Diss.--Düsseldorf--Philosophische Fakultät, 1983. / Bibliogr. p. 249-269. Index.

Breslau, Phil. Diss. v. 30. Nov. 1932.

Thesis (doctoral)--Université de Genève, 1987. / Spine title: L'Espace existentiel chez Hermann Hesse. Cover title: L'Espace existentiel dans la vie et l'œuvre de Hermann Hesse, 1877-1962. Includes bibliographical references (p. 357-388).

Diss. Techn. Hochschule Darmstadt. / Literaturverz.

Thesis (doctoral)-Universität, Mannheim, 2004.-

Thesis (doctoral)-Universität, Mannheim, 2004.-

Mémoire (M.A.)--Université du Québec à Trois-Rivières, 2003. / Bibliogr.: f. 120-124.

As mudanças ocorridas na sociedade e nos padrões de comportamento das últimas décadas, impulsionadas pelo crescimento econômico, globalização e urbanização contribuíram para a atual epidemia de obesidade, considerada hoje um problema de saúde pública e fator de risco para inúmeras doenças. Por ser uma doença multifatorial, seu tratamento é complexo e envolve a necessidade de mudanças nos hábitos e comportamentos alimentares, bem como do estilo de vida, devendo ser desenvolvido por uma equipe interdisciplinar. O Balão de Ar é um dos tratamentos disponíveis dentro do modelo médico, em especial, o Balão da BioFlex. Contudo, a adesão ao tratamento para a obesidade por parte dos pacientes é considerada baixa. A presente pesquisa tem como objetivo identificar traços e características da estrutura e da dinâmica da personalidade de pacientes obesos e verificar a relação entre os resultados obtidos e a adesão ao tratamento. A amostra foi composta por 19 participantes, sendo 15 mulheres e quatro homens, independentemente dos níveis socioeconômico e educacional. Os participantes foram encaminhados pela equipe médica responsável e pelos próprios pacientes que já estavam em tratamento. Os instrumentos utilizados foram o Psicodiagnóstico de Rorschach e as observações clínicas das avaliações psicodiagnósticas e dos encontros psicoeducativos grupais mensais. Os pacientes foram divididos em três subgrupos: aqueles com perda maior de 10% do peso inicial (Grupo A), os com perda menor de 10% (Grupo B) e aqueles com ganho de peso (Grupo C). A avaliação psicológica ocorreu no hospital em que o tratamento e a própria pesquisa foram realizadas e no consultório da psicóloga pesquisadora, conforme a disponibilidade de horários dos pacientes. O acompanhamento em grupo ocorreu exclusivamente no próprio hospital, em local adequado para sua realização e autorizado pelo médico responsável pela pesquisa. Verificou-se que os pacientes do Grupo A apresentam flexibilidade cognitiva e possuem recursos psíquicos para lidar com as demandas, no entanto estão vivenciando algum grau de estresse subjetivamente sentido, o que dificulta a mobilização adequada e suficiente desses recursos, contribuindo para a diminuição da tolerância à frustração e o aumento da impulsividade. Observa-se, ainda, a presença de traços narcisistas de personalidade e o uso da intelectualização como principal mecanismo defensivo. Os pacientes do Grupo B possuem poucos recursos psíquicos, maior rigidez cognitiva, apresentam dificuldades em identificar as necessidades básicas internas primárias e secundárias e lançam mão da fantasia como principal defesa psíquica. Tanto os pacientes do grupo A como os do Grupo B delegam aos outros as responsabilidades pelas suas escolhas, possuem uma postura mais passiva e menos assertiva nos relacionamentos interpessoais, bem como imaturidade emocional, além de dificuldades em estabelecer vínculos significativos e nos processos de simbolização. Já aqueles pacientes do Grupo C são imaturos emocionalmente e apresentam dificuldades em estabelecer vínculos significativos com os outros e em identificar aquilo que sentem. Conclui-se, com base no que foi observado, que há algumas 9 semelhanças e diferenças no funcionamento psíquico entre aqueles que perderam mais peso daqueles que perderam menos ou ganharam peso, assim como em relação à adesão ao tratamento / The changes in society and in patterns of behavior in recent decades driven by economic growth, globalization and urbanization have contributed to the current epidemic of obesity, which is considered, nowadays, a public health problem and a risk factor for numerous diseases. Because it is a multifactorial disease, its treatment is complex and involves needs for changes in eating habits and behavior as well as lifestyle and should be carried out by an interdisciplinary team. The Air Balloon is one of the treatments available within the medical model, and the BioFlex Balloon is one of them. However, adherence to treatment for obesity by the patients is considered low. This research aims to identify personalitys traces and characteristics of the structure and psychic dynamics of obese patients and to investigate the relationship between the results and the adherence to treatment. The sample consisted of 19 participants, 15 women and four men, regardless of socioeconomic and educational levels. Participants were referred by medical staff in charge and by those patients who were already receiving treatment. The instruments used were the Rorschach Psychodiagnostic and clinical observations of psychodiagnostic evaluations and of psychoeducational monthly group meetings. Patients were divided into three subgroups: those with more than 10% loss of initial weight (Group A), those with less than 10% loss of initial weight (Group B) and those with weight gain (Group C). The psychological evaluation occurred at the hospital where the treatment and the research itself took place and at the researchers office, according to patients availability schedules. The monthly group meetings occurred exclusively in the hospital in an adequate place for its realization and authorizes by the physician responsible for the study. It was found that patients from Group A have cognitive flexibility and psychological resources to cope with the demands imposed on them by internal and external events in their lives, but they are experiencing some level of subjectively felt stress, which hinders the mobilization of adequate and sufficient coping resources, contributing to limited tolerance for frustration and to impulsive actions. There is also the presence of narcissistic personality traces and the use of intellectualization as the main defensive mechanism. Patients from Group B have fewer resources, cognitive inflexibility, difficulties in identifying their primary and secondary basic internal needs and they use fantasy as the main defensive mechanism. Both patients from Group A and from Group B place on others the responsibility for their choices, have more passive and less assertive behavior in interpersonal relationships as well as emotional immaturity and difficulties in symbolization process and in establishing meaningful bonds with others. Patients from Group C are emotionally immature individuals and have difficult establishing meaningful bonds with others and in identifying their feelings. It is concluded, based on what has been observed, that there are some similarities and differences in psychological functioning among those who lost more weight as well as in relation to adherence to treatment

