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国立情報学研究所で電子化したコンテンツを使用している。

Narratives in the forms of music or literature have traditionally been highlightedfor their ability to evoke empathy; however, the specific features of the narrativethat serve as the underlying mechanisms responsible for this effect remain unclear.The aim of the present study was to examine the impact of a narrative’s style onempathy. An experimental repeated measures research design was used with 41participants (31 female, 10 male; age range 20-63 yrs, M=30.2 yrs) that underwentthree conditions each comprised of a different stimulus (i.e., a song, a piece ofprose and a poem), with the same narrative content but differing in style. The orderof the stimuli was randomized across participants. After each stimulus, empatheticresponses were captured via self reports, measuring valence and arousal of theparticipant, as well as their perceived valence and arousal of the main character ofthe narrative. The song had a strong correlation between participant-rating andcharacter-rating on valence and arousal, thus evoking a stronger (affective)empathetic response than the other two styles of stimuli, having moderatecorrelations. The character-rating barely differed between the style of stimuli, andthe narrative first presented lowered the participants’ valence regardless of style.These findings could possibly be explained by cognitive empathy responding to thenarrative, evoking the same understanding of another person, whereas affectiveempathy seem more prone to respond to stylistic features. Future research andpossible therapeutic implications are discussed. / Narrativ i form av musik och litteratur är kända för att kunna framkalla empati hos mottagaren; däremot är det fortfarande oklart vilka specifika aspekter av ett narrativ som ligger bakom denna effekt. Syftet med föreliggande studie var att undersöka effekten av narrativ stil på empati. En experimentell studie med inomgruppsdesign användes med 41 deltagare (31 kvinnor, 10 män, åldersintervall 20-63 år, M = 30.2 år) vilka exponerades för tre olika stimuli; en sång, en prosatext och en dikt. Varje stimuli hade samma narrativa innehåll men skilde sig åt beträffande narrativ stil. Presentationsordningen för stimulina randomiserades för deltagarna. Efter varje stimuli mättes empatisk reaktion via självskattningar av valens och arousal hos deltagarna, liksom hur de skattade valens och arousal för berättelsens huvudkaraktär. Sången visade en stark korrelation mellan deltagarnas självskattningar och skattningar av huvudkaraktären på både valens och arousal, vilket innebär att sången skapade ett starkare (affektivt) empatiskt gensvar än övriga två stimuli, vilka hade måttliga korrelationer. Skattningar av huvudkaraktärens valens och arousal påverkades ytterst lite av narrativ stil. Presentationsordningen påverkade deltagarnas skattningar då första stimulit sänkte deltagarnas valens oavsett narrativ stil. Dessa resultat kan eventuellt förklaras genom att kognitiv empati svarar på narrativets innehåll, att oavsett narrativ stil framkallas samma förståelse för en annan person, medan affektiv empati verkar påverkas utav den narrativa stilen. Framtida forskning och terapeutiska implikationer diskuteras.

Made available in DSpace on 2015-03-05T18:12:39Z (GMT). No. of bitstreams: 0 Previous issue date: 28 / Nenhuma / O presente estudo investigou eventos de contação de histórias a partir de livro de gravuras em díades mãe e filho(a). O objetivo foi verificar o estilo narrativo das mães ao narrarem a história do livro de gravuras intitulado “Frog, where are you?” (“Sapo, onde está você?”) a seus filhos(as) de três e cinco anos de idade, assim como verificar se há diferença no estilo em função da idade e gênero das crianças. As gravações foram feitas na residência de cada família, onde participaram 16 mães falantes de português, de classe média, nascidas e residentes em Porto Alegre, e seus respectivos filhos e filhas de três e cinco anos. A partir da análise das perguntas feitas pelas mães a suas crianças durante a contação, verificou-se a ocorrência tanto do estilo elaborativo como do pouco elaborativo. No estilo elaborativo, as mães geralmente se envolvem em narrativas mais longas com seus filhos, requisitam mais a participação oral da criança na co-construção da narrativa, assim como enriquecem a narrativa com detalhes s / This study investigates story telling events through a picture book reading. The aim was to verify mothers’ narrative styles when telling their 3 and 5-year old sons and daughters the story from the picture book entitled “Frog, where are you?”, as well as to verify changes in style according to children’s age and genre. Narratives were recorded in the dyads’ houses. 16 portuguese monolingual speaking mothers, from Porto Alegre, and their 3-year old children (4 girls and 4 boys), as well as their 5-year old children (4 girls and 4 boys) were involved. Through mothers’ questions analysis, both elaborative and low-elaborative styles were observed. In the elaborative style, mothers are generally engaged in long narratives, being used to requiring their child’s oral participation in narrative construction, as well as enriching narrative with details about its characters and actions. On the other hand, low-elaborative mothers tend to get involved in short narratives, not stimulating their child’s oral participation

