Universiẗat, Diss., 2003--Mainz.

Zugl.: Mainz, Universiẗat, Diss., 2008. / Literaturverz.

Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2004. / Includes bibliographical references (leaves 92). Also available in electronic version. Access restricted to campus users.

Stuttgart, FH, Diplomarb., 1999.

Thesis (Ph. D.)--Ohio University, 1998. / Includes bibliographical references (leaves 266-282).

Research conducted on emotion by psychologists has produced numerous understandings of the concept and there is currently no consensus as to how it should be defined (Russell, 2012). Despite some general agreement among some theorists as to certain aspects, such as physiological response, eliciting events, and related facial expressions, it is a persistent issue and discussions as to how a solution may be found have recurred at various points throughout the history of psychology. Some work has been done to address the problem through the meta-analysis of various definitions and this has proved to be useful in showing the areas where psychologists might agree (e.g. Izard, 2010; Kleinginna & Kleinginna, 1981; Plutchik, 1980). There is an assumption, therefore, that with enough research and debate a solution will be found. However, this assumption neglects to take into account the changing ontological and methodological contexts through which emotion has been defined in psychological science. For this reason the current debates lack a broader contextualisation which could reveal what has influenced the production of particular definitions and the reasons why the problems of definition have come about. This thesis aims to address this gap in the literature by presenting a historical analysis of the understandings of emotion which were produced during the late nineteenth and early twentieth centuries. Although there has been a great deal of historical work produced which examines psychological theories from this time, there is little, apart from Dixon (2012) which is specifically aimed at contextualising this particular issue. In particular, this thesis will examine one respect in which emotion is often defined; as that of being a subjective experience. This understanding, whilst it most often seems to be the way in which people, if asked, define emotion (Davitz, 1970) has, historically, proved to be contentious in psychological science, perhaps because it is difficult to capture. The thesis describes the method of introspection and its use as a means to examine the subjective experience of emotion during the early years of psychology, and looks at what can be learned about the issue of definition through an understanding of the work conducted during that period. It is shown that introspective analyses often presented a picture of emotions as complex, idiosyncratic and individual experiences and that these characteristics contrasted with the assumptions of the emerging scientific psychology that emotion should be defined as structured, predictable and universal. The search for a concept of emotion which embodied the latter rather than the former characteristics is described, and it is demonstrated that the result was a variety of different conceptualisations. The thesis concludes that it is important not to view the current problem simply as one of academic differences over the veracity of definitions, but to contextualise it in relation to the psychologist’s search for a definition of emotion that assumes the characteristics of a scientific concept.

On Why in Philosophy Examples Matter”. The purpose of the article is to show the need of using examples in philosophy, associating to them four functions: to illustrate, explain, argue and show. Among other assertions, we attempt to justify the following: a) Examples are, as well as illustrations, evidences;such that what may be seen as an act of didactic generosity may be considered properly as the response to an always possible demand. b) The introduction of philosophical concepts requires frequently a mutual cooperation between definition and example; the need of the latter in conceptual explanation is condoned by a reflection on the following of rules. c) A certain overrating of the counterexample and underrating of the example are tokens of a notion of philosophy put hereinto question. d) In Wittgenstein and other authors, a little heeded function of some examples is detected: of showing an alternative way of viewing the matter, of re-describing ancient philosophical themes. Towards the end, the issue of theexample is assumed –this time– as an example of a more general issue: that of the relation between rhetoric and philosophy. / El objetivo es mostrar la necesidad del uso de ejemplos en filosofía, a partir de cuatro funciones que con ellos cabe asociar: ilustrar, explicar, argumentar y mostrar. Entre otros planteamientos, se busca justificar los siguientes: a) Los ejemplos son, a la vez que ilustraciones, evidencias; así, lo que suele ser visto como un acto de generosidad didáctica, puede considerarse más propiamente la respuesta a una siempre posible exigencia. b) La introducción de conceptos filosóficos requiere muchas veces de una mutua cooperación entre  definición y ejemplo; la necesidad de este último en la explicación conceptual es avalada por una reflexión sobre el seguimiento de reglas. c) Una cierta sobreestimación delcontraejemplo y subestimación del ejemplo son muestras de una concepción de filosofía que aquí se pone en cuestión. d) En Wittgenstein y otros autores se detecta una función poco estudiada de algunos ejemplos: la de mostrar un modoalternativo de ver un asunto, la de redescribir antiguos temas filosóficos. Hacia el final, el tema del ejemplo es tomado, a su vez, como ejemplo de un tema más general: el de la relación entre retórica y filosofía.

