No description available.

No description available.

La douleur est une réponse normale qui nous permet de réagir en réponse à un trauma ou une situation qui pourrait potentiellement causer du tort à notre corps. Cette expérience désagréable n’est pas seulement physiologique, mais elle est aussi psychologique, émotionnelle et socio-culturelle. C’est ce qui la rend aussi complexe et subjective. Lorsque les mécanismes de modulation de la douleur ne fonctionnent plus normalement, ces douleurs peuvent devenir chroniques et être très handicapantes pour les patients. Dans cette étude, nous nous sommes plus particulièrement focalisés sur certaines maladies musculosquelettiques présentant de la douleur chronique telles que l’encéphalomyélite myalgique (EM), la fibromyalgie (FM) et l’arthrose ou l’ostéoarthrite (OA). L’EM et la FM sont deux maladies complexes et hétérogènes qui ont plusieurs symptômes qui se chevauchent. L’EM se caractérise généralement par de la fatigue chronique qui n’est pas soulagée par le repos et par des malaises après-effort (PEM). Alors que la FM se caractérise davantage par de la douleur chronique musculaire et articulaire. Puis, l’OA est une maladie débilitante où les patients ont une dégradation progressive du cartilage articulaire causant de la douleur chronique qui est davantage localisée au niveau des joints articulaires atteints. Actuellement, il n’existe pas de biomarqueurs idéaux pour mesurer le niveau de douleur pour ces maladies dont l’étiologie reste incertaine. Toutefois, une étude récente a démontré une diminution de l’expression du gène MFAP3 au niveau des cellules mononuclées du sang périphérique (PBMC) chez des individus présentant des états de douleur élevée à la suite d’un syndrome post-traumatique. Ce gène code pour une protéine appelée protéine associée aux microfibrilles 3 (MFAP3), qui participent dans plusieurs processus biologiques dont l’assemblage des microfibrilles, l'élastinogenèse et l'homéostasie tissulaire, et pourrait aussi être une protéine clé impliquée dans l’inhibition de la douleur. L’objectif de cette étude est de mieux comprendre le rôle de la protéine MFAP3 et son implication dans la douleur dans ces différentes pathologies. L’expression du gène MFAP3 a été mesurée dans les PBMC de patients atteints d’EM, de FM, d’OA et de sujets sains (HC) et a été corrélée aux niveaux de douleur des patients. Une recherche in silico nous a permis d’identifier des récepteurs membranaires impliqués dans la douleur et pouvant interagir physiquement avec la protéine MFAP3 dont le récepteur HTR3A (le récepteur à sérotonine 3A). La spectroscopie cellulaire diélectrique a été utilisée pour valider cette interaction dans des cellules Jurkat (lymphocytes T humains immortalisés) dans des conditions standards. Il a été observé que la protéine MFAP3 inhibait la réponse induite par la stimulation de ce récepteur. Cette recherche pourrait éventuellement conduire au développement de nouvelles thérapies pour traiter la douleur associée à ces maladies musculosquelettiques. / Pain is a normal response that allows us to react in response to trauma or in situations that are dangerous or could potentially harm our body. This unpleasant experience is not only physiological, but it is also psychological, emotional, and socio-cultural. This is what makes it so complex and subjective. When pain modulation mechanisms no longer function normally, pain can become chronic and be very disabling for patients. In this study, we particularly focused on some musculoskeletal diseases presenting chronic pain such as myalgic encephalomyelitis (ME), fibromyalgia (FM) and osteoarthritis (OA). ME and FM are two complex and heterogeneous diseases that exhibit several overlapping symptoms. ME is characterized by a chronic fatigue that is not relieved by rest and post-exertional malaise (PEM), whereas FM is rather characterized by more chronic muscle and joint pain. In regard to OA, this debilitating disease leads to a progressive degradation of articular cartilage joints resulting in chronic pain which is more localized in the affected joints. Currently, there are no ideal biomarkers to measure pain level for these diseases and their etiology remains unclear. However, a recent study demonstrated a decrease in MFAP3 gene expression in peripheral blood mononuclear cells (PBMC) in individuals presenting high pain states following a post-traumatic syndrome. This gene encodes a protein called Microfibril-associated protein 3 (MFAP3), which participates in several biological processes including microfibril assembly, elastinogenesis and tissue homeostasis, and could also be a key protein involved in pain inhibition. The objectives of this study were to better understand the role of the MFAP3 protein and its involvement in pain in these different pathologies. MFAP3 gene expression was measured in PBMCs from patients with ME, FM, OA and healthy subjects (HC) and correlated with their pain levels. In silico research allowed us to identify membrane receptors involved in pain that can physically interact with the MFAP3 protein, including the HTR3A receptor (Serotonin receptor 3A). Cellular dielectric spectroscopy was used to validate this interaction in Jurkat cells (immortalized human T lymphocytes) under standard conditions. It was observed that MFAP3 inhibits the response induced by this receptor stimulation. This research could eventually lead to the development of new therapies to treat pain associated with these musculoskeletal diseases.

