116f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T14:01:10Z No. of bitstreams: 1 Dissertacao_ Wilson Santos.pdf: 915146 bytes, checksum: 288e420499bdbe1164d5ff2b87ec5c15 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-08T18:44:25Z (GMT) No. of bitstreams: 1 Dissertacao_ Wilson Santos.pdf: 915146 bytes, checksum: 288e420499bdbe1164d5ff2b87ec5c15 (MD5) / Made available in DSpace on 2013-05-08T18:44:25Z (GMT). No. of bitstreams: 1 Dissertacao_ Wilson Santos.pdf: 915146 bytes, checksum: 288e420499bdbe1164d5ff2b87ec5c15 (MD5) Previous issue date: 2003 / O presente trabalho teve como meta considerar, enquanto inquietação, a possibilidade de que uma práxis pedagógica venha a existir via comunicação não verbal observada em distintas situações teóricas e práticas. Através da valorização da espontaneidade da comunicação corporal, mostrar sua relevância e atualidade. Numa análise interativa de filósofos como Merleau-Ponty, fenomenólogo, e alguns educadores, pensadores e autores voltados para o problema da linguagem, visa-se fomentar a reflexão sobre o homem como ser que se comunica, que interage socialmente, por suas expressões corporais, com destaque para as questões sobre o corpo, gestos, percepção e linguagem. Isto remete a aspectos de sala de aula; no que tange às relações existentes no grupo constituído pelo professor e alunos, como espaço do pensar-agir; velar-desvelar destes sujeitos em inter e intra relação. Em última instância, a intenção foi propiciar uma diferente visão perspectiva para a educação, para a práxis comunicativa no processo ensino-aprendizagem. Pensar a ação pedagógica considerando o que seja, talvez certamente, o ponto capital: o fenômeno homem. Para tanto, primeiramente, explicitou-se, em linhas gerais, o que vem a ser a comunicação não verbal, mais especificamente a corporal com um destaque para as normas atuais em Educação que incentivam os processos interativos não verbais. A seguir, foram apresentadas considerações acerca das estruturas organizacionais desta pesquisa. Logo após, um passeio por vários teóricos que tratam a questão da comunicação, no intuito de caminhar da verbal à não verbal. Em seguida, enfatizou-se a fenomenologia da percepção de Merleau-Ponty, centrando na questão do corpo para o processo comunicativo. Isto feito, seguiram-se alguns destaques, dentre uma infinidade de pontos que aqui poderiam ser abordados, na intenção de colocar em evidência a espontaneidade da comunicação corporal em processos interativos, bem como destacar a importância da mesma para a Educação (relações entre alunos e professor - aluno), visando sempre a correlação entre linguagem, educação, reflexão e cognição. Por fim, foram apresentadas algumas considerações finais acerca do trabalho. / Salvador

Made available in DSpace on 2016-08-03T12:19:40Z (GMT). No. of bitstreams: 1 Angela Aleixo 2014.pdf: 926213 bytes, checksum: 8a5fd795142b628a34f581b677a72e21 (MD5) Previous issue date: 2014-04-10 / This dissertation focuses on the discourse of the corporeal resurrection as an identitary in Paul, from the text of 1 Corinthians 15:35-49 where the apostle develops and argues his eschatological thoughts about this theme. Our goal is to understand how this thought was developed and consider the arguments within this new theological vision of the theme. Methodologically, an exegesis of the text of 1 Corinthians 15:35-49 is made in order to discourse with the thematic concept of Dn 12:1-3 and with the skeptical ideology present in Corinth. Based on the main authors Nickelsburg, Wright and Lehtipuu, we have as main considerations that the corporeal resurrection in Daniel 12:1-3 is universal, collective and taken as an act of justice. In skeptical philosophy the ideology is that of relativism. In Paul, resurrection is personal and comprehends the individual as a whole. / Este trabalho focaliza o discurso da ressurreição corpórea como elemento identitário em Paulo, a partir do texto de 1Coríntios 15:35-49 onde o apóstolo desenvolve e argumenta seu pensamento escatológico acerca desta temática. Nosso objetivo é de entendermos como se desenvolveu esse pensamento e considerar os argumentos dentro dessa nova visão teológica da temática. Metodologicamente faz-se um estudo exegético do texto de 1Corintos 15:35-49 a fim de dialogar com o conceito temático de Dn12:1-3 e com a ideologia cética presente em Corinto. Baseando-se nos principais autores Nickelsburg, Wright e Lehtipuu temos como principais considerações que a ressurreição corpórea em Dn 12:1-3 é universal, coletiva e tida como ato de justiça. Na filosofia cética a ideologia é a do relativo e vazio. E em Paulo ela é individual e atinge o individuo como um todo.

