Kalbos pasaulėvaizdis laikomas ne tikrovės atspindžiu kalboje, bet jos interpretacija. Kalba nesukuria naujos realybės, ji parodo, kaip žiūrima į pasaulį ir ką jame galima pamatyti. Kalbos pasaulėvaizdis formuojasi kalbėtojams aktyviai pažįstant pasaulį, todėl skirtingų kalbų pasaulio interpretacijos skiriasi. Darbo objektas – konceptas, lietuvių kalboje reprezentuojamas žodžiu pyktis, anglų – anger. Remiamasi antropocentrinės paradigmos idėjomis – į kalbą žvelgiama kaip į kultūros fenomeną. Žodžio reikšmė laikoma mažiausiu koncepto aktualizacijos laipsniu. Emocinių būsenų ypatybės siejamos su atitinkamomis konceptualiosiomis metaforomis, kurių esmė – santykis tarp dviejų sričių: ištakų (angl. source domain) ir tikslo (angl. target domain). Perkeliant vienos srities žinias į kitą sritį, remiamasi tik tomis konkretaus objekto savybėmis, kurios žmogui yra pažįstamos iš jo fizinės patirties. Kitas metaforų šaltinis yra kultūrinė patirtis. Praktinėje dalyje yra nagrinėjamos dviejų indoeuropiečių kalbų – anglų ir lietuvių – konceptualiosios metaforos, kurių tikslo sritis yra pyktis (angl. anger) bei šio koncepto vertimo ypatumai. Sugretinus šių kalbų konceptualiąsias metaforas, rasta panašumų ir skirtumų. Panašumai liudija anglų ir lietuvių kalbų vartotojams būdingą panašų pasaulio suvokimą. Pyktis siejamas su skysčiu, ugnimi, pavojingu gyvūnu, t.t. Pykčio konceptas dažniausiai reiškia neigiamą vertinimą, keliamą pavojų emocijos patyrėjui, jos stiprumą, jausmų kontrolės... [to full text]

The objective of this thesis is to create a spatial representation of a bipolar episode. The role of this concept is to investigate the nature of spaces and their relations with dissimilar spaces, resembling a first-hand account of spasmodic incidents experienced by a person with this manic depressive illness. The site is located in an abandoned mine as to represent a feeling of isolation, such as experience by a bipolar individual during an episode of depression. The existing infrastructure incorporated with the new formal experience is to be used in understanding the two poles of bipolar disorder and exploiting those values to create a unified space. The design will be used to spatially organize a chaotic experience to bring awareness of mental illnesses. "Bipolar disorder, also known as manic depressive illness, is a brain disorder that is a roller-coaster in mood, energy levels, and the ability to carry out day-to-day tasks. People with bipolar disorder experience periods of unusually intense emotion, cha es in sleep patterns and unusual behaviors. These distinct periods are called 'mood episodes,' either associated with mania or depression. Mood episodes are drastically different from the moods and behaviors that are typical for the average person."1 During mania, euphoria or irritability are manifested through symptoms such as: destructibility, insomnia, grandiosity, flight of irrational and high speed thought. Depression is characterized by feelings of exhaustion, self hatred, and suicidal thoughts. Mood episodes can include both manic and depressive symptoms, which is referred to as a mixed state can cycle rapidly between mania and depression phases, from three to four times a year to several times during a single day. Sometimes, a person with severe episodes of mania or depression also have psychotic symptoms, such as hallucinations or delusions. The psychotic symptoms tend to match the person's extreme mood. "Abnormalities in the prefrontal cortex result in a cognitive disconnect in planning, working memory, problem solving and temporal sequencing of information. Disrupted organization and execution of plans occur when there is damage to this region of the brain."2 The physical movement experienced by a bipolar individual across space can generate temporal illusions of reality. The distance between spaces and experience becomes a subjective experience. Space can be experienced as a relative location of objects of places, as the distance and expanse that separate or link place. The organization of space is dependent upon not only sight but psychological responses to reality. By shifting from one place to another, a person acquires a sense of direction. Forward, backward, and sideways are experientially differentiated, that is known subconsciously in perspicacity. / 0 / SPK / specialcollections@tulane.edu

Case conceptualizations from 120 counselors-in-training and post-master's-level counselors were examined for inclusion of positive and negative client characteristics. Conceptualizations of clients with whom counselors felt effective were more positive than negative, whereas conceptualizations of clients with whom counselors felt less effective were more negative than positive. Differences across counseling specialization, duration of counseling experience, and counselor cognitive complexity were explored.

