Thesis (MA (Counselling Psychology))--University of Pretoria, 2005. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Adolescent (14-17 year-olds) and young adult (18-20 year-olds) women account for a disproportionate 20% of the total number of unintended pregnancies that occur among women of all reproductive ages (14-55 year-olds) each year in the US. Nearly half (41%) of all unintended pregnancies result from the 18% of women who report inconsistent, incorrect, or no use of their contraceptive method. Evidence shows that a large proportion of these young women, especially those who are sexually active, come to the emergency department for their core sexual and reproductive health care needs. By obtaining a better understanding of the sexual and reproductive health needs and preferences of an urban population that is disproportionately low income and ethnically and racially diverse, our hope is to maximize adolescent and young adult accessibility to contraceptive services most feasible in the PED environment such as Nexplanon, in addition to the provision of comprehensive contraceptive counseling and education. OBJECTIVES: The first objective of this subgroup analysis is to determine the percentage of adolescent and young adult females presenting to an urban PED who are familiar with Nexplanon and to describe the demographic, sexual health, and contraceptive use characteristics of these young women. The second main objective of our study is to evaluate the sources of Nexplanon-related information reported by respondents familiar with Nexplanon. In addition to the main objectives, we also determine participant willingness to initiate or switch to Nexplanon® and receptivity to learning about contraceptive methods during a related or nonrelated visit to the PED. METHODS: This is a cross-sectional descriptive study using a paper-based anonymous questionnaire distributed to female patients, ages 16-21 years, presenting to a Boston urban pediatric emergency department (PED). This is a sub-group analysis of a larger study aimed at describing the contraceptive use history of young women who present to the PED. To identify if any statistically significant categorical variables existed between the two assigned groups, univariate analysis was performed using Chi-squared tests. Odds ratios with 95% confidence intervals (CIs) were obtained for the relationship between participants who have heard of Nexplanon and the three statistically significant variables: history of STDs, gravidity, and prior sexual intercourse with a male. Mean and Standard Deviation were used to describe the one continuous variable, age, followed by univariate analysis using independent t-test. Statistical significance was indicated using p-values for the categorical variables and odds ratio with 95% CI for the continuous variable—age. RESULTS: Of the 366 adolescent and young adult females included in our subgroup analysis, 230 (62.8%) indicated they were familiar with Nexplanon. We found that female participants familiar with Nexplanon were 1.3 times more likely to have had a prior STI, twice as likely to have had one or more previous pregnancies, and 3.5 times more likely to have previously engaged in sexual intercourse with a male compared to those female participants unfamiliar with Nexplanon. We also found that most (42.2%) female participants familiar with Nexplanon obtained their contraceptive information from their family and friends only, while about a third obtained their contraceptive information from medical professionals only. Among our total population of respondents, 6% (22/366) of our sub-group participants identified the contraceptive implant as their current method of contraception. Lastly, approximately 21% of female participants familiar with Nexplanon indicated current use of a long-acting reversible contraceptive method at the time of the survey. CONCLUSION: Overall, our study findings are supportive of and consistent with the provision and education of Nexplanon in the PED. This would be a crucial opportunity to provide comprehensive contraceptive counseling and convenient access to the most effective method of contraception among a population that disproportionately affected by unintended pregnancy. This can be made possible by enabling PED health care providers with the proper access to and training in Nexplanon. By adapting these patient-centered practices and techniques, the PED setting can contribute to the notable reduction in teen pregnancy seen in a variety of similar clinic-based interventions. The PED atmosphere has enormous potential to serve young women as an additional venue for contraception education and access.

Hepatitis C is a public health crisis in both developing and developed countries. Direct acting antiviral therapies have revolutionized the fight against Hepatitis C, making the worldwide eradication of the disease feasible. However, screening and access to care for vulnerable patients – especially for patients experiencing homelessness – are lacking. Homelessness exacerbates the effects of Hepatitis C, leading to poor health outcomes for individual patients and high costs for health providers and taxpayers. One potential solution is investing in affordable housing and the housing first model that provide the stability needed to address both acute and chronic health conditions, including Hepatitis C. Partnerships between patients and providers facilitated by supportive housing can benefit individual outcomes and decrease the financial and social costs to communities.

