Instrumentos de avaliação psicológica constituem-se em métodos sistemáticos de investigação e de compreensão de componentes estruturais e funcionais do comportamento humano, com diversificados objetivos e estratégias técnicas, respeitando-se especificidades das etapas do desenvolvimento. Em processos de avaliação psicológica de características da personalidade, os métodos projetivos, como o Método de Rorschach e o Desenho da Figura Humana, são recursos amplamente utilizados, contribuindo para a compreensão e elaboração de intervenções terapêuticas em variados campos de aplicação, como na área da obesidade infantil. Nesse contexto, este trabalho teve por objetivo identificar e comparar características psicológicas de crianças com obesidade em relação a eutróficas, a partir de métodos projetivos de investigação da personalidade. Foram examinadas 60 crianças de sete a 11 anos de idade, sendo 30 crianças diagnosticadas como obesas e em tratamento específico para o transtorno (Grupo 1 - G1) e 30 crianças com peso normal (Grupo 2 - G2), sem atraso acadêmico, sem limites cognitivos e sem histórico de outras doenças físicas. Os participantes de G1 foram recrutados em instituições de saúde voltadas ao tratamento da obesidade infantil e G2 foi constituído a partir de parceria estabelecida com instituição de ensino bem como a partir de contatos informais da pesquisadora e de seu grupo de pesquisa (técnica da \"bola de neve\"), buscando-se balanceamento dos grupos por sexo e idade. Os seguintes instrumentos de avaliação psicológica foram aplicados individualmente nas crianças: Teste das Matrizes Progressivas Coloridas de Raven (critério de seleção de participantes, incluindo-se na amostra apenas crianças com resultados intelectuais médios ou superiores), o Desenho da Figura Humana e o Método de Rorschach (Escola Francesa). Os pais das crianças participantes responderam ao Questionário de Capacidades e Dificuldades (SDQ) para caracterização da amostra. Os resultados foram examinados conforme padronização específica dos respectivos manuais técnicos dos instrumentos, realizando-se análises descritivas e inferenciais, a fim de examinar possíveis associações entre variáveis clínicas e demográficas e indicadores de características de personalidade das crianças. Foram efetuadas análises correlacionais entre resultados no DFH e no Rorschach, considerando também a classificação nutricional da criança. Os achados permitem compreender características do funcionamento psíquico envolvidas na obesidade infantil, de modo a favorecer estratégias futuras de intervenção terapêutica com crianças. (CAPES) / Psychological assessment instruments consist in methods of systematic research and of understanding the structural and functional components of human behavior, with diverse goals and technical strategies, respecting the specificities of the development. Projective techniques such as the Rorschach Method and the Human Figure Drawing are widely used resources in psychological evaluation processes of personality characteristics, contributing to the understanding and development of therapeutic interventions in various application fields, such as in the childhood obesity area. In this context, this study aimed to identify and compare psychological characteristics of children with obesity compared with those of normal weight, using projective methods of personality assessment. In this study were examined 60 children aged seven to 11 years old, 30 children diagnosed as obese and under specific treatment for the disorder (Group 1 - G1) and 30 children with normal weight (Group 2 - G2), with no academic delay, without cognitive limitation and with no history of other physical ailments. G1 participants were recruited from health institutions devoted to treatment of childhood obesity and G2 was formed by a partnership established with a teaching institution and a research group, intending to balance some characteristics of the two groups (sex and age). The following psychological assessment instruments were applied individually in children: Raven´s Coloured Progressive Matrices Test (constituted on selection criteria of participants, being included only the children sample with average intellectual results or higher), the Human Figure Drawing (DFH) and the Rorschach Method (French School). The parents of children answered the Strengths and Difficulties Questionnaire (SDQ) to characterize the sample. The results were examined according to specific standardization of the respective technical manuals of the instruments. Descriptive and inferential analyses were performed in order to examine possible associations between clinical and demographic variables and indicators of personality characteristics of the children. Correlation analyzes were made of the main results in DFH and Rorschach in accordance with the child\'s nutritional classification. The findings illuminate possible features of psychic functioning involved in childhood obesity process in order to facilitate future strategies for therapeutic intervention with children. (CAPES)