Case conceptualizations from 120 counselors-in-training and post-master's-level counselors were examined for inclusion of positive and negative client characteristics. Conceptualizations of clients with whom counselors felt effective were more positive than negative, whereas conceptualizations of clients with whom counselors felt less effective were more negative than positive. Differences across counseling specialization, duration of counseling experience, and counselor cognitive complexity were explored.

Background: Since 2011, there has been ongoing conflict in Syria, resulting in the displacement of over 11 million people. Over 40,000 Syrian refugees resettled to Canada and of that, 52% were under the age of 19, falling into the adolescent age group. Adolescence (ages 10-19) is a critical stage for physical, psychosocial and cognitive development. As a result, mental health challenges often first emerge during adolescence. Refugee adolescents are a particularly vulnerable group, as normal adolescent stress is compounded with resettlement stress. Further research is needed to understand how Syrian refugee adolescents conceptualize mental health so that their needs can be better addressed. Methods: Data was collected using semi-structured interviews with older Syrian refugee adolescents (n=7) and service providers (n=8) in the Greater Toronto Area. Interviews were recorded and transcribed verbatim. Data analysis was guided by grounded theory. Results: The findings indicate that conceptualizations of mental health are highly dependent on how the concept is framed. The term mental health was poorly understood amongst Syrian adolescents. However, when different terms were used to describe mental health, including stress, pressure and comfort, it was clear that adolescents had a much deeper understanding of the concept. Once appropriate mental health framing was employed, adolescents were able to identify factors that they believed influence mental health status. Factors identified by adolescents and service providers included individual, social and system-level factors. Conclusions: Syrian adolescent perspectives are crucial in fully understanding their conceptualizations of mental health. The comparison of adolescent and service provider perspectives allowed for a comprehensive understanding of adolescent mental health, while identifying differences in perspectives between the two groups. This study recommends future strategies for policy makers, service providers and researchers to effectively address Syrian adolescents’ mental health. / Thesis / Master of Science (MSc)

Johannesburg, South Africa has stated ambitions of becoming a “sustainable city” and a “world-class African city.” Many factors may contribute to the realization of these aims. One is a “sustainable” water supply, since water is fundamental to life and to economic activity. But South Africa (SA) is a “water-stressed” country, indeed, globally, it is one of the twenty most water-deficient countries and Gauteng province (where Johannesburg is located) may run out of water by 2015. Many demand and supply factors conspire to affect adversely the “sustainability” of water and any “sustainable development” trajectory in SA. Accordingly, I survey the literature on “sustainability” and “sustainable development” (S/SD) to see if it might offer some way out of SA's water dilemma. This is a vast, complex and contested body of literature, but overall, S/SD appears to be “common cause.“ But this does not necessarily mean that S/SD concepts are either well understood or integrated, especially as applied to the water sector in SA. I suggest that a comprehensive understanding of what might be contemplated by S/SD concepts as regards the water sector is lacking, so I seek to determine how the concepts of S/SD “play out,“ how they can be translated and understood, and what import selected S/SD concepts may have in terms of the water sector in Johannesburg. This is accomplished by means of a broad literature review and by conducting interviews with mostly senior personnel in Johannesburg who are responsible for water and sustainability public policy and issues in Johannesburg and in SA. This research describes several major ramifications of water and sustainability in Johannesburg and contributes empirically, by examining the intersection of S/SD, water and Johannesburg and theoretically, by developing a heuristic model (HM), so that understanding of S/SD (especially as it relates to water in SA) can be crystallized and provide a platform for further debate, contestation, interpretation and implementation. The lexicon emerging from the HM will help leaders to balance the competing claims and tensions during conception and implementation of relevant water policies. The model depicts the interplay of sustainability premises with actual conditions in an important developing nation. / Ph. D.

