This project sought to evaluate the effects of video prompting in combination with backwards chaining to increase proficiency of tying shoe-laces using a changing criterion design. Two children, one diagnosed with Autism Spectrum Disorder (ASD) and one neurotypical were invited to participate in this study. Following baseline, shoe-tying prompt videos and backwards chaining were used to teach shoe-tying. Video prompting plus backwards chaining increased the typically developing participant’s proficiency with performing a larger percentage of steps of the targeted skill independently following intervention. However, the participant with ASD was unable to meet criterion and the study was terminated for him due to challenging behavior. These results indicate that the combination of point-of-view video prompts along with backwards chaining can be effective in teaching children to tie their shoelaces. These results also indicate that children with ASD may need additional supports with this intervention to reach acquisition criterion. Parents reported satisfaction both with the procedures undertaken and with the outcomes of the intervention. / Applied Behavioral Analysis

La relation mère-enfant est une variable déterminante de l’adaptation de l’enfant exposé à la violence conjugale. Toutefois, les rares études qui analysent simultanément le point de vue de la mère et celui de l’enfant au sujet de la qualité de leur relation révèlent peu de liens entre eux. La présente étude vise à identifier les variables associées à l’écart dans l’évaluation que la mère et l’enfant victimes de violence conjugale font de la qualité de leur relation. Au total, 117 mères victimes de violence conjugale et leur enfant âgé entre 8 et 12 ans ont participé à l’étude. Conformément aux hypothèses, plusieurs variables déjà liées à la qualité de la relation mère-enfant en contexte de violence conjugale sont associées aux différences de points de vue. C’est le cas pour les troubles extériorisés de l’enfant, son degré de parentification, la détresse de la mère et les troubles intériorisés de l’enfant. En revanche, l’intensité de la violence conjugale, la présence d’abus physique et le sexe de l’enfant ne prédisent pas de manière significative les écarts de point de vue entre la mère et l’enfant. La discussion montre l’intérêt de prendre en compte non seulement le point de vue de la mère et celui de l’enfant à propos de leur relation mais également leurs écarts de point de vue et les facteurs qui y contribuent. / The mother-child relationship is a determinant factor that predicts the adaptation of children exposed to domestic violence. The few studies who consider both mother and child perceptions of the mother-child relationship quality find little similarity between them. The current study identifies the variables associated to different perceptions between mothers and children exposed to domestic violence while evaluating the motherchild relationship. The research was conducted with 117 abused women and their children aged 8 to 12. In accordance to the hypothesis, many variables that are already linked to the mother-child relationship’s quality in a context of domestic violence are associated to differences in points of views. It’s the case for the externalized problems of the child, his parentification degree, the mother’s distress and the internalized problems of the child. On the other hand, the domestic violence’s intensity, the physical abuse and the child’s sex do not significantly predict the difference in points of views between the mother and the child. The discussion underlines the importance of evaluating the mother’s and the child’s perceptions as well as the differences between them and the contributing factors.

La relation mère-enfant est une variable déterminante de l’adaptation de l’enfant exposé à la violence conjugale. Toutefois, les rares études qui analysent simultanément le point de vue de la mère et celui de l’enfant au sujet de la qualité de leur relation révèlent peu de liens entre eux. La présente étude vise à identifier les variables associées à l’écart dans l’évaluation que la mère et l’enfant victimes de violence conjugale font de la qualité de leur relation. Au total, 117 mères victimes de violence conjugale et leur enfant âgé entre 8 et 12 ans ont participé à l’étude. Conformément aux hypothèses, plusieurs variables déjà liées à la qualité de la relation mère-enfant en contexte de violence conjugale sont associées aux différences de points de vue. C’est le cas pour les troubles extériorisés de l’enfant, son degré de parentification, la détresse de la mère et les troubles intériorisés de l’enfant. En revanche, l’intensité de la violence conjugale, la présence d’abus physique et le sexe de l’enfant ne prédisent pas de manière significative les écarts de point de vue entre la mère et l’enfant. La discussion montre l’intérêt de prendre en compte non seulement le point de vue de la mère et celui de l’enfant à propos de leur relation mais également leurs écarts de point de vue et les facteurs qui y contribuent. / The mother-child relationship is a determinant factor that predicts the adaptation of children exposed to domestic violence. The few studies who consider both mother and child perceptions of the mother-child relationship quality find little similarity between them. The current study identifies the variables associated to different perceptions between mothers and children exposed to domestic violence while evaluating the motherchild relationship. The research was conducted with 117 abused women and their children aged 8 to 12. In accordance to the hypothesis, many variables that are already linked to the mother-child relationship’s quality in a context of domestic violence are associated to differences in points of views. It’s the case for the externalized problems of the child, his parentification degree, the mother’s distress and the internalized problems of the child. On the other hand, the domestic violence’s intensity, the physical abuse and the child’s sex do not significantly predict the difference in points of views between the mother and the child. The discussion underlines the importance of evaluating the mother’s and the child’s perceptions as well as the differences between them and the contributing factors.