O objetivo principal deste trabalho foi estabelecer normas para o Desenho da Figura Humana, especificamente para o Desenho do Homem, avaliado pelo Teste Goodenough-Harris (1963) e pelos Indicadores Maturacionais de Koppitz (1973), bem como obter dados relativos à precisão e à validade. A amostra foi composta por 1540 crianças, de 5 a 11,5 anos, de ambos os sexos, sorteadas de modo a ser representativa de escolares da cidade de São Paulo. Foram controladas as variáveis: idade, sexo e tipo de escola que a criança freqüenta, este último como indicativo do nível socioeconômico. As crianças foram avaliadas individualmente, tendo sido solicitado o Desenho de um Homem e depois aplicado o Teste R-2. Foram realizadas análises de variância, considerando como variáveis a idade, o sexo e o tipo de escola. Foi constatado que as faixas etárias com amplitude de seis meses não discriminavam os grupos. Outra análise com faixas com amplitude um ano se mostrou satisfatória e as médias de pontos mostraram crescimento progressivo com a idade pelos dois sistemas de avaliação. Para a avaliação Goodenough-Harris, foram obtidas diferenças significantes entre os sexos apenas na Educação Infantil e não houve diferenças entre os tipos de escola, mostrando que o desenho pode estar associado em maior grau a fatores maturacionais do que a ambientais. As normas em percentis são apresentadas por idade, com amplitude de um ano e separadas por sexo apenas aos 5 e 6 anos. O mesmo ocorreu na avaliação Koppitz, e as normas estabelecidas por idade e separadas por sexo apenas para 5, 6 e 7 anos. As correlações entre os pontos do Desenho do Homem nas duas avaliações e o teste R-2 foram significantes, sendo para a amostra total de 0,575 (Koppitz) e 0,606 (Goodenough-Harris). A correlação entre as duas avaliações do desenho foi de 0,899 para a amostra total, que é significante e alta. Os coeficientes de precisão pelo reteste foram satisfatórios, sendo de 0,808 na avaliação Goodenough-Harris e 0,708 na Koppitz, para a amostra total. A precisão pelo Método das Metades para a amostra total foi de 0,923 e 0,857, respectivamente. Foram obtidas as freqüências de cada item, por idade e para a amostra total nas duas avaliações, e calculadas as correlações ponto-bisserial dos itens por idade e amostra total. Os resultados foram comparados com os de Harris (1963), Alves (1979), Koppitz (1973), Hutz e Antoniazzi (1995) e Sarti (1999). Concluiu-se que os dois sistemas de pontuação do Desenho do Homem são adequados para avaliação cognitiva das crianças escolares da cidade de São Paulo, podendo ser empregados na triagem e avaliação psicológica infantil. / The purpose of this work was to establish norms for the Human Figure Drawing, specifically for the Man’s Drawing, evaluated by Goodenough-Harris Test (1963) and by the Koppitz Maturity Indicators (1973), as well to get data relating to reliability and validity. The sample was composed by 1540 children, from 5 to 11½ years old, both sexes and school type and it was designed to be a representative sample of students from São Paulo city. Variables aspects age, sex and school type was controlled, this last one as a socioeconomic level indication. Children were assessed individually, and it was asked to Draw a Man and then was applied the R-2 Test. It was performed a Variance Analysis, considering as variables age, sex and school type. It was found that age levels with six months range did not discriminate groups. Another Variance Analysis indicated that age groups with one year range could discriminate age groups and the means scores increased with age in both assessment systems. For Goodenough-Harris system it was found sex differences only in preschool children, but it was not found school type differences, showing that drawing is more associated to maturational factors than environmental factors. Norms were presented in percentiles scores by age, and separated by sex only for 5 and 6 years old. Similar results were found in Koppitz assessment and norms are presented by age and separated by sex only for 5, 6 and 7 years old children. Correlations coefficients between two assessment systems of Man Drawing scores and the R-2 Test for global sample were significant (r= 0,575 to Koppitz and r= 0,606 to Goodenoough-Harris). Correlations between two assessment systems of drawing were high and significant (0,899). Reliability retest coefficients were satisfactory (r= 0,808 to Goodenough-Harris and 0,708 to Koppitz to global sample). The Split-Half reliability to total sample was 0,923 to Goodenough-Harris and 0,857 to Koppitz. It was calculated passing items frequencies and point-biserial correlations for age and for total sample in both systems. Results were compared with researches of Harris (1963), Alves (1979), Koppitz (1973), Hutz & Antoniazzi (1995) and Sarti (1999). It was concluded that both scores systems of Man’s Drawing were adequate to cognitive assessment of São Paulo city children and can be used to screening and psychological diagnostic.