A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio. / From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.

A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio. / From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.

My diploma thesis is instalation, which elements are based on principales of ready-made. Documentation of living performance. Site-specific charakter, objects, and documents are common, that are one from of physical, psychical, and social injuries. Trought the installation and added text with its full range of form I am changing the discurse.

The different reactions of parents to the discovery that their children had ADD/ADHD has an effect on the primary relationship established between mother and child. This is essential in the later involvement, experience and meaning attribution of the child with respect to all subsequent relationship formation on the child's journey towards his ultimate target, namely self-actualisation. It was felt that psychological intervention could help parents to bond, communicate with and relate to their children without experiencing negative feelings which would enhance parental acceptance. In this study, ten mothers were used to participate in an adapted group Filial Therapy programme. This unique therapy involves parents as the primary agents to resolve child-related problems and to encourage children's healthy psycho-social development. Results were positive. The mothers felt that they had formed better relationship with their children. They were empowered with knowledge and coping mechanisms, such as reflective listening, setting limits and providing choices. For the first time they were enjoying their ADD/ADHD children. / Psychology of Education / M. Ed. (Guidance and Counselling)

Made available in DSpace on 2016-04-28T19:58:41Z (GMT). No. of bitstreams: 1 IVETE VIDIGOI DE SOUZA.pdf: 708654 bytes, checksum: 61c17488800742063296d572d195efa9 (MD5) Previous issue date: 2005-09-27 / The purpose of this work is to starting the miror metaphor show some characteristics that are related to the double of two literature characters The major characters which have permited the analysis of the unveilling ways of the double are in two short stories both entitled \"The mirror\"one of the written by machado de Assis 19th century brazilian author and the by Guimarães Rosa another brazilian writer of the 20 th century The study of this two short stories text structure is based on Bakthin\'s polyphonic principles While Piglia\'s theory has provide the elements for the analyses of the short story by Machado de Assis Guimarães Rosa\'s short story was analyzed from an essaystic sight based on Adorno´s teory This research aims at a new reading for a treme wich has been superficially theorised so far and wich, therefore should be enlightened by deeper studies / O objetivo deste trabalho foi mostrar a partir da metáfora do espelho caracterísicas pertinentes ao duplo em duas personagens literárias As personagens centrais que permitiram o exame das formas de manifestação do duplo perencem aos contos chamados O espelho um de Machado de Assis, autor do século XIX e outro de Guimarães Rosa, do século XX Para o estudo da questão do duplo apoiamos-nos nas idéias de vários teóricos A análise dos dois contos em relação á duplicidade baseou-se sobretudo nos princípios de polifonia e dialogia de Bakhtin Do ponto de vista da duplicidade na narrativa, a teoria de Piglia ofereceu especialmente elementos para o estudo do conto de machado de Assis enquanto o de Guimarães Rosa foi analisado sob o olhar ensaístico tendo por base a teoria de Adorno a fim de relacionar o caráter prismático do ensaio com a uestão do duplo. Esta pesquisa procurou desenvolver uma proposa de leitura nova para um tema ainda pouco esudado, portanto aberto a outras reflexões e aprofundamentos