Como pensar uma atividade que lida com corpos, como é o caso da sensação, numa filosofia que está em constante busca e valoriza como superior o que é incorporal? Não seria de se esperar que em tal filosofia esse problema fosse relegado ao ostracismo ou simplesmente ignorado? Não é o que parece acontecer. Contudo, tal problema nos parece ser pouco estudado. É na busca por resolvê-lo de modo mais aprofundado que se coloca o presente trabalho. Ao que parece, os textos agostinianos tentam mostrar que a sensação é uma atividade da alma. Mas como isso é possível se a alma é incorporal e aquilo que ela sente é corpóreo? Relacionando isso ao problema inicial é necessário ver em que medida essa atividade pode adquirir alguma relevância filosófica. Nossa tese é que tal relevância é afirmada justamente pelo fato de ser uma atividade anímica, já que a alma é superior aos corpos. Mas acima de tudo, essa relevância parece alcançar toda a sua amplitude na obra de maturidade intitulada De trinitate. Tentaremos demonstrar que nela Agostinho propõe uma solução que, no seu pensamento, seria definitiva sobre o problema. Ali ele o redimensiona a partir das tríades humanas que são análogas à Trindade Divina a consideração da sensação se dando em uma dessas tríades inseridas num processo de ascenção interiorizante. Contudo, como isso acontece e se justifica é o que pretendemos expôr no que se segue. / How to think of an activity that deals with bodies, as is the case of sensation, in a philosophy that is constantly seeking and values as superior what is incorporeal? Is it not to be expected that in such philosophy this problem would be ostracized or simply ignored? It is not what seems to happen. However, this problem seems to be little studied. It is in the search for solving it in a more in-depth way that the present work is placed. It seems that the Augustinian texts try to show that sensation is an activity of the soul. But how is this possible if the soul is incorporeal and what it feels is corporeal? Relating this to the initial problem is necessary to see to what extent this activity can acquire some philosophical relevance. Our thesis is that such relevance is affirmed precisely because it is an activity of soul, since the soul is superior to the bodies. But above all, this relevance seems to reach its full extent in the work of maturity entitled De trinitate. We will try to demonstrate that in it Augustine proposes a solution that, in his thought, would be definitive about the problem. There he reshapes it from the human triads that are analogous to the Divine Trinity - the consideration of sensation taking place in one of these triads inserted in a process of interiorising ascension. However, how this happens and is justified is what we intend to expose in what follows.