Theory of Mind (ToM), the ability to accurately predict and reason about the mental states and beliefs of others, has yet to be explored in Emerging Adulthood, the 18-25 age range characterized by variability and developing a flexible worldview. The current study attempts to predict accuracy and response time on two ToM tasks, The Mind in the Eyes task (MiE), and the Empathetic Accuracy Paradigm (EAP) task by acting experience (whether the participant has acted in a live theater performance) and college experience (freshmen, sophomore, etc.) in 116 college participants. It was hypothesized that regression models including acting experience and college experience will account for more variance than models including only demographic variables and that the models including acting and college experience will significantly predict accuracy and response time on all ToM tasks. All such models predicting accuracy were significant, while only a model predicting response time on the EAP task was significantly predictive. It was hypothesized that acting experience will enable participants to use Theory of Mind skills faster and more accurately (Goldstein & Winner, 2012). Multiple regression analyses confirmed that acting experience is a significant predictor in all models predicting accuracy on Theory of Mind tasks, however response time was a significant predictor in only one of two tasks. It was also hypothesized that college experience will result in a more flexible worldview, open to multiple viewpoints and opinions, significantly influencing response time and accuracy. Multiple regression analyses revealed college experience approached significance in a model predicting accuracy on the MiE task, but no other significant contributions. Implications for the benefits of acting and college experience, the study of Theory of Mind in Emerging Adulthood, and practical applications of the findings in academia and therapeutic settings are discussed.

This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights are offered into the purposes of the playwrights. Several cycle plays are treated, together with two of the moralities and two interludes. The point is made that these playwrights showed a considerable mastery of the possibilities inherent in drama, as is demonstrated by the provision for achieving rapport with the audience / M.A. (English)

O objetivo desta pesquisa é examinar o conceito de liberdade no pensamento de Hannah Arendt. Para tanto, inicio este estudo com o ensaio Que é liberdade?. Nele a autora apresenta a liberdade como pertencente ao domínio da política e recusa a noção de liberdade cristã e liberal, isto é, nega a liberdade como livre arbítrio e como área de não interferência. Embora este seja o principal texto da autora sobre o tema, ele não é suficiente para se entender todas as dimensões de seu conceito de liberdade. Nesse sentido, é preciso recorrer a outros textos da autora, como o livro A Condição Humana. Nesta obra, Arendt analisa como o trabalho e as questões econômicas foram valorizados na Modernidade, trazendo sérias dificuldades para o exercício da ação livre. Ainda, em Origens do Totalitarismo, a autora apresenta a radicalidade da experiência totalitária. De acordo com ela, os regimes totalitários contribuíram para reforçar a idéia de que a liberdade não é vivenciada no domínio político. A despeito disso, Arendt afirma a ligação entre ser livre e agir no domínio político analisando a experiência da Democracia Ateniense, da República Romana e das revoluções modernas. Ela escreve Sobre a Revolução para tratar do aparecimento da liberdade na Modernidade e das dificuldades de se fundar e conferir durabilidade a espaços onde a ação livre seja possível. Ao longo da exposição das principais obras da autora, apresento diversas manifestações do conceito de liberdade, assim como as relações entre este conceito, o pensamento político arendtiano e a tradição filosófica. Dessa forma, ao fim da dissertação, retomo tais manifestações e relações para interpretar a concepção de liberdade em Hannah Arendt como um conceito multifacetado. / This research aims at examining the concept of freedom in Hannah Arendts thought. For this reason, I start this study with the essay What is Freedom?. In this text, the author presents freedom as belonging to political domain and refuses the Christian and liberal notion of freedom. That is, she denies freedom as free will or absence of constraints. Even though this is the authors most important text on the subject, it is not enough to understand all the properties of her concept of freedom. Therefore, we have to search for other author´s texts, like the book The Human Condition. In this book, Arendt analyses how work and economic issues were valued in the Modernity, bringing serious trouble to free acting. Yet, in The Origins of Totalitarianism, the author shows the radicalism of the totalitarian experience. According to her, the totalitarian regime contributed to amplify the idea that freedom is not experienced in the political realm. In spite of this, Arendt affirms the connection between freedom and acting in a public scene based in the experiences of the Athenian Democracy, the Roman Republic and the modernity revolutions. She writes On Revolution to treat the freedom´s emergence in the Modernity and to show the hardness of founding and giving durability to the area where the free action is possible. I manifest throughout this dissertation several characteristics of the freedom concept, such as the relationship between this concept and Arendt´s political thought and between it and the philosophical tradition. Therefore, in the end of the text I resume this characteristics and relationship in order to interpret Arendt´s concept of freedom as a multifaceted conception.