Le Théâtre des Orgies et des Mystères d’Hermann Nitsch s’inscrit dans le contexte douloureux de l’Autriche post fasciste. En effet, alors que cette dernière affiche dès l’annexion de 1938 un collaborationnisme « joyeux », elle s’est, au lendemain de la guerre, victimisée en déniant sa responsabilité et sa participation active aux crimes nazis préférant l’imputer entièrement à son voisin germanique.Aussi, c’est dans cette atmosphère nauséabonde et face au silence de la majorité des intellectuels de l’époque, ou’Hermann Nitsch va mettre en place son Theater à travers un langage plastique d’une grande radicalité.Cependant, contrairement à ce que l’on pourrait penser, il ne s’agit pas d’un art politique. En effet, passé le premier choc visuel, le Theater est avant tout philosophique et anthropologique.L’homme moderne désacralisé ne serait plus selon l’artiste en harmonie avec ce qui le constitue dans son essence. Les sociétés postmodernes, jugées par Nitsch comme aliénantes, seraient à l’origine d’une rupture de sens entre le matériel et le spirituel. L’expérience du Theater propose ainsi à l’individu, par le rituel et la mise en exergue des principes anthropologiques d’invariances de se débarrasser des déterminismes sociétaux afin d’accéder, à une connaissance continue (Bataille).Ainsi, le Théâtre des Orgies et des Mystères est une oeuvre multi référentielle et transhistorique se situant au carrefour entre micro et macrohistoire. L’artiste affirme que « le processus de création et le Theater doivent contribuer à former une unité avec le tout » afin « d’en finir avec la séparation entre immanence et transcendance ». Aussi, chacune des actions proposées par Nitsch consistent en des rituels tantôt de vie tantôt de mort ayant précisément pour objectif de rompre avec l’antagonisme immanence/transcendance. Réactualisant un langage symbolique inné (au sens où l’entend Freud) et des traditions anciennes, le Theater d’Hermann Nitsch tente de démontrer à l’individu moderne que l’univers qui l’entoure, malgré sa diversité, est un tout cohérent relevant d’une continuité survivante auquel il participe. / Hermann Nitsch's Theatre of Orgies and Mysteries (Orgien Mysterien Theater) grew out of the painful context of post-Fascist Austria. Although Austria had welcomed annexation with Germany in 1938 and the Austrians had been eager collaborators with the Nazis from the outset, as soon as the war was over, they portrayed themselves as victims, denying responsibility for or active participation in Nazi crimes, preferring to blame everything on their German neighbours.In this loathsome atmosphere, in which the majority of the intellectuals of the time remained silent, Hermann Nitsch set up his Theater, using a highly radical, visual language.Contrary to what one might suppose, however, it was not political art.And in fact, after the initial visual shock, the Theater was, above all, philosophical and anthropological. Nitsch maintained that modern man, stripped of mythology, was no longer in harmony with his essence. Postmodern societies, which he deemed alienating, were responsible for a semantic breach between the material and the spiritual. The experience of the Theater, through ritual and its emphasis on anthropological principles of invariance, was a way for the individual to rid himself of societal determinism in order to gain access to continuous knowledge (Bataille). Thus, the Theatre of Orgies andMysteries is a multi-referential, transhistoric work situated on the cusp of micro- and macro-history. Nitsch has stated that "the creative process and the Theater must contribute towards forming a unity with the whole" so as to "erase the difference between immanence and transcendence". All of the activities proposed by Nitsch consist in rituals, sometimes of life and sometimes of death, but all with the aim of erasing the immanence/transcendence dichotomy. Hermann Nitsch's Theater adapts inborn symbolic language (in the Freudian sense) and old traditions in an attempt to demonstrate to the modernindividual that the universe that surrounds them, despite its diversity, is a coherent whole, a surviving continuity in which they participate.a

Techn. Univ., Diss.--Berlin, 2007.