Este trabalho investiga documentários brasileiros contemporâneos sob a perspectiva da inscrição dos imaginários urbanos engendrados em suas formas de narrar as cidades brasileiras, convocando três filmes, realizados no século XXI: Edifício Master, Ônibus 174 e Rua de mão dupla. No desenvolvimento de nossa análise, partimos da percepção do documentário como encontro maquínico instaurador de dispositivos técnicos e conceituais, nutrindo-se de um imaginário coletivo ao mesmo tempo em que a ele incorpora-se como imagem. Posto isso, desenvolvemos a hipótese de que os dispositivos de interação empregados pelos documentaristas configuram sociabilidades documentais, moduladas em relações de proximidades e distâncias que acabam, a um só tempo, por expressar o estar junto nas imagens, bem como espelhar (e modular) o contexto de onde elas partem. Tais sociabilidades são formas de partilha e de relações narrativas que se abrem à fabulação criadora ou que, ao contrário, tentam domesticá-la em proveito de um efeito de veracidade. Com esses pressupostos, preocupamonos em analisar pormenorizadamente os três filmes acima citados, notando que as diferentes formas de sociabilidade documental acabavam por agenciar distintas inscrições do imaginário urbano brasileiro. / This thesis examines Brazilian contemporary documentaries from the perspective of the urban imaginaries insertion engendered in the form they narrate Brazilian cities, convoking three films made in the 21st century: Edifício Master, Ônibus 174 e Rua de mão dupla. In developing our analysis, our starting point is the conception of documentary film as an encounter towards camera that establishes technical and conceptual dispositives, nourishing itself from collective imaginary and at the same time incorporating itself in it as image. That stated, we develop the hypothesis that interaction dispositives employed by documentary filmmakers form documental sociabilities, modulated in their relation of proximity and distance, which not only express the beingtogether in the images, but also mirror (and modulate) the context from which they start out. These sociabilities are forms of sharing and narrative relations that open themselves to creative fabulation or that, in a contrary way, try do domesticate it in benefit of a veracity effect. Having these presuppositions in mind, our concern is to analyze in detail the three films above mentioned, noting that the different forms of documental sociability set different insertions of Brazilian urban imaginary.

Children's theories of mind have been researched extensively over the past two decades. Generally, studies concerning this understanding have focused on children between three and five years of age because it is believed that an understanding of mind develops during this period. However, evidence from naturalistic contexts suggests that many younger children can demonstrate an understanding of the mind. Despite this, the focus in many studies has been the age at which children are able to demonstrate a representational understanding of mind. Less interest has been directed towards how children use their understanding during their everyday interactions. Evidence suggests further investigations need to consider the social nature of a theory of mind. For example, a growing amount of research indicates that social contexts are important in facilitating an understanding of mind. Relationships have been reported between a theory of mind and the following: peer popularity, family size and level of fantasy play. Given these, it appears necessary for research to address the social implications of an understanding of mind in 3-5 year olds. Interview and observation methods were adopted for data collection. The interview phase of this study investigated whether or not selected characteristics of narrative influenced children's performance on four non-traditional literature based false belief tasks. Results indicated that narrative style, active participation and narrative detail were significant predictors of children's ability to demonstrate an understanding of false belief. Age was not identified as a significant variable. The results from both phases in this study suggest that 3-5 year olds can demonstrate an understanding of mind during non-traditional false belief tasks and everyday interactions. It is argued that an understanding of mind is characterised by a range of behaviours and that not all these are addressed in the traditional paradigm. / Doctor of Philosophy (PhD)