Cette étude constitue une interprétation de la philosophie de la logique de W. V. Quine à l’aune de ce que nous considérons comme étant un problème fondamental qui la gouverne et dont on peut considérer qu’elle en constitue une réponse. Ce problème a trait à la compatibilité entre logique et paroissial. Il admet la formulation condensée suivante : soit il y a un sens à dire que la logique est paroissiale, mais alors le paroissial se trouve être une restriction et est en droit éliminable ; soit le paroissial n’est pas une restriction et est inéliminable, mais alors il n’y a aucun sens à dire que la logique est paroissiale. Le problème se nourrit de ce que la qualification de la logique comme paroissiale fait l’objet d’une revendication explicite et délibérée par Quine, i.e. n’est ni de l’ordre d’une concession, ni de l’ordre d’un moment argumentatif dialectiquement résorbable. En d’autres termes, Quine revendique et cherche à se donner les moyens de revendiquer ce contre quoi une conception « universaliste » de la logique comme celle de Frege lutte, ordonnée qu’elle est à un présupposé ou une prémisse anti-paroissialiste d’unicité de la logique. Affirmer que Quine cherche à se donner les moyens de revendiquer la paroissialité de la logique, c’est dire qu’il prit tout à fait au sérieux les arguments anti-psychologistes de Frege contre toute conception paroissiale de la logique. Plus généralement,cette étude et la lecture de la conception quinienne de la logique que nous y proposons sont organisées par le principe d’une lecture frégéenne de Quine : si nous voulons comprendre ce que signifie de dire que la logique est paroissiale chez Quine, alors il faut revenir à Frege, que ce soit par la manière dont Quine s’y oppose ou par la manière dont il s’approprie certains thèmes et principes fondamentaux de la conception frégéenne de la logique. Cette étude consiste alors à mettre au jour et à examiner les raisons et les modalités de la revendication par Quine d’une paroissialité de la logique. Tout en étant ordonnés au traitement du problème de l’incompatibilité apparente du paroissial et de la logique, les cinq chapitres qui la composent parcourent successivement la critique de « Truth by Convention » du projet syntaxique de Carnap et de son principe de tolérance (chapitre 1), la philosophie de la notation logique de Quine (chapitre 2), le point de vue anthropologique en matière de logique que Quine fait sien (chapitre 3), le critère d’engagement ontologique (chapitre 4) et, enfin, la définition substitutionnelle de la vérité logique (chapitre 5). / This study is an interpretation of W.V. Quine’s philosophy of logic taken as an answer to what we consider to be a fundamental problem. This problem has to do with the compatibility between logic and parochial. It can be briefly expressed in the following manner: either that there is sense in saying that logic is parochial, but the parochial therefore happens to be a restriction and could be eliminated, or that the parochial is not a restriction and could not be eliminated, but that there is thus no sense in saying that logic is parochial. The problem is fueled by the fact that Quine explicitly and deliberately claims logic to be parochial. Such a qualification is neither a concession nor an argumentative moment that could be dialectically reduced. In other words, what Quine claims – and is seeking means to claim – is precisely that which a “universalist” conception of logic like Frege’s challenges, since it assumes an anti-parochial premise concerning the uniqueness of logic. Quine seeks means to claim the parochiality of logic in the sense that he seriously considered Frege’s anti-psychologist arguments against all parochial conceptions of logic. More generally, this study – and the understanding of Quine's conception of logic that it promotes – follows the principle of a Fregean reading of Quine: if one wants to understand what it means to say that logic is parochial in Quine, one has to go back to Frege, either through Quine’s opposition to him or through his appropriation of certain themes and fundamental principles of the Fregean conception of logic. Connected to the problem of the apparent incompatibility of logic and the parochial, the five chapters contained within this study successively explore the criticism of Carnap’s syntaxical project and of its principle of tolerance found in “Truth by Convention” (chapter 1); Quine’s philosophy of logical notation (chapter 2); the anthropological point of view in logic that Quine makes his own (chapter 3); the criterion of ontological commitment (chapter 4) and the substitutional definition of logical truth (chapter 5).