Orientador: Sara Pereira Lopes / Anexo 1 DVD-R: Curta-metragem Talita, Registro da partitura de ações da Clarissa: Exercicio n.2 / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T19:27:44Z (GMT). No. of bitstreams: 1 Ribas_MarianeMagno_D.pdf: 1815540 bytes, checksum: 7cb392739ddb202e7828dfe5c96606ef (MD5) Previous issue date: 2009 / Resumo: O texto que se constitui a seguir é uma extração dos processos empíricos com a imaginação do ator, trabalhada como ordenadora da presença cênica - ator e espaço . O trabalho desenvolvido e observado, em laboratório, teve como foco o processo criativo do ator; a partir do trabalho com as imagens apresentadas, atingir aquelas que emergem como conteúdo do agir e como meio de organização do tempo e do espaço, e ainda, como procedimento eficaz para que o ator possa evocar o seu próprio dizer. A partir destas formas de experimentação, aquilo que se configura como corpoator foi resultante do processo de preparação denominado nãoator - preparações específicas que criaram sustentáculos e ampliaram a consciência do ator sobre o corpoator e sobre seu ofício ; resultando da experiência um outro olhar denominado nãodireção / Abstract: This text is an extract of empirical processes with the imagination of the actor worked as orderer of the theatrical presence - actor and space. The work developed and observed, in laboratorial, had as a focus the creative process of the actor; departing from the work with the images presented, touch those that emerge as content of the action and as a means of organizing time and space, and also, as a effective procedure that allows the actor to evoke his own saying. Departing from these forms of experimentation, that which builds up as bodyactor resulted from a preparing process named nonactor - specific preparations that created a sustaining and broadened the conscience of the actor towards his bodyactor and over his office ; which resulted in another view named nondirection / Doutorado / Doutor em Artes

Orientador: Eusebio Lobo da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:44:37Z (GMT). No. of bitstreams: 1 Leite_MarthaDiasdaCruz_M.pdf: 609066 bytes, checksum: dabc4f206c0914c56351fe376dfda8de (MD5) Previous issue date: 2006 / Resumo: Este presente trabalho tem como objetivo realizar uma série de reflexões sobre o fenômeno da presença de ¿vida¿ na representação do ator. Como ponto inicial para esta tão complexa discussão, partimos de um estudo do conceito de Centelha da Vida (termo metafórico criado pelo diretor inglês Peter Brook para falar sobre a ¿vida¿ que emana de uma cena e a torna interessante e envolvente para quem a assiste) e ampliamos, postumamente, a discussão para outros autores como: Stanislavsky, Grotowski e Burnier. Para tanto, adotamos o pressuposto do ator como uma corporeidade que se relaciona com outras corporeidades (que no caso seriam os demais atores e o público) utilizando como suporte as teorias de Merleau-Ponty e os estudos de Antônio Damásio sobre corpo e mente. Como forma de investigação, propomos duas frentes de laboratórios práticos de criação: a pesquisa com a linguagem de sinais aplicada à cena e uma observação e análise do processo de criação da peça ¿Intersecções: peças curtas de Harold Pinter¿. O intuito de tais laboratórios foi efetuar uma investigação sobre a questão da organicidade da representação do ator, aproveitando a semelhança entre as essências dos conceitos de Centelha da Vida, verdade teatral e organicidade / Abstract: This work aims to carry out a series of reflections on the phenomenon of the presence of ¿life¿ during the actor¿s performance. As a starting point for such a complex discussion, we consider the study of the concept Spark of Life (a metaphorical term minted by English director Peter Brook to describe the ¿life¿ which emanates from a scene making it interesting and involving for the audience) further extending the discussion to other authors such as: Stanislavsky, Grotowski, and Burnier. In order to accomplish our objective, we have adopted the presupposition of the actor as a corporality who interacts with other corporalitys (being them other actors and the audience) using as theoretical support Merleau-Ponty¿s theory and Antônio Damásio¿s studies about body and mind. As an investigative method we have proposed two different practical creation laboratories: the research on sign language applied to the scene, and the observation and analysis of the creation process of the play ¿Intersections: Harold Pinter¿s short plays¿. The objective behind those laboratories was to conduct an investigation into the actor¿s performance organicidade, taking advantage of the similarities in the essences of the concepts Spark of Life, theatrical truth and organicidade / Mestrado / Mestre em Artes

