kompzicija Technika Abstrakcionizmas Red Composition Techniques Abstractionism
4	The Dilemma of Mixed Methods Wiggins, Bradford J. 13 July 2011 (has links) (PDF) The past three decades have seen a proliferation of research methods, both quantitative and qualitative, available to psychologists. Whereas some scholars have claimed that qualitative and quantitative methods are inherently opposed, recently many more researchers have argued in favor of "mixed methods" approaches. In this dissertation I begin with a review of the mixed methods literature regarding how to integrate qualitative and quantitative methodologies. Based on this review, I argue that current mixed methods approaches have fallen short of their goal of integrating qualitative and quantitative methodologies and I argue that this problem may be due to a problematic ontology. In response to this problem I propose and conduct an ontological analysis, which examines the writings of leading mixed methods researchers for evidence of an underlying ontology. This analysis reveals that an abstractionist ontology underlies current mixed methods approaches. I then propose that an alternative relational ontology might better enable mixed methods researchers to meaningfully relate qualitative and quantitative methodologies and I provide an exploration of what assuming a relational ontology would mean for mixed methods research. mixed methods qualitative quantitative ontology abstractionism relationality Psychology
5	What in the World are Possible Worlds? Dondero, Mark 16 January 2010 (has links) Ted Sider writes that "many are impressed with the utility of possible worlds in linguistics and philosophy", and this is true, in particular, of those with an interest in modal logic. However, in the midst of the marvelous milieu brought on by the development of possible world semantics, some have stopped to ask just what it is that possible worlds are. They certainly seem useful, and we seem to understand how to use them and talk about them, but what precisely is it that we're talking about when we talk of possible worlds? In this thesis, I will attempt to outline the most significant and well-recognized view in this debate: that of David Lewis. Through my discussion of him, I will find occasion to discuss some alternative views that have arisen. After finishing my presentation of Lewis, I will discuss where people have begun to take this debate and address the question of whether progress can be made towards a substantive answer. In Chapter I, I begin by presenting the motivation of the question of possible worlds found in the study of modal logic. I then present the major approaches taken to answering the questions that were raised, leading into my discussion of David Lewis's famous and robust account. I present key features of Lewis's view and then move into his criticisms of the other major responses. This much should suffice as a relatively thorough treatment of the answers that have come before. In Chapter II, I discuss the current state of the debate. I begin by mentioning several problems that can be spotted in Lewis's views in particular. I then move to Menzel's account, which tries to answer the question of possible worlds from a new angle, jettisoning the direction taken by Lewis and his contemporaries. I explain why Menzel has taken this new approach, and then move into another new approach, this time given by Stephen Yablo. I discuss how these two approaches can help serve each other in helpful ways. But, at last, I present several hurdles these two views would have to overcome in order to play together nicely. Lewis Sider Yablo Chalmers Menzel Modal Logic Modality Primitivism Concretism Abstractionism Possible Worlds Ersatzism
6	The Neglect of Divorce in Marital Research: An Ontological Analysis of the Work of John Gottman Ostenson, Joseph Andrew 19 March 2008 (has links) (PDF) This thesis explores why the divorce rate has remained relatively stable over the past few decades, even in the face of rapidly growing social sciences – particularly the branch associated with the study and treatment of marriage – through an analysis of the work of John Gottman. This thesis chiefly claims that divorce is not addressed in marital research. It is argued, however, that far from being intentional on the part of researchers, the disregard for divorce in the marital research is actually due to underlying, unrecognized assumptions. Specifically, this thesis analyzes the most fundamental assumptions – the ontological assumptions – upon which the investigation of marriage is conceptualized. The body is divided into three parts: First, the apparent absence of divorce in the marital literature is discussed, providing a starting point for the ontological analysis. Second, a section on ontology sets up the analysis. It begins with an introduction to two categories of ontological assumptions. These assumptive frameworks are used to guide the analysis of the marital literature. The final part analyzes John Gottman's research as a case example of the marital literature, uncovering the ontological assumptions of his work and demonstrating that many of his assumptions are potentially problematic for addressing divorce. After briefly wrapping up the arguments herein contained, the thesis discusses an alternative ontology which provides a framework whereby, if employed, marital researchers can begin to more adequately address the divorce epidemic. marriage John Gottman ontology abstractionism relationality marital therapy divorce marital research divorce rate Psychology