Afrikanische Staaten werden oft mit einem ideal-typischen westeuropäischen Nationalstaat verglichen und unweigerlich für unzureichend befunden. Diese Arbeit begegnet diesem theoretischen Missstand, indem sie eine neue Typologie des territorialen afrikanischen Nationalstaats in Abgrenzung vom europäischen Model entwickelt. Die Typologie fungiert als theoretisches Prisma für eine ausführliche Analyse des Südsudan für die Jahre 2005-2014. Gleichzeitig liefert der Vergleich mit dem Sonderfall Südsudan neue Erkenntnisse zum Wandel von Staat und Nation in Afrika. Ausgehend von einer historisch-philosophischen Querschau auf Staat und Nation in Europa, werden die grundverschiedenen Umstände von Nationalstaatsbildung im postkolonialen Afrika dargestellt. Der Autor schöpft aus einer umfangreichen Literatur, die fast sämtliche Staaten in Sub-Sahara Afrika abdeckt, um typisierte Aspekte von Staat und Nation herauszuarbeiten. Für den afrikanischen Staat sind dies der hybride Quasi-Staat, der illegitime Staat, der privatisierte neopatrimoniale Staat und der aufgedunsene Zentralstaat. Die Typologie der afrikanischen Nation besteht aus inklusivem Staatsnationalismus, dem Wiedererstarken politischer Ethnizität sowie dem ausgrenzenden neuen Nationalismus. Auf der Basis von Primär- und Sekundärquellen sowie Feldforschung, haben sich südsudanesischer Staat und Nation als überwiegend kongruent mit der Typologie erwiesen. Abweichungen bestehen jedoch im Ausmaß der Übernahme von Dienstleistungen durch ausländische NGOs, in der Struktur der neopatrimonialen Netzwerke sowie in der Rolle, die Sprache für die nationale Identität spielt. Zudem weist der Südsudan sämtliche Entwicklungstrends des postkolonialen Nationalismus parallel zueinander und nicht aufeinander folgend auf. Dies deutet darauf hin, dass sich die Bedingungen für Nationenbildung im heutigen Afrika dank Urbanisierung, moderner Kommunikationswege und dem Vorherrschen von Bürgerkriegen sehr von der Vergangenheit unterscheiden. / African states are often judged by comparison to an ideal-typical Western European nation-state, which inevitably finds the African state wanting. This thesis challenges this theoretical drawback by developing a novel typology of the African territorial nation-state in juxtaposition to the European model. The typology is then applied as a theoretical prism for an in-depth analysis of the case of South Sudan, the world’s newest state, for the period 2005-2014. At the same time, comparison to the anomalous case of South Sudan provides new insights into the changing nature of statehood and nationalism in Africa. Starting out from a historical-philosophical overview of state and nation in the European context, the very different circumstances of nation-state formation in postcolonial Africa are depicted. The author then draws on a large body of literature covering almost all of Sub-Saharan Africa to distil typified facets of state and nation. For the African state, these components are the hybrid quasi state, the illegitimate state, the privatized neopatrimonial state and the swollen centralized state. The typology of the African nation consists of inclusive state-nationalism, the resurgence of political ethnicity and exclusionary new nationalism and the politics of autochthony. Based on primary and secondary sources including fieldwork in South Sudan, the empirical reality of South Sudan’s nascent nation-state is shown to largely match the typology. Important divergences exist however in the degree of service delivery by foreign NGOs, in the dispersed nature of the neopatrimonial networks, and the role of language in nationbuilding. Crucially, South Sudan exhibits all three trends of postcolonial African nationalism at the same time rather than in successive periods. This indicates that in contemporary Africa rapid urbanization, modern communications and the prevalence of civil wars create very different conditions for nationbuilding than in decades past.

Au coeur de l’existence et de l’oeuvre de Bousquet(18971950) se trouve la blessure qu’il reçut à la guerre de 14-18 et qui le condamna à la paralysie. Cette expérience tragique fut la source d’une oeuvre originale et diverse, dans laquelle les correspondances, et plus particulièrement les correspondances amoureuses, tiennent une place importante. Elles sont l’espace dans lequel se déploie une quête d’identité qui passe par la relation à l’altérité, et plus précisément, par la relation amoureuse. L’écriture est vécue par Bousquet comme une tentative de salut, une lutte contre le mal, une quête du sens et de la vérité à travers le langage. Cette écriture intime sonde les profondeurs intérieures de l’homme et s’élève vers la hauteur spirituelle par l’Amour. La recherche de l’unité et de l’essentiel conduit progressivement à l’expression d’une vision du monde qui est aussi une poétique et un enseignement sur la « vraie vie ». / At the core of Joë Bousquet’s life and work (18971950) lies the wound he received during WWI which was to leave him paralysed. Such a tragic experience brought about a unique though diverse achievement, especially through his love letters. Indeed they provide matter for an identity questwhich means how one relates to others, more particularly when love is involved. For Bousquet writing is tantamount to reaching for salvation, it compares with fighting back evil, it is like a quest for meaning and truth by means of words. That deepseated writing probes the inner parts of the human soul, eventually rising up to spiritual heights by means of love. The search for unity and the essential truth also gradually results in a poetical viewing of the world, as well as a lesson of ‘true life’.