O sistema dos Viewpoints é o ponto de partida para uma investigação teórico-prática que transita por entre a bibliografia desenvolvida por Anne Bogart e a experiência prática em sala de ensaio. O objetivo principal é apontar algumas pistas para o trabalho do ator a partir de três recortes: o mapeamento inicial do sistema, a descrição das práticas realizadas em sala de ensaio e, ainda, a exploração do conceito de escuta-ação enquanto estratégia metodológica para a criação atoral. Os Viewpoints são compreendidos como um dispositivo a ser difundido, e a metodologia procurou friccionar o procedimento em questão com alguns dos temas presentes na cena contemporânea, como a performatividade e o desempenho espetacular. A análise do papel determinante da escuta-ação, na hipótese original da pesquisa, afirma ser a dramaturgia do ator o espaço da experiência, uma atividade permanentemente provisória, propositadamente lacunar e, em suma, ensaística, vista aqui a partir da perspectiva de Jorge Bondía. / The Viewpoints System is the starting point for a theoretical-practical investigation that includes the bibliography developed by Anne Bogart and the practical experience in rehearsals. The main objective of this study is to indicate some signs to the actor\'s work through three approaches: the initial mapping of the system, the description of practices applied in rehearsals, and the exploration of the listeningaction (escuta-ação) concept as a methodological strategy for acting creation. The Viewpoints are understood as a device yet to be disseminated, and the methodology has sought to relate this procedure with some subjects present in the contemporary scene, such as performativity and perfomative performance. The analysis of listenact\'s determinant role, according to the original hypothesis of this research, sustains that the dramaturgy of the actor is the experiencing space, a permanent provisional activity, purposely empty, and essentially essayistic, viewed here from Jorge Bondía\'s perspective.

Este estudo realiza uma reflexão sobre a teatralidade existente na dança do Grupo Primeiro Ato. Tem início em uma breve retrospectiva histórica da dança moderna brasileira, atravessando o período que vai dos anos vinte aos anos setenta do século passado, quando experiências de dança contemporânea começaram a surgir no cenário artístico nacional, traçando assim, um percurso do macro para o micro, do Brasil para a cena mineira e depois para o Primeiro Ato. Um duplo olhar, então, é construído. Primeiramente aquele que parte da dança em direção ao teatro, analisando alguns de seus criadores mais significativos, e em seguida do teatro para a dança, para chegar assim ao amálgama entre essas formas artísticas. Na parte final deste estudo, o espetáculo Sem Lugar foi escolhido como referência através da qual a teatralidade pode ser reconhecida como produto de um diálogo profundo com a dança, processo esse que é gerador, por sua vez, de diferentes dramaturgias que se interrelacionam, caracterizando um tecido poético que torna específico o trabalho do Primeiro Ato. / This study represents a reflection on the theatricality developed by the Primeiro Ato Dance Group. It begins with a short historical retrospective of Brazilian Modern Dance, going through a period from the twenties to the seventies of the past century, a moment when aspects related to contemporary dance emerged in the Brazilian dance scene. In this way, a path was designed, from a macro to a micro point of view, from events occurred throughout Brazil to the State of Minas Gerais, and then to the work created by Primeiro Ato specifically. Then, a kind of Double approach was explored. Firstly from dance to theatre, analyzing some of its most important creators, and secondly from theatre to dance, in order to achieve what was called here the amalgam between these art forms. In the final part of this study, a production named Sem Lugar was chosen as a reference through which theatricality can be recognized as a result of a deep dialogue with dance, a process which generates, in turn, different dramaturgies that intertwine, characterizing a poetic layer which makes the work created by Primeiro Ato truly unique.