My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.

[ES] La siguiente investigación busca, desde la teoría y la propia práctica pictórica, profundizar en la problemática de re-presentación del cuerpo que se distancia de cierta normalización del mismo. Se centrará, por un lado, en identificar a pintores contemporáneos que logren exponer corporalidades y subjetividades que se distancien de la producción e imagen mediática, es decir, del canon y normalización de los cuerpos. Buscando visualizar aquellas manifestaciones pictóricas contemporáneas donde el cuerpo cobra importancia como imagen representada y también como un cuerpo que surge dentro del propio quehacer pictórico, vale decir, la existencia de una corporalidad en el propio acto de pintar. Desde esta perspectiva, proponemos que se posibilitan vías para visualizar y conocer el cuerpo, desde la figuración y la abstracción, desde lo visible e invisible. Hablaremos del acto pictórico, de lo que con él acontece y los significados y sentidos que este mismo levanta hoy en día. La pintura metaforiza al cuerpo a la vez que este aparece representando. Es decir, la imagen manual representa una subjetividad, involucra un cuerpo y la pintura hace y deja un registro de ese proceso, que se hace visible desde su temporalidad, sus movimientos y actos en forma y color, haciendo presente otras posibilidades corporales, que nos posicionan como sujetos sensibles dentro de un espacio determinado o delimitado. Esto da pie a reflexiones sobre la pintura, el cuerpo, la identidad y la visualidad hoy en día. / [CA] La següent investigació busca, des de la teoria i la pròpia pràctica pictòrica, aprofundir en la problemàtica de re-presentació del cos que es distancia d'una certa normalització d'aquest. Se centrarà, d'una banda, a identificar a pintors contemporanis que aconseguisquen exposar corporalitats i subjectivitats que es distancien de la producció i imatge mediàtica, és a dir, del cànon i normalització dels cossos. Buscant visualitzar aquelles manifestacions pictòriques contemporànies on el cos cobra importància com a imatge representada que s'allunya d'un cànon i també com un cos que sorgeix dins del propi quefer pictòric, val dir, l'existència d'una corporalitat en el propi acte de pintar. Des d'aquesta perspectiva, proposem que es possibiliten vies per a visualitzar i conéixer el cos, des de la figuració i l'abstracció, des del visible i invisible. Val dir que, parlarem de l'acte pictòric, del que amb ell esdevé i els significats i sentits que aquest mateix alça hui dia. La pintura *metaforiza al cos alhora que aquest apareix representant. És a dir, la imatge manual representa una subjectivitat, involucra un cos i la pintura fa i deixa un registre d'aqueix procés, que es fa visible des de la seua temporalitat, els seus moviments i actes en forma i color, fent present altres possibilitats corporals, que ens posicionen com a subjectes sensibles dins d'un espai determinat o delimitat. Això dona peu a reflexions sobre la pintura, el cos, la identitat i la visualitat hui dia. / [EN] The following research seeks, from the theory and the pictorial practice itself, to deepen in the problematic of re-presentation of the body that distances itself from certain normalization of the same. It will focus, on the one hand, on identifying contemporary painters who manage to expose corporealities and subjectivities that distance themselves from the media production and image, that is, from the canon and normalization of bodies. We seek to visualize those contemporary pictorial manifestations where the body becomes important as a represented image that distances itself from a canon and also as a body that emerges within the pictorial work itself, that is, the existence of a corporeality in the act of painting itself. From this perspective, we propose the possibility of visualizing and knowing the body, from figuration and abstraction, from the visible and the invisible. That is to say, we will talk about the pictorial act, what happens with it and the meanings and senses that it raises today. Painting metaphorizes the body at the same time that it appears to represent. That is to say, the manual image represents a subjectivity, it involves a body and the painting makes and leaves a record of that process, which becomes visible from its temporality, its movements and acts in form and color, making present other bodily possibilities, which position us as sensitive subjects within a determined or delimited space. This gives rise to reflections on painting, the body, identity and visuality today. / Alarcón Pino, NR. (2023). Práctica pictórica: un estudio sobre la presencia visible e invisible del cuerpo en la pintura contemporánea [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202311