The dissertation for my PhD is a composite novel called We Are Everyone You Know. The novel is set in a small town that is neither rural nor suburban, which, like the characters, defies classification. The cast rotates. Main characters become supporting characters in subsequent chapters and vice versa. I employ this strategy so the reader is able to see each character as an individual, that even those who seem to be in the background are living complex lives. The novel explores such themes as poverty, gentrification, the loss of innocence caused by a corrupt world, and the inability of people to realize their identities when the promises of youth turn out to be lies. Each chapter or story is told from either a different point of view or in a different style or genre. While the novel as a whole is grounded around a family and group of friends in a small town, the pieces of the story range in form from simple realism, to modernism, to post-modernism, to surrealism, to meta-fiction. I experiment with genres ranging from crime drama, to disaster survival, to sports comedy, to kung-fu epic, and more. Interspersed between the genre pieces are realist stories of a new lost generation—thirty-somethings who are stuck in permanent adolescence, who work at soul-crushing jobs, and who find neither the shining future that was promised to them in their youth nor the comfortable mediocrity of their parents’ lives. For this project I have been particularly inspired by the works of Louise Erdrich, James Joyce, and Jennifer Egan.

A relação entre razão e direito faz parte da tradição do pensamento ocidental. No período moderno, essa relação serviu de base para o surgimento de uma cultura jurídica autônoma, dentro da qual foram elaboradas as idéias de sujeito de direito e sistema jurídico. No entanto, a modernidade também criou condições para o nascimento das chamadas teorias jurídicas, que se constituem como uma nova forma de discurso jurídico, distinta das teorias filosóficas e das dogmáticas jurídicas, por não manifestarem o modelo de racionalidade tradicional, associado à concepção de lei natural. Para compreender a racionalidade nesse novo âmbito do discurso dos juristas, é proposto, nesta tese de doutoramento, um caminho peculiar: por um lado, tomam-se por objeto teorias jurídicas que se tornaram referência no contexto anglo-saxônico, ou seja, fora dos marcos habituais da racionalização na Europa continental moderna; por outro lado, são considerados como fio condutor para esta investigação os enfoques interpretativos construídos como legítimos por essas teorias, em vez de configurar sua racionalidade a partir de divisões escolares ou matrizes epistemológicas. Essa delimitação permite revelar três modelos novos e distintos de racionalidade jurídica, que resultam do desenvolvimento de diferentes concepções de pontos de vista no contexto do debate entre as teorias jurídicas de John Austin, Oliver W. Holmes Jr., Hans Kelsen, Herbert L. A. Hart, Robert Alexy e Ronald Dworkin. Esses três modelos, por sua vez, contribuem para ressaltar os limites heurísticos da contraposição positivismo vs. antipositivismo para tratar da racionalidade no direito contemporâneo. / The relation between reason and law is part of the Western thought tradition. In the modern period, this relation served as basis for the emergence of an autonomous legal culture, within which the ideas of \"subjects of law\" and \"legal system\" were elaborated. However, modernity has also created conditions for the birth of the so-called legal theories, which were constituted as a new form of legal discourse (distinct from the legal dogmatics and philosophical theories of law), for they do not present the traditional model of rationality associated with the conception of natural law. A peculiar method is proposed in this doctoral thesis, in order to understand the rationality in this new sphere of legal discourse: on the one hand, legal theories which have become reference within the Anglo-Saxon world i.e., theories outside the usual landmarks of rationalization in modern continental Europe are taken as object; on the other hand, the interpretive approaches (focuses) formulated as legitimate by these theories are considered as expressions of rationality, instead of rationality as originated from divisions by schools of thought or epistemological matrices. By means of this method, three new distinct models of legal reasoning are revealed. These models are the outcome of different concepts of \"point of view\" which were defended throughout the dialogue which took place between the theories of John Austin, Oliver W. Holmes Jr., Hans Kelsen, Herbert L. A. Hart, Ronald Dworkin and Robert Alexy. These three models, in turn, contribute to highlighting the heuristic limits of the opposition legal positivism vs. non-positivism in the debate over rationality in contemporary law.