Este trabalho investiga documentários brasileiros contemporâneos sob a perspectiva da inscrição dos imaginários urbanos engendrados em suas formas de narrar as cidades brasileiras, convocando três filmes, realizados no século XXI: Edifício Master, Ônibus 174 e Rua de mão dupla. No desenvolvimento de nossa análise, partimos da percepção do documentário como encontro maquínico instaurador de dispositivos técnicos e conceituais, nutrindo-se de um imaginário coletivo ao mesmo tempo em que a ele incorpora-se como imagem. Posto isso, desenvolvemos a hipótese de que os dispositivos de interação empregados pelos documentaristas configuram sociabilidades documentais, moduladas em relações de proximidades e distâncias que acabam, a um só tempo, por expressar o estar junto nas imagens, bem como espelhar (e modular) o contexto de onde elas partem. Tais sociabilidades são formas de partilha e de relações narrativas que se abrem à fabulação criadora ou que, ao contrário, tentam domesticá-la em proveito de um efeito de veracidade. Com esses pressupostos, preocupamonos em analisar pormenorizadamente os três filmes acima citados, notando que as diferentes formas de sociabilidade documental acabavam por agenciar distintas inscrições do imaginário urbano brasileiro. / This thesis examines Brazilian contemporary documentaries from the perspective of the urban imaginaries insertion engendered in the form they narrate Brazilian cities, convoking three films made in the 21st century: Edifício Master, Ônibus 174 e Rua de mão dupla. In developing our analysis, our starting point is the conception of documentary film as an encounter towards camera that establishes technical and conceptual dispositives, nourishing itself from collective imaginary and at the same time incorporating itself in it as image. That stated, we develop the hypothesis that interaction dispositives employed by documentary filmmakers form documental sociabilities, modulated in their relation of proximity and distance, which not only express the beingtogether in the images, but also mirror (and modulate) the context from which they start out. These sociabilities are forms of sharing and narrative relations that open themselves to creative fabulation or that, in a contrary way, try do domesticate it in benefit of a veracity effect. Having these presuppositions in mind, our concern is to analyze in detail the three films above mentioned, noting that the different forms of documental sociability set different insertions of Brazilian urban imaginary.

<p>Abstract</p><p>Chained Thoughts Broken by Chains of Thought</p><p>An Analysis of the Narrative Style Used in Virginia Woolf’s A Room of One’s Own</p><p>The purpose of this essay is to analyse the narrative style used in Virginia Woolf’s A Room of One’s Own in order to show in which ways it supports and reinforces the author’s arguments in her quest for a more equal society. One of the most prominent stylistic means applied by Woolf is her ‘train of thought’, linking one reflection to another like wagons in a railway convoy or like loops in a chain (therefore also sometimes referred to as ‘chain of thought’ in dictionaries). By examining how different rhetorical devices are applied within this train or chain of thought and in which ways these strategies are linked to the main elements of persuasion (ethos, pathos and logos) in Aristotelian Rhetoric, I have found that one of Woolf’s central themes - the resentment against confinement and the advocacy of androgyny or mixed-gendered thinking - is mirrored in her style. It reflects the author’s call to resist society’s restrictions by its unrestricted combination of different rhetorical strategies; this mixture of stylistic, partly gender-neutral devices helps her to create a common ground where she can reach and appeal to both genders in a very effective and innovative way, thus enabling her chain of thoughts to break some of our chained thoughts.</p><p>Ellen Johansson</p><p>Engelska C</p>

This thesis examines the role of computer competence in elders’ well-being as they experience a reduced ability to communicate in very old age. My research question was “How do elders over 80 interact with computers? Employing narrative inquiry, I sought stories from 10 elders living in Victoria, B.C. Narrative style open-ended interviews were conducted one on one. Challenging stereotypes, these participants were computer literate people who happen to be very old. Depending on their relationships, learning from their children was a valuable resource. I found no evidence that they required any special senior friendly websites. These elders learned to use what interested them on the computer—no more. The computer is an extension of their ability to communicate their social messages as they age. The denouement of my narrative research is that computers give voice to elders; nevertheless, decision makers need to respect elders’ right to refuse computer uses.