Background: Spasticity is a common symptom post-stroke which causes vast complications regarding important daily functions among patients. This manifests as a resistance in the muscle during a velocity-dependent passive motion and is commonly evaluated by using the Modified Ashworth Scale (MAS). Extra corporeal shock wave therapy (ESWT) is a relatively novel way to treat spasticity, with promising results. Purpose: The aim of the current study was to investigate the scientific evidence of ESWT as treatment regarding spasticity and function among patients with prolonged stroke. Methods: The purpose was tackled by conducting a literature review of randomized controlled trials with MAS as outcome measurement. PubMed was searched for relevant studies followed by a quality assessment through the PEDro Scale. The reliability of the evidence was assessed with the use of GRADEstud.  Results: The quality of the included articles was mainly deemed as good with eight of nine articles receiving a PEDro Score of 6 or higher. This review found generally positive effects from ESWT regarding spasticity with MAS as the outcome measurement. The results regarding function were equivocal. The reliability of the results was graded as very low due to the methodological heterogeneity of the included studies. Conclusion: ESWT showed positive results regarding spasticity and function, although the reliability of the evidence was considered very low. More research is inquired to further explore the potential effects of ESWT on spasticity and function among post-stroke patients. This could potentially increase the reliability of the evidence regarding ESWT as a treatment option. / Bakgrund: Spasticitet är ett vanligt förekommande funktionsnedsättande centralt symptom bland patienter med stroke och har tendens att öka med tiden efter insjuknandet. Spasticitet manifesteras i form av ett ökat muskelmotstånd vid hastighetsberoende passivt rörelseuttag och bedöms oftast med Modified Ashworth Scale (MAS). Stötvågsterapi (ESWT) är en relativt ny behandlingsmetod och visats ha en lovande effekt mot spasticitet.   Syfte: Syftet med arbetet har varit att undersöka det vetenskapliga underlaget för ESWT som behandling för spasticitet och funktion hos individer med långvarig stroke. Metod: Arbetets syfte har angripits genom en systematisk narrativ litteraturstudie. Sökning av relevanta studier gjordes i databasen PubMed och skulle uteslutande vara randomiserade kontrollerade studier med MAS som utfallsmått. Studierna utvärderades gällande risk för snedvridning genom PEDro Scale. Tillförlitligheten i evidensen av effekterna av ESWT har bedömts med GRADEstud.  Resultat: Arbetets urval bedömdes ha låg risk för snedvridning då åtta av nio artiklar fick ≥ 6 poäng på PEDro Scale. ESWT sågs övergripligt ha positiva effekter på spasticitet mätt med MAS, både som isolerad och kombinerad behandling. Gällande funktion var resultaten mer tvetydiga. Dock bedömdes tillförlitligheten gällande evidensen för effekterna som mycket låg pga. genomlöpande heterogenitet bland studierna gällande design och urval.   Slutsatser: Övergripligt visade ESWT-behandling ha en positiv effekt på spasticitet och funktion. Tillförlitligheten i evidensen bedömdes dock som mycket låg. Mer forskning efterfrågas i att belysa effekterna av ESWT på patienter med stroke för att uppnå högre tillförlitlighet.

During Jesus' earthly ministry He taught the pure doctrine of corporeal resurrection to His disciples. Some of them became special witnesses to the literal bodily resurrection of Jesus after His death. Over time, men's philosophies perverted the true doctrine of the resurrection. Those teachings became the orthodoxy of the early Christian church and were handed down to modern Christianity. The pure doctrine of corporeal resurrection was weakened, and in some sects, was lost.The Lord restored the gospel through Joseph Smith. Part of the Restoration qualified him as a special witness of the Resurrection of Jesus Christ. Through him pure doctrines were restored. One of those doctrines was the Resurrection and its importance to eternal man.

This essay seeks to investigate how bodies can be understood as a narrative element in five poems written by the American poet Emily Dickinson (1830 – 1886). Using phenomenology as understood by Maurice Merleau-Ponty and Elizabeth Grosz as a theoretical framework and a corporeal narratology as drawn up by Daniel Punday, the essay explores how the bodies of the characters within the fictional world are portrayed, which bodies are present and what places and types of situations they occupy. All in order to see how the narrative as a whole is affected in each poem. The essay uses the terms body and space, as being defined by the theoretical underpinnings, to structure the analysis. The study shows that the body indeed can be understood as a way of structuring the narrative in the poems. Mainly, the present bodies are used as a way of organizing spatiality and form a specific perspective. The degree of activity of the different bodies are also dependent on normative and conventional aspects. The use of narratology when analyzing poems of this sort requires flexibility, especially since the study focuses on elements that are not always explicitly portrayed.