Este trabalho tem como objetivo descrever e analisar os gestos produzidos em contexto de narrativa dançada, tomando como base os estudos dos gestos que acompanham a fala (Kendon 2004, McNeill 1992, Kita et al. 1998, Mittelberg 2006, Streeck 2009, entre outros). Para esse fim, adapto para o discurso dançado a proposta de estrutura tripartite de Poyatos (2002) para o discurso oral. Poyatos prevê os níveis linguístico (elementos segmentáveis), paralinguístico (elementos supressegmentais), e quinésico (postura e gestualidade). Os três níveis colaboram para a construção de sentido do discurso verbal. Mantenho a estrutura tripartite, propondo, para a dança, os níveis técnico (elementos segmentáveis, incluída a gestualidade convencionada pela técnica de dança), paraquinésico (elementos não-segmentáveis ligados à dinâmica do movimento), e gestual (postura e gestualidade ligada à comunicação cotidiana, incluída a pantomima). Gestos são considerados, então, quaisquer movimentos expressivos do corpo e/ou da face que não pertençam aos níveis técnico e paraquinésico. A interação entre os níveis para a construção do significado também fica mantida. Para poder verificar a pertinência da proposta, observo, entre outras, a cena do balcão e a cena final na versão de Romeu e Julieta, de William Shakespeare, coreografada por Kenneth MacMillan para o The Royal Ballet, e a cena final da versão de Rudolf Nureyev para o Ballet de LOpéra de Paris. O programa ELAN (EUDICO Language Annotator), versão 4.1.1, desenvolvido pelo Instituto Max Planck, e largamente usado na transcrição de línguas de sinais, foi utilizado para a transcrição dos dados em diferentes trilhas. Ele possibilita descrever de maneira mais abrangente os vários aspectos simultâneos dos gestos, como o movimento das mãos, traços de expressão facial (movimento de sobrancelhas, pálpebras, olhar e boca), entre outros. O objetivo do estudo dos gestos que acompanham a dança é corroborar a proposta da relação entre gesto e conceitualização, entendendo a contribuição do elemento gestual para a construção de significado em um discurso, seja ele oralizado, sinalizado ou dançado. / This work aims to describe and analyze gestures produced in a danced narrative, following the lines proposed in co-speech gesture studies (Kendon 2004, McNeill 1992, Kita et al. 1998, Mittelberg 2006, Streeck 2009, among others). To accomplish this goal, I adapt to the dance discourse Poyatoss proposal (2002) for verbal discourse. According to Poyatos, the verbal discourse is built upon a tripartite structure comprising a linguistic layer (with segmental elements), a paralinguistic layer (which includes suprasegmental elements) and a kinesic layer (including posture and gesture). He proposes that meaning construction in verbal discourse relies on the interaction of these three layers. My proposal is to maintain the triple structure to analyze dance discourse as well as the interaction between its specific layers: technical (which includes segmental elements of the dance technique), parakinesic (including non-segmental elements related to the dynamics of movement), and gestural (related to the posture of the body and gesture, including pantomime). Gesture will, then, be considered any expressive movement of body and/or face that is not part either of dance technique or of its dynamic elements. To verify the relevance of this proposal, I analyze a part of the balcony scene and the final one, among others, from Kenneth MacMillans version of Romeo and Juliet, by William Shakespeare, created for and performed by The Royal Ballet, and the final scene from Rudolf Nureyevs version for the Ballet de LOpéra de Paris. The Max Planck software, ELAN (EUDICO Language Annotator), version 4.1.1, largely used to transcribe sign languages, was used for the transcription of the data into several different tiers. This allows for a better description of the many simultaneous aspects of the gestures, such as hand movement and facial expressions features (eyebrows, eyelids, gaze and mouth movements), among others. The aim of studying gestures that accompany dance is to reinforce the proposal of correlation between gesture and conceptualization, understanding the contribution of the gestural element to meaning construction in a discourse, being it oral, signed or danced.

