A monografia recupera o humor gráfico de Ziraldo, artista tão popular, mas, curiosamente, tão pouco estudado, durante a ditadura militar brasileira. A pesquisa se baseou na descrição pré-iconográfica de seus desenhos em dois periódicos cariocas, um a cada período recortado: de junho de 1969 a junho de 1971, nO Pasquim, e de agosto de 1976 a dezembro de 1977, no Jornal do Brasil (JB) para, posteriormente, realizar uma interpretação iconológica dessa produção, cotejando-a ao levantamento bibliográfico dos principais teóricos sobre o Estado autoritário e as censuras política e moral. A relevância do tema emerge quando ponderamos que, mesmo entrincheirados pela censura, os dois jornais representaram diferentes propostas temáticas, estruturas editoriais e gestão administrativa: liberalista e comercial no caso do JB, cogestão participativa e descompromissada nO Pasquim. Observou-se que no caso dO Pasquim, há preponderância de desenhos sem maiores preocupações diretamente políticas, em que Ziraldo recorreu a variações temáticas acerca da sexualidade, crítica dos costumes e expressões idiomáticas. Sem necessariamente representar um vazio no embate com o regime militar, tais alegorias nos dão sinais da restrição imposta naquela ocasião aos motes políticos, em que o senso moral da classe média passou a ser o alvo, e a censura política, o claustro. Posteriormente, no JB, Ziraldo assume uma postura mais ofensiva à perspectiva política, atacando contradições tanto do cenário internacional, quanto da própria conjuntura interna, seus agentes e instrumentos de cerceamento. Nesse sentido, o trabalho de Ziraldo nos serve como tese, ao evidenciar a grande soma de ataques gráficos por ele desferidos ao regime político entre os editoriais do JB, tendo como suporte um periódico sugestivamente inclinado às questões comerciais e empático a algumas direções econômicas e políticas dos militares. Por outro lado, a relação de seus trabalhos com temas políticos foi quase nula durante os anos duros do mais agressivo ato institucional o 5º ; nesse caso, desenhando sobre sexualidade e costumes da classe média, denunciando justamente sua apatia, tendo como suporte um tablóide recordado como o mais resistente representante da imprensa alternativa no País, O Pasquim. / The monograph recovers Ziraldos graphic humor, such a popular artist, but, surprisingly, so little studied, during the Brazilian military dictatorship. The research was based on the iconography description of his drawings in two carioca newspapers, each one to each period: from June 1969 to June 1971 in Pasquim and from August 1976 to December 1977 in Jornal do Brasil (JB) for, later, accomplishing an iconology interpretation of such a production, comparing it to the bibliography of the main theorists in authoritarian state and the politic and moral censorships. The relevance of the theme emerges when we meditated that, even entrenched by censorship, both newspapers represented different proposed thematic, structures editorials and administration: liberal and commercial in the case of JB, co-administration and unworried in Pasquim. It was observed that in the case of the Pasquim, there is preponderance of drawings with no directly political concerns, in which Ziraldo fell back upon thematic variations concerning sexuality, critic of habits and idiomatic expressions. Without necessarily representing an emptiness in the collision with military dictatorship, such allegories give us signs of the restriction imposed on that occasion to the political mottos, in which moral sense of the middle class became the objective, and the political censorship the confinement. Later, in JB, Ziraldo assumes a more offensive posture to the political perspective, attacking both the international scenery and the very internal conjuncture contradictions, its agents and restriction instruments. In that sense, Ziraldo\'s work serves us as thesis when evidencing the great sum of graphic attacks he did in relation to the political regime among the editorials of JB, having as support a newspaper suggestively tilted to the commercial subjects, and favorable to some economical and political directions of the military. On the other hand, the relationship of his works with political themes was almost null during the hard years of the most aggressive Institutional Act the 5th ; in that case, drawing on sexuality and habits of the middle class, denouncing justly its apathy, having as support a tabloid remembered as the most resistant representative of the alternative press in the country, O Pasquim.

Typescript. Bibliography: in v. 3.

<p> </p><p> </p><p> </p><p><p><p>About two years after publishing so called Muhammad cartoons in Denmark, the Swedish regional newspaper</p><p><em>Nerikes Allehanda </em>in Orebro published an editorial on self-censorship. A drawing of Prophet Muhammad as a Roundabout dog, drawn by <em>Lars Vilks</em>, was illustrating the article. Publishing of Muhammad drawing was followed by reactions both in Sweden and in some other countries especially in the muslim world. There are many differences and similarities between the publishing in Denmark and Sweden. There are differences and similarities between the two cases even regarding to the reactions in muslim countries. Mass media have certainly played an important role in mediating information about the publishing to people in muslim countries. Which information and how they were mediated are significant for shaping perceptions and thereby the reactions that followed the publishing of Muhammad drawing in Sweden. This essay is investigating how newspapers and online newspapers (web newspapers) in nine muslim countries reported about the publishing of Muhammad drawing. The subjects that newspapers were interesting of and the discourses domination reporting are in focus for this investigation. This essay will also investigate how newspapers and online newspapers in muslim countries covered two issues which were well covered by Swedish media, A threat against <em>Lars Vilks </em>from organization "Islamic State in Iraq" and a statement from the Iranian president Ahmadinejad regarding the Muhammad drawing in <em>Nerikes Allehanda</em>.</p></p></p>

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Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Title from first page of PDF file (viewed February 9, 2010). Includes bibliographical references (p. 339-346). Issued in print and online. Available via ProQuest Digital Dissertations.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis (MA (Research Psychology))--University of Pretoria, 2003. / Includes bibliographical references.

Bibliography / Thesis (MPhil (Journalism))--Stellenbosch University, 2010.

Attention-deficit/hyperactivity disorder (ADHD) is one of the most common child-onset neurodevelopment disorders, affecting 5% of children in the United States (American Psychiatric Association, 2013). Treatment matching in ADHD is difficult and unsatisfactory; the same general treatment algorithm is recommended for all children. It is therefore important to consider the development of specialized treatment programs based on a variety of behavioral and neurological biomarkers. Unfortunately, due to its multi-faceted classification, the heterogeneity of this behavioral disorder is under-investigated (Costa Dias et al., 2015). Scientific research in this area is especially limited as the severity of ADHD goes undiagnosed, children tend to have difficulties remaining still in MRI scanners, and the hyperactivity-impulsivity that is associated with ADHD may cause further challenges when trying to remain motionless in the scanner. Furthermore, tasks such as Facial Emotion Perception Task (FEPT) and Theory of Mind (ToM) have not been used to analyze social and behavioral deficits in children with ADHD. More research needs to be allocated to helping uncover the neural substrates underlying the inattention and hyperactivity traits of this disorder. For this reason, we acquired functional magnetic resonance imaging (fMRI) data from five children with ADHD performing the FEPT and ToM tasks. The results showed the children have an easier and quick time correctly identifying happy emotional states, as compared to the fearful, angry, and neutral conditions. Results from the FEPT task also revealed that the participants were thinking and reasoning more (i.e., taking longer to deduce an ending) when identifying emotions than identifying animals. The ToM task showed that the default mode network (DMN) may not be fully suppressed when the children are choosing the correct cartoon ending, and therefore the children may be having lapses in attention. These findings may assist the current hypothesis that the default mode network has reduced network homogeneity in people with ADHD. Overall, the findings presented in this thesis provide a good diving board into discovering the reason(s) for the social cognition and emotion recognition impairments associated with ADHD, but further research is needed in order to one day pinpoint and ultimately correct the regions(s) of dysfunction.