7	Glauco Rodrigues e sua obra : trânsitos no tempo Brito, José Teixeira de January 2018 (has links) Esta dissertação tem como objetivo investigar a presença de Glauco Rodrigues no sistema da arte no Brasil, os diferentes tempos e espaços em que suas obras se articulam, seus percursos de afirmação e legitimação através das apropriações por colecionadores, curadores e instituições. Partimos de uma recuperação biográfica e histórica da produção do artista para compreender sua atuação no circuito local e repercussão internacional. Em seus deslocamentos temporais e conceituais o artista transitou entre a figuração, o realismo socialista, o abstracionismo, a pop art e o tropicalismo. Na análise desses momentos destacam-se seus conhecimentos e conexões com os artistas de sua época. Propomo-nos identificar as narrativas de sua trajetória e costurar seus acervos, articulando-as aos discursos históricos e pensar as teorias da arte que se revelam a partir da obra do artista. / This dissertation aims to investigate the presence of Glauco Rodrigues' work in the Brazilian art system, the different times and spaces in which his works were articulated, the paths of affirmation and legitimation experienced by his oeuvre after appropriations made by collectors, curators and institutions. The analysis brings a biographical and historical review of the artist's production pursuing to place his performance in a local circuit and it's international overcome. Through his temporal and conceptual displacements, the artist moved between figuration, socialist realism, abstractionism, pop art and tropicalism. From the analysis of the different stages of his work stands out the knowledge he gained and connections built with the artists of each time. The proposal of the text is to identify and bring together narratives and collections, articulating historical discourses and theories of art that are revealed from the body of work of Glauco Rodrigues. Rodrigues, Glauco, 1929-2004 Realismo crítico Abstracionismo : Arte Pop art Tropicalismo Art system Tropicalism Abstractionism Critical Realism Group of Bagé
8	Antonio Bento e Romero Brest: o movimento abstrato como fluxo universal / Antonio Bento and Romero Brest: the abstract movement as a universal flow Bedtche, Araceli Barros da Silva Jellmayer 02 December 2016 (has links) Seguindo a proposta metodológica comparativa do PROLAM Programa de Pós-Graduação em Integração na América Latina da Universidade de São Paulo o presente estudo analisa a produção crítica de dois expoentes do cenário cultural latino-americano do século XX: Antonio Bento e Romero Brest. Esses autores são contemporâneos entre si e amealharam importantes contribuições para a crítica de arte de seus respectivos países, Brasil e Argentina, na consolidação do abstracionismo. Através de uma abordagem comparativa sobre ambos os críticos, destacaram-se as aproximações e diferenças nos seus discursos. Constituíram objetivos dessa pesquisa, promover um levantamento das principais questões artísticas debatidas em ambos os países, Brasil e Argentina, no arco temporal abordado (1947-61) e investigar a atuação da iniciativa privada e do Estado no contexto de construção de Projetos Culturais. Por fim, buscou-se evidenciar as contribuições de uma crítica de arte especializada na construção de uma arte abstrata como fluxo universal. / In accordance with the proposal of comparative methodology established by PROLAM Graduate Studies Program in Latin America Integration of the University of São Paulo this study analyzes the critical production of two renowned names in Latin Americas 20th century scene: Antonio Bento and Romero Brest. These authors were contemporaneous and amassed important contributions to the art critique in their respective countries, Brazil and Argentina, in the consolidation of abstractionism. Through a comparative approach to both critics, we highlight the similarities and differences in their discourses. This research aims at surveying the main artistic issues debated in both countries, Brazil and Argentina, within the time frame approached (1947-1961), and investigating the performance of private and governmental initiatives in the context of building Cultural Projects. Ultimately, we sought to evince the contributions of an art critique specialized in building abstract art as a universal flow. Abstracionismo Abstractionism Antonio Bento Antonio Bento Diário Carioca Diário Carioca Figurativism Figurativismo MAM-SP MAM-SP MASP MASP Revista Ver y Estimar Romero Brest Romero Brest Ver y Estimar magazine
9	Atos tridimensionais: manifestações da existência: interfaces entre a arquitetura e a escultura / Three-Dimensional Acts: Manifestations of Existence - Interfaces between Architecture and Sculpture Daniel Corsi da Silva 31 May 2012 (has links) Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence. Abstracionismo Arquitetura Arte Criação Escultura Espaço Essência Estética Estética da ação Estrutura Existencialismo Filosofia Forma História Interface Land-art Linguagem Manifestações tridimensionais Materialidade Minimalismo Modernismo Objeto Paisagem Pós-modernismo Processo criativo Tempo Teoria Território Abstractionism Aesthetics aesthetics of action Architecture Art Creation Creative process Essence Existentialism Form History Interface Land-art Landscape Language Materiality Minimalism Modernism Object Philosophy Post-modernism Sculpture Space Sructure Territory Theory Three-dimensional manifestations Time
10	Atos tridimensionais: manifestações da existência: interfaces entre a arquitetura e a escultura / Three-Dimensional Acts: Manifestations of Existence - Interfaces between Architecture and Sculpture Silva, Daniel Corsi da 31 May 2012 (has links) Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence. Abstracionismo Abstractionism Aesthetics aesthetics of action Architecture Arquitetura Art Arte Creation Creative process Criação Escultura Espaço Essence Essência Estética Estética da ação Estrutura Existencialismo Existentialism Filosofia Form Forma História History Interface Interface Land-art Land-art Landscape Language Linguagem Manifestações tridimensionais Materialidade Materiality Minimalism Minimalismo Modernism Modernismo Object Objeto Paisagem Philosophy Pós-modernismo Post-modernism Processo criativo Sculpture Space Sructure Tempo Teoria Território Territory Theory Three-dimensional manifestations Time

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