Esta dissertação tem por escopo a questão das emoções - ?à ???? - na obra de Aristóteles, principalmente nos livros I e II da Retórica e da Ética Nicomaquéia. A definição aristotélica de como ????? \'emoção\' foi compreendida de diversas formas, porém sempre a partir dos seguintes elementos: como integrante da porção não-racional da alma, habituável à tutela da razão, como manifestação psicofísica, como causada por cognições. O problema é, portanto, reencontrar e reunir todos esses elementos na obra do Estagirita. / This thesis aims at the question of emotions - ?à ???? - in the works of Aristotle, mainly in the first and second books of Rhetoric and Nicomachean Ethics. The Aristotelian definition of ????? as \'emotion\' was understood in different ways, but always from the following elements: as part of the nonrational portion of the soul; as something that can grow accustomed to reason; as a psychophysic manifestation; as caused by cognitions. The problem is to find and gather all these elements from the works of Aristotle.

Made available in DSpace on 2014-07-29T15:27:27Z (GMT). No. of bitstreams: 1 Dissertacao_Malmann 2012.pdf: 691900 bytes, checksum: a118d6841125018ec8f943f119af0ebb (MD5) Previous issue date: 2012-08-17 / The bullying s phenomenon began to be studed and discussed among in the mid of 1980. These studies indicate their demonstrations in schools around the world, regardless of socio-cultural differences. We consulted the publications available in Scientific Eletronic Library Online (SciELO), were sought, in the articles, information books by brazilian authors or translations into portuguese in order to observe this literature: aspects that involve the use of the term bullying, as it appears the concept of the phenomenon among these authors and the process of trivializing the phenomenon in Brazil. It was observed that the use of the term to common stock in personal relationships and conflicts present in different fields causes problems in their identification and admitted an omnipresent phenomenon, because there is a tendency to consider bullying aggression occurred beyond the school walls, as in homes, streets, military barracks, prisons or the workplace. From these data we seek to start a new discussion among brazilian authors in order to promote further discussion about the use of the term bullying and its definition in Brazil, since it indicates a consensus for the maintenance of English at the expense of a search for another word in Portuguese. We believe that targeting the use of this concept conflicts between students and school environments in Brazil, presented with its own characteristics that differentiate it from other forms of violence at school is an alternative to avoid its trivialization. You must define the boundaries of this phenomenon, knowing its structure and everything that surrounds the consequences for those involved and policies to combat. The specification of what we mean by bullying in Brazil is sine qua non condition for knowledge, diagnosis, prevention, punishment, treatment and trivialization of the term of reproach. / O fenômeno bullying começou a ser estudado e discutido em meados dos anos de 1980. Esses estudos indicam suas manifestações em escolas de todo o mundo, independente das diferenças socioculturais. Ao consultarmos as publicações disponíveis na Scientific Eletronic Library Online (SciELO), buscamos, nos artigos, indicações de livros de autores brasileiros ou traduções para a língua portuguesa, afim de observarmos nessa literatura: os aspectos que envolvem o uso do termo bullying, como é apresentado o conceito do fenômeno entre estes autores e o processo de banalização do fenômeno no Brasil. Observa-se que o uso do termo para ações comuns nas relações pessoais e de conflitos presente em diversos campos provoca problemas em sua identificação e admite uma onipresença do fenômeno, pois há uma tendência a se considerar bullying as agressões ocorridas para além dos muros da escola, como em casas, ruas, quartéis militares, presídios ou no local de trabalho. A partir destes dados buscamos iniciar uma reflexão nova entre os autores brasileiros, a fim de promover um aprofundamento da discussão a cerca do uso do termo bullying e de sua definição no Brasil, uma vez que se aponta um consenso para a manutenção do inglês em detrimento de uma busca por outro termo em português. Entendemos que o direcionamento do uso do conceito para conflitos existentes entre alunos e no ambiente escolar no Brasil, apresentado com suas próprias características que o diferencia de outras formas de violência na escola, seja uma alternativa para evitar sua banalização. É preciso delimitar as fronteiras desse fenômeno, conhecendo sua estrutura e tudo que circunda as consequências para os envolvidos e as políticas de combate. A especificação do que entendemos por bullying no Brasil, é condição sine qua non para o conhecimento, diagnóstico, prevenção, punição, tratamento e repreensão da banalização desse termo.