Este trabalho tem como objetivo descrever e analisar os gestos produzidos em contexto de narrativa dançada, tomando como base os estudos dos gestos que acompanham a fala (Kendon 2004, McNeill 1992, Kita et al. 1998, Mittelberg 2006, Streeck 2009, entre outros). Para esse fim, adapto para o discurso dançado a proposta de estrutura tripartite de Poyatos (2002) para o discurso oral. Poyatos prevê os níveis linguístico (elementos segmentáveis), paralinguístico (elementos supressegmentais), e quinésico (postura e gestualidade). Os três níveis colaboram para a construção de sentido do discurso verbal. Mantenho a estrutura tripartite, propondo, para a dança, os níveis técnico (elementos segmentáveis, incluída a gestualidade convencionada pela técnica de dança), paraquinésico (elementos não-segmentáveis ligados à dinâmica do movimento), e gestual (postura e gestualidade ligada à comunicação cotidiana, incluída a pantomima). Gestos são considerados, então, quaisquer movimentos expressivos do corpo e/ou da face que não pertençam aos níveis técnico e paraquinésico. A interação entre os níveis para a construção do significado também fica mantida. Para poder verificar a pertinência da proposta, observo, entre outras, a cena do balcão e a cena final na versão de Romeu e Julieta, de William Shakespeare, coreografada por Kenneth MacMillan para o The Royal Ballet, e a cena final da versão de Rudolf Nureyev para o Ballet de LOpéra de Paris. O programa ELAN (EUDICO Language Annotator), versão 4.1.1, desenvolvido pelo Instituto Max Planck, e largamente usado na transcrição de línguas de sinais, foi utilizado para a transcrição dos dados em diferentes trilhas. Ele possibilita descrever de maneira mais abrangente os vários aspectos simultâneos dos gestos, como o movimento das mãos, traços de expressão facial (movimento de sobrancelhas, pálpebras, olhar e boca), entre outros. O objetivo do estudo dos gestos que acompanham a dança é corroborar a proposta da relação entre gesto e conceitualização, entendendo a contribuição do elemento gestual para a construção de significado em um discurso, seja ele oralizado, sinalizado ou dançado. / This work aims to describe and analyze gestures produced in a danced narrative, following the lines proposed in co-speech gesture studies (Kendon 2004, McNeill 1992, Kita et al. 1998, Mittelberg 2006, Streeck 2009, among others). To accomplish this goal, I adapt to the dance discourse Poyatoss proposal (2002) for verbal discourse. According to Poyatos, the verbal discourse is built upon a tripartite structure comprising a linguistic layer (with segmental elements), a paralinguistic layer (which includes suprasegmental elements) and a kinesic layer (including posture and gesture). He proposes that meaning construction in verbal discourse relies on the interaction of these three layers. My proposal is to maintain the triple structure to analyze dance discourse as well as the interaction between its specific layers: technical (which includes segmental elements of the dance technique), parakinesic (including non-segmental elements related to the dynamics of movement), and gestural (related to the posture of the body and gesture, including pantomime). Gesture will, then, be considered any expressive movement of body and/or face that is not part either of dance technique or of its dynamic elements. To verify the relevance of this proposal, I analyze a part of the balcony scene and the final one, among others, from Kenneth MacMillans version of Romeo and Juliet, by William Shakespeare, created for and performed by The Royal Ballet, and the final scene from Rudolf Nureyevs version for the Ballet de LOpéra de Paris. The Max Planck software, ELAN (EUDICO Language Annotator), version 4.1.1, largely used to transcribe sign languages, was used for the transcription of the data into several different tiers. This allows for a better description of the many simultaneous aspects of the gestures, such as hand movement and facial expressions features (eyebrows, eyelids, gaze and mouth movements), among others. The aim of studying gestures that accompany dance is to reinforce the proposal of correlation between gesture and conceptualization, understanding the contribution of the gestural element to meaning construction in a discourse, being it oral, signed or danced.

In the existing scholarship on Chinese translation history, the shifting conceptualizations of translation from the 1890s to the 1920s have been presented as a teleological evolution from 'traditional', target-oriented translation norms to 'modern', source-oriented norms. In response to this virtually unchallenged grand narrative, the dissertation presents a more nuanced and complex picture of the changing conceptualizations of translation in China during this period. Using New Historicism to engage with Roland Barthes's theory of intertextuality and Gérard Genette's framework of paratextuality, the study builds an integrated theoretical framework for examining how the conceptual relationships between translating, writing, commenting, and editing (among a variety of other textual activities) changed during this period. Adopting Microhistory principles, the dissertation conducts three case studies of marginalized figures - Zhong Junwen (1865-1908), Zhou Shoujuan (1895-1968), and Wu Mi (1894-1978) - from Chinese translation history: by analyzing their translations and/or writings about translation in a range of textual forms such as translation reviews, prefaces, diaries, and pingdian commentaries, the dissertation reveals how these cultural actors blurred the boundaries between translating, writing, commenting, and editing within China's rapidly evolving publishing context and how their conceptualizations of translation were deeply grounded in the traditional Chinese notions of authorship. The results of the three case studies demonstrate how the conceptual boundaries between various textual activities were in flux during these four decades and that the shifts in the conceptualizations of translation were not a simple, linear development from 'traditional' to 'modern'. Apart from contributing to a better knowledge of Chinese conceptualizations of translation in a key period of Chinese translation history, the dissertation challenges the validity of adopting the theoretical models of intertextuality and paratextuality as universally applicable frameworks in translation studies.

Many interpreters read Nietzsche as an epiphenomenalist. This means that, contrary to everyday “felt” experience, consciousness has no causal influence on our actions. In the first half of this paper I show that an epiphenomenalist interpretation proposed by Brian Leiter is unsupported by Nietzsche’s texts. Further, contemporary research does not conclusively support epiphenomenalism, as Leiter claims. In the second half of the paper I present the novel, causally efficacious view of consciousness that is supported by Nietzsche’s texts. This view of consciousness does not present consciousness as a self-caused faculty that is in some way separate from the rest of our mind and body, but rather views consciousness as a non-essential property of certain mental states. I trace the development of this idea through two key passages and show that, in the danger it presents as well as in the promise, consciousness is clearly causally efficacious.