Summaries in Afrikaans and English / Die primere skoolkind bevind horn in 'n fase van groot verandering wat aanpassings verg en hoe eise stel. Die ervaringe wat die kind gedurende hierdie tydperk opdoen, is beduidend omdat dit sy vormingsjare is. Omdat die kind nie altyd kan verbaliseer watter probleme hy ervaar nie, is met hierdie studie gepoog om vas te stel of skooltekeninge van enige diagnostiese waarde kan wees om die kind in nood te verstaan. Die empiriese studie het bewys dat skooltekeninge nie net waarde as 'n identifiseringsmedium inhou nie, maar ook as 'n aanvullende ortopedagogiese medium aangewend kan word. Die kind neig om sy probleme, persepsies, houdings en so meer visueel te projekteer. Hoewel hierdie studie bevindinge van vroeere navorsing bevestig, is bepaalde verskille ook geidentifiseer. Die studie is afgesluit met riglyne vir die gebruik van skooltekeninge, asook aanbevelings met die oog op die verfyning van hierdie projeksiemedium. / The primary school child finds himself in a phase of great change which makes high demands and requires adjustments. What happens to the child during these years is critical because these are foundation laying years. Because a child is not always able to verbalise problems which he may experience, this study is an . endeavour to determine whether school drawings have any diagnostic value to identify a child in need. The empirical study has confirmed that school drawings have diagnostic value not only as a medium of identification, but also as a supplementary orthopedagogical medium. The child· tends to project his problems, perceptions and attitude visually. Although this study confirms findings of previous studies, certain differences were also identified. The study was concluded with guidelines for the use of school drawings, as well as recommendations regarding the refinement of this projection medium. / Psychology of Education / M. Ed. (met spesialisering in Voorligting)

The thesis deals with the developmental period of preschool-aged and early school- aged children and their drawing of a figure. The theoretical part describes the children's development at this time and also their developmental oddities and determinants that influence the development. It follows up the children's drawing, its developmental stages and especially the drawing of a human figure. The practical part focuses on the drawing of a human figure created by children in kindergartens and elementary schools. It's divided into two stages. At the first stage there is the drawing evaluated according to the Draw-a-person Test written in 1982 by J. Šturm and M. Vágnerová. The discovered values are interpreted from the qualitative and quantitative point of view. The attention is paid to remarkable events at the second stage. The practical part validates or disproves given hypotheses. The whole dissertation, its contribution to research and use for pedagogical workers are summarized in the conclusion. Key words: Preschool-age, early school-age, children's development, development of a drawing, drawing of a human figure, draw-a-person test, evaluation, case study

Les changements sociaux mettent aujourd’hui en question les identités individuelles et collectives, le rapport à soi-même et aux autres. À partir d’une méthodologie croisée, ce travail interroge la construction de l’identité en fonction du lien social, en comparant les dessins d’enfants québécois et ivoiriens (méthode projective de quatre dessins : libre, bonhomme, famille, famille idéale). Huit études de cas, de même qu’une comparaison statistique avec des données internationales (France, Russie, Vietnam), mettent en lumière des différences culturelles. La primauté de la représentation de soi-même, spécifique au Québec, et l’absence du sujet dans le dessin, particulière à la Côte d’Ivoire, font l’objet d’un examen particulier. Le dessin témoignant des identifications à l’interface subjective et sociale, la synthèse des résultats révèle la possibilité d’un lien entre le sujet solipsiste moderne et une organisation identificatoire privilégiant des figures du Même ou du semblable, qui implique des aspects régressifs. L’identification (secondaire) à des figures de l’Autre, nécessaire à la construction d’idéaux et d’une identité qui puisse se projeter dans l’avenir, paraît facilitée dans un lien social où une tradition symbolique fonctionne. De manière générale, l’identité est à penser comme un équilibre entre mêmeté et altérité, dont le lien social viendra faire varier la configuration. / Today, social changes question individual and collective identities, or the sense we have of our selves and our relation to others. Based on a crossed methodology, this thesis thinks the problem of identity construction depending on the social link, by comparing the drawings of children from Quebec and Ivory Cost (four drawings projective method: free drawing, human figure, family and ideal family). Eight cases studies, and a statistical comparison with international data (France, Russia, Vietnam), bring to light cultural differences. Priority of self-representation,specific to Quebec, and the subject’s absence in the drawing, particular to Ivory Cost, are studied more precisely. Since drawings testify of identifications at the subjective and social junction, the results synthesis reveals the possibility of a relation between the modern solipsist subject and identification to Same figures, or similar figures, involving regressive aspects. Identification (secondary identification) to Other figures, necessary for the construction of ideals and for an identity that can be projected in the future, seems facilitated in a social link where a symbolic tradition works. In general, we can think identity as an equilibrium between sameness and otherness,witch is influenced by the social link.