La question de l’idéalisme leibnizien, qui permet d’entrer au cœur de la métaphysique de Leibniz, intéresse encore aujourd’hui de nombreux commentateurs. Ceux-ci utilisent les termes « réalisme », « idéalisme », voire « phénoménalisme », pour caractériser la métaphysique leibnizienne et un travail doit être fait pour rassembler et comparer leurs analyses, ce que nous proposons de faire d’abord dans ce mémoire. Ce sont surtout les textes mêmes de Leibniz qui seront abordés dans le présent travail et qui permettront de proposer la lecture suivante : si la métaphysique leibnizienne est réaliste en ce sens qu’elle met en place une entité elle-même « mind-independent », c'est-à-dire la monade, elle peut être considérée comme idéaliste (idéalisme substantiel), puisque cette entité, étant sans partie et sans étendue, est en ce sens idéelle. Et si tout peut se réduire à cette monade, c’est toute la fondation de la métaphysique de Leibniz qui se retrouve à être idéelle. Or, ceci ne règle pas le statut des corps qui peuvent être considérés soit comme de simples phénomènes réductibles aux perceptions des monades (idéalisme matériel), soit comme des êtres ayant une réalité indépendante d’un esprit, lesquels se réduiraient cette fois aux monades qui les composent (réalisme matériel). Face à ces deux possibilités, nous développerons une position mitoyenne qui défend l’idée que les corps sont en effet composés de monades qui leur procurent une certaine réalité, mais qu’ils dépendront toujours de l’action d’un esprit qui lui seul pourra leur procurer une certaine unité. / Many commentators try to read Leibniz either as an idealist or a realist, adding a phenomenalist reading to theses first two analyses. However, those terms are however often used with ambiguities, making Leibniz sometimes an even more complex philosopher. The first purpose of this master’s thesis is to gather and compare all these interpretations in order to clarify Leibniz’s thought. In this study, his writings will be used to defend the following interpretation : Leibniz can be considered as a realist since he develops a theory where monads act as « mind-independent » entities. Nonetheless, these monads are non-extended and without parts. Therefore, we can present an idealistic understanding of Leibniz, for they are the “basic building-blocks” of his metaphysic. Still, clarifications need to be made concerning the body. It can either be “real”, if it is seen as an aggregate of monads. Or, it can be considered a “mind-dependent” phenomenon if seen as the result of monadic perceptions. We will develop, between these two possibilities, an intermediate position stating that bodies are indeed aggregates of monads (matter realism). However they must be considered as phenomena for this same reason (phenomenalism). Corporeal aggregates require the action of the mind which alone can give them unity. On the contrary monads are said to be unum per se. Bodies are therefore phenomena but precisely well founded in the monads that compose them.

An examination and exploration of ‘the (syn)aesthetic style’, a particular sensate mode of performance and appreciation that has become prominent in recent years in contemporary arts practice. The (syn)aesthetic performance style fuses disciplines and techniques to create interdisciplinary and intersensual work with emphasis upon; the (syn)aesthetic hybrid; the prioritisation of the body in performance and the visceral-verbal ‘play-text’. ‘(Syn)aesthetics’ is adopted as an original discourse for the analysis of such work, appropriating certain quintessential features of the physiological condition of synaesthesia to clarify the impulse in performance and appreciation which affects a ‘disturbance’ within audience interpretation. Original terms employed attempt to elucidate the complex appreciation strategies integral to this performance experience. These include the double-edged semantic/somatic or making-sense/sense-making process of appreciation, which embraces the individual, immediate and innate, and the ‘corporeal memory’ of the perceiving body. Liveness and the live(d) moment are considered, alongside notions of ritual and transcendence and the primordial and technological. The argument surveys the inheritance that saw to this contemporary style emerging, in Britain in particular, considering female performance practice, intercultural and interdisciplinary ensemble performance and the ‘New Writing’ aesthetic. Critical and performance theorists referred to include Friedrich Nietzsche, the Russian Formalists, Roland Barthes, Julia Kristeva, Hélène Cixous, Luce Irigaray, Antonin Artaud, Valère Novarina, Howard Barker and Susan Broadhurst. Contemporary practitioners highlighted as case studies exemplary of (syn)aesthetic practice are Sara Giddens, Marisa Carnesky, Caryl Churchill and Sarah Kane. Furthermore, documentation of a series of original performance workshops explores the (syn)aesthetic impulse in performance and analysis from the perspectives of writer, performer and audience. (Syn)aesthetics as an interpretative device endeavours to enhance understanding of the intangible areas of performance which are increasingly difficult to articulate, thereby presenting a mode of analysis that extends performance theory for students and practitioners within the arts.