Inom kreativitetsforskningen har det gjorts omfattande studier för att försöka definiera och mäta kreativitet. Innebörden av kreativitet har förändrats utifrån de historiska och kulturella sammanhang som begreppet använts inom. Genom att förstå begreppet kreativitet menar forskare att människan kan lära sig att identifiera och förstå varje persons unika kreativa förmågor. Det gör oss även till bättre problemlösare - då kreativitet enligt vissa forskare berör olika problemlösarstilar. Sist men inte minst är det viktigt att förstå begreppet kreativitet då det ger människan intellektuell tillfredsställelse. Genom denna studie vill författarna försöka klargöra den egentliga definitionen av begreppet kreativitet, om någon sådan existerar. Författarna vill även studera om en utvald reklambyrå tolkar begreppet likvärdigt som de utvalda kreativitetsforskarna samt se om den utvalda reklambyrån lever upp till sin egen definition av begreppet kreativitet. Inför denna studie valdes ett fenomenologiskt forskningssätt då författarna ville studera ett fenomen utifrån en utvald fokusgrupps perspektiv, vilket i detta fall var en reklambyrå. Datainsamlingen skedde genom 6 intervjuer av semistrukturerad art, vilket fick representera den praktiska definitionen av kreativitet på den utvalda reklambyrån Byrån. Respondenternas svar resulterade i många olika definitioner och beskrivningar av vad de anser att kreativitet är och det är svårt att ge en övergripande tolkning eftersom svaren skiljer sig åt. En slutsats som författarna av denna rapport kan dra utifrån datainsamlingen är att orden; problemlösning, banbrytande och målinriktat, är de mest omnämnda orden som respondenterna använt för att beskriva kreativitet. Likaså är; okonventionell, lösningsorienterad, öppet sinne och urskiljningsförmåga personliga egenskaper som respondenterna anser att en kreativ person bör besitta. Dessa beskrivande ord och egenskaper återkommer i den vetenskapliga teorin av kreativitet och kan därför till viss del visa på likheter mellan teoretisk och praktisk definition. Dock finns det ingen vetenskaplig definition som exakt överensstämmer med någon av respondenternas svar. Av detta drar författarna av denna rapport slutsatsen att definitionen av kreativitet i praktiken är en subjektiv bedömning som skiljer sig från varje användare av begreppet. / Extensive research has been made aiming to define and measure creativity.  The meaning of creativity has changed throughout the historical and cultural context. By understanding the concept of creativity, researchers believe that humans can learn to identify and understand each person’s unique creative abilities. The understanding of creativity also allows us to improve our problem-solving abilities. Last but not least, it is important to understand the concept of creativity as it gives people intellectual satisfaction. Through this study, the authors want to clarify the true definition of creativity, if that exists. The authors also want to study whether a selected advertising agency interpreters the term equaly to the selected creativity researchers and see if the selected advertising agency lives up to their own definition of creativity. Prior to this study, a phenomenological research method was chosen as the authors wanted to study a phenomenon based on a selected focus group perspective, which - in this case - was an advertising agency. The data collection was collected through six interviews of semi structured nature, which would represent the practical definition of creativity in the chosen advertising agency.' The respondents' answers resulted in many definitions and descriptions of what they believe that creativity is. It is difficult to give a comprehensive interpretation because the answers differs. The data collection shows that;  problem-solving, pioneering and goal-directed are the most mentioned words respondents use to describe creativity. Similarly; unconventional, solutionoriented, open-minded and discernment are all personal characteristics that respondents believe that a creative person should possess. These descriptive words and features recur in the scientific theory of creativity and therefore to some extent show the similarities between the theoretical and practical definitions. However, there is no scientific definition that exactly match any of the respondents answers. From this, the authors of this report concludes that the definition of reativity in practice is a subjective assessment that differs from each user of the term.