L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle forme à des sujets courants de la peinture chinoise, les natures mortes ou les scènes de la vie quotidienne. La peinture de YUN Duseo, influencée aussi bien par un mouvement de retour aux sources de la culture chinoise que par le contact avec la culture européenne, est étudiée principalement à travers le prisme du rapport entre peinture et écriture. / The work of YUN Duseo (1668-1715), a scholar-painter who lived during the last Korean monarchy, reflects the strong sinicization of contemporary Korean society. Indeed, such work is a product of the civilization of the ‘Chinese world’: it questions the aesthetic principles and the status of painting stemming from the Neo-Confucian doctrine, a doctrine itself associated with two often opposed doctrines, Taoism and Buddhism. YUN Duseo invented a ‘pre-modern’ painting that emphasized human figures, and particularly portraits, in a novel way and gave new form to common subjects in Chinese painting, whether still lives or scenes of everyday life.YUN Duseo’s painting, influenced by a return to the sources of Chinese culture as well as by the contact with European culture, is examined here through the prism of the relation between painting and writing.

This dissertation aims to interpret holiday imagery in the media, as a site of South African cultural production, on the basis of newspaper images of local white and black people published in the Natal Mercury from 1966 to 1996. A strong historical approach (the history of the Western holiday) has been taken in order to analyze existing social structures relating to the holiday in South Africa, specifically gender, race and class. These social structures have been examined in depth, with the result of numerous interpretations being made about behaviour and the depiction of behaviour in the context of Durban beaches and leisure. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.

Summaries in Afrikaans and English / Die primere skoolkind bevind horn in 'n fase van groot verandering wat aanpassings verg en hoe eise stel. Die ervaringe wat die kind gedurende hierdie tydperk opdoen, is beduidend omdat dit sy vormingsjare is. Omdat die kind nie altyd kan verbaliseer watter probleme hy ervaar nie, is met hierdie studie gepoog om vas te stel of skooltekeninge van enige diagnostiese waarde kan wees om die kind in nood te verstaan. Die empiriese studie het bewys dat skooltekeninge nie net waarde as 'n identifiseringsmedium inhou nie, maar ook as 'n aanvullende ortopedagogiese medium aangewend kan word. Die kind neig om sy probleme, persepsies, houdings en so meer visueel te projekteer. Hoewel hierdie studie bevindinge van vroeere navorsing bevestig, is bepaalde verskille ook geidentifiseer. Die studie is afgesluit met riglyne vir die gebruik van skooltekeninge, asook aanbevelings met die oog op die verfyning van hierdie projeksiemedium. / The primary school child finds himself in a phase of great change which makes high demands and requires adjustments. What happens to the child during these years is critical because these are foundation laying years. Because a child is not always able to verbalise problems which he may experience, this study is an . endeavour to determine whether school drawings have any diagnostic value to identify a child in need. The empirical study has confirmed that school drawings have diagnostic value not only as a medium of identification, but also as a supplementary orthopedagogical medium. The child· tends to project his problems, perceptions and attitude visually. Although this study confirms findings of previous studies, certain differences were also identified. The study was concluded with guidelines for the use of school drawings, as well as recommendations regarding the refinement of this projection medium. / Psychology of Education / M. Ed. (met spesialisering in Voorligting)