This study focuses on the material aspects of the wood and metal workshop, which is one out of two learning settings in the Sloyd subject. Sloyd is a compulsory school subject in Sweden, which includes textile, wood and metal work. Historically, wood and metal Sloyd has been dominated by male pupils and teachers. The purpose of the thesis is to describe and analyse how the materialized masculinity of the wood and metal workshop is embodied by the pupils during class. The study concerns 41 observed lessons in three different workshops, during the period of 2011-2013. Six groups have been ob- served and the observations have been complemented with individual interviews, group interviews and one video recording. The study is conducted from a gender perspective, which considers sociomaterial structures to be a part of a gender structure. Following Raewyn Connell, Yvonne Hirdman and others, the gender structure of the sociomaterial wood and metal workshop is brought to light. But the main focus lies on the embodied phenomena of the sociomaterial structure. This is applied through a hermeneutical phenomenological methodology, where the main analytical tools have been ”the corporeal turn” as presented by Maxine Sheets-Johnstone, ”the lived body” as Merleau-Ponty describes it, and Young’s interpretation of”situatedness” in feminist phenomenology. As regards the results, an overarching structuralistic analysis of pupils’ expectancies and be- haviours in the setting, along with historical documents, show that the wood and metal workshop holds a strong material classification in school. It is geographically peripheral and resembles the workshops of the industry outside school, rather than classrooms inside school. The workshop also has a strong inner classification, where the metal room is classified as the most masculine place in the workshop, and the painting room and the workbench are classified as being weak in masculinity. Analysis shows that the materiality close to the skin (caps, dirt, protection gear and garments) is embodied both as an ex- pression or a visual sign for others, but also as a tactile immanence or non- visual objectification of the body. Analysis also shows that the materiality in contact with the hand of- ten has an elongated form. The common use of elongated objects (wagging, fencing, poking, crafting) in the Sloyd groups are described as a consequence of historical views on masculine movements and transcendence by the founders of male (wood and metal) Sloyd. Furthermore, the processing of the common three-dimensional materials are analysed as "inside", as a non-visual kinetic-kinaesthetic experience that lessens the visual objectification of the body. Beyond the reach of the hand, the three- dimensional, silent and personal artefacts render specific intersubjective situations. The space of the workshop is considered performative, using the silent and three-dimensional objects as proposals of intersubjective situations and tactile-kinaesthetic turn-takings. Conclusively, the results are discussed in relation to concepts of individuality and corporeal meaning in the workshop, the concrete rather than abstract masculinity, and in relation to the well-used concept of mediated experience in creative subjects such as Sloyd. / Genusforskarskolan

The dissertation involves a threefold investigation of sculpture. Firstly, the interpretations are focused on particular artworks by three British sculptors: Antony Gormley (b. 1950), Anish Kapoor (b. 1954), and Rachel Whiteread (b. 1963), respectively. The notion of applied minimalism is tentatively applied to their sculptures. A primary argument is that these works are idiomatically, thematically, and theoretically founded on the heritage of American Minimalism from the 1960s. The sculptures by these three artists are seen as readings and transformations in themselves of the Minimalist sculptural idiom. Secondly, the dissertation aims at an investigation of the notion of sculpture, which is explored as a discursive term, i.e. as a working notion. Therefore, each specific sculpture in the study is analysed in terms of the means it is manifested as such. Thirdly, interpretation per se is recognised as a performative act inscribed and restricted by specific contextual features. The constituent aspects are acknowledged and employed in terms of the white cube gallery locality, minimalist theory, sign theory, sculpture as staged, and the crucial recognition of a/the corporeal viewer's own presence and movements within the gallery space. Especially pertinent to the interpretations are Michael Fried's notion of theatricality, notions of performativity, and meaning as site-specific, respectively. The dissertation argues that the notion of sculpture, specifically in the wake of Minimal sculpture and the artworks inscribed by that category in art critical discourse, relies on the imperative of a corporeal acknowledged viewer/interpreter and that significant relations as regards the notion of sculpture are therefore external to a high degree.