Esta dissertação investiga uma particular deformação do modelo de Bullough-Dodd. Não se sabe se tais deformações são ou não integráveis, ainda que nossas simulações numéricas apresentem soluções solitônicas. Exploramos o conceito de quase-integrabilidade em mais esse contexto e mostramos um argumento analítico para a quase-conservação das cargas (isto é, as cargas variam com o tempo, mas seus valores inicial e final são os mesmos). Mesmo quando o argumento analítico não pode fazer previsões, nossas simulações mostram que as cargas apresentam o mesmo comportamento. Isso sugere que as deformações consideradas são integráveis e ainda há espaço para explorá-las. / This dissertation investigates a particular deformation of the Bullough-Dodd model. It\'s unknown if such deformations are integrable or not, yet they present solitonic solutions which were obtained through numerical simulations. We further explore the concept of quasi-integrability in this context, showing analiticaly that at least for some sets of parameters, the charges are quasi-conserved (i.e. the charges vary over time, but it\'s initial and final values are the same). Even when the analitical argument can\'t predict what happens, our simulations show the same charge behaviour. This suggests that those deformations are integrable and can be further explored.

Esta dissertação investiga uma particular deformação do modelo de Bullough-Dodd. Não se sabe se tais deformações são ou não integráveis, ainda que nossas simulações numéricas apresentem soluções solitônicas. Exploramos o conceito de quase-integrabilidade em mais esse contexto e mostramos um argumento analítico para a quase-conservação das cargas (isto é, as cargas variam com o tempo, mas seus valores inicial e final são os mesmos). Mesmo quando o argumento analítico não pode fazer previsões, nossas simulações mostram que as cargas apresentam o mesmo comportamento. Isso sugere que as deformações consideradas são integráveis e ainda há espaço para explorá-las. / This dissertation investigates a particular deformation of the Bullough-Dodd model. It\'s unknown if such deformations are integrable or not, yet they present solitonic solutions which were obtained through numerical simulations. We further explore the concept of quasi-integrability in this context, showing analiticaly that at least for some sets of parameters, the charges are quasi-conserved (i.e. the charges vary over time, but it\'s initial and final values are the same). Even when the analitical argument can\'t predict what happens, our simulations show the same charge behaviour. This suggests that those deformations are integrable and can be further explored.

In this dissertation, I make a serious philosophic application of several aesthetic theories to the emerging medium of video games. I look at concepts such as the play of art, psychical distancing, and an experience, and apply each of these to a representative video game. Hence, I use a variety of aesthetic works, but apply these in a pluralistic manner. The thesis I defend is that a number of specific video games offer possibilities for aesthetic experience that can be comprehended through these traditional aesthetic theories. The purpose of my project is not a comparative one among these theories: I do not argue that any one of these is definitive in application to all video games. Instead, I hold these theories in tension by showing that each has practical merit in being applied to different games I use a variety of aesthetic approaches to argue that a specific game exemplifies the aesthetic value which is at the core of a particular theory. I apply John Dewey's notion of an experience as a single, distinctive whole consisting of parts in unity to the music-based game Rock Band. To consider the distance between the player of a video game and the game's content, I discuss Edward Bullough's theory of psychical distance and apply this concept to a violent game such as Grand Theft Auto IV. Finally, I consider Hans-Georg Gadamer's thoughts on the play of art and the connection of play to seriousness and apply these thoughts to a game which integrates a sense of playfulness with serious themes: Braid.

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In this thesis we are focusing at the notion of psychical distance first introduced in the work "'Psychical Distance' as a Factor in Art and as an Aesthetic Principle" from Edward Bullough. There were many responses to the concept of psychical distance from many authors, some of them have rejected this notion, and others tried to support it. Initially we provided brief interpretation of Bulough's work with the focus at parts, which are cited and investigated most frequently in mentioned interpretations. We are interpreting and comparing gradually the most popular works, which involve the notion of psychical distance with respect to Bullough's original concept. We are pointing out the difference between notions psychical distance and aesthetic attitude, because they are mistaken one for another by many different authors. This thesis tries to provide new look at some papers responding to Bullough's conception.

The thesis is interested in the problem of musical sign. In which ways can we speak about musical sign and which elements of musical material can become signs? These are the basic questions which we are interested in. This thesis is divided into three parts. The first part attends to the common theory of sign. The historical survey with the main ideas of philosophers and thinkers will be helpful to find out basic terms and problems of semiotics. In the second part of thesis we look at the historical reflection of musical sign in order to find out in which way it was treated with music and musical sign in each historical period of European music. In the third part we focus on musical semiotics, but we will consider some problems of musical aesthetics and musical psychology, too. In the end we make recapitulation of answers to the aforesaid questions.