O argumento cinematográfico para um filme de longa-metragem ficcional é tema central da presente dissertação. Para tal, foi realizada uma pesquisa baseada em dois eixos. O primeiro, o tema do filme (a relação entre os universos feminino e masculino na faixa de meia-idade no Brasil urbano contemporâneo); o segundo, a abordagem cinematográfica (representações da subjetividade no cinema). No século XX, enormes transformações colocaram a mulher em um novo lugar no tecido social. O homem contemporâneo viu seu lugar histórico ser abalado por essas transformações e ainda não se reposicionou. O descompasso entre feminino e masculino colocou num terreno de imensa dificuldade o relacionamento de casal, hoje pouco normatizado por regras sociais. Este tema é tratado em Joana do ponto de vista subjetivo da personagem principal. Na linguagem cinematográfica, a subjetividade, concebida como um nível específico da narração, compartilha com o espectador os olhos e ouvidos do personagem, e/ou o mergulho em sua mente. Algo para além do formal é necessário para que um filme expresse alto grau de subjetividade do personagem. Esta pesquisa examina alguns longa-metragens contemporâneos, localizando como é representada a subjetividade: o ponto de vista ótico, o comportamento do personagem, a expressão do mundo interno, a linguagem. É realizada uma incursão na literatura que compara o monólogo interior à voz dos pensamentos dos personagens no cinema e discrimina outras atividades mentais que no cinema podem ter outras representações além da palavra. As necessidades específicas de expressão dessa história, focalizada pela personagem principal, provoca a discussão sobre a forma da escrita do argumento e roteiro cinematográfico. São examinados textos de Sergei Eisenstein que tratam de estratégias para escrever roteiros, em que a emoção é privilegiada. Busca-se um formato específico para o argumento cinematográfico desta história. Circunscreve-se um campo de representações da subjetividade para o argumento em questão. Apresenta-se o argumento em seu sétimo tratamento. / Treatment for a fictional long-feature film is the central theme of the present dissertation. Research was conducted based on two axes: the first on film theme (the relation between middle-aged males and females living in urban areas of Brazil nowadays); the second on film language (representations of subjectivity in film). The 20th Century saw huge changes with women taking a new place in social life. As a result, contemporary men saw their historic place unsettled and have not yet repositioned themselves. The mismatch between the new male and female social positions brought great difficulties to relationships, which nowadays are regulated by very few social standards. This theme comes up in Joana through the main characters subjective point of view. In film language, subjectivity, conceived as a specific level of narration shares with the viewer the characters eyes and ears, and/or allows the viewer to get right inside the characters mind. Something beyond the merely formal is required for a film to express high levels of character subjectivity. This research examines some contemporary fiction films, analyzing how subjectivity is represented: the optical point-of-view, characters behavior, expressions of characters inner world, characters speech. A literature review compares inner monologue to how characters thoughts are depicted in film. It also discriminates between other mental activities that can be better expressed in film by different representations other than words. The specific expression needs of this story, based on the focal character, bring on the discussion of script and film treatment writing formats. Sergei Eisensteins writings dealing with screenwriting strategies to privilege emotion are examined. A specific format for the film treatment of this story is searched. A range of representation of subjectivity for this film treatment is defined. The seventh draft of the film treatment is presented.

Aspecto central no documentário brasileiro contemporâneo, a valorização da experiência do outro como vivência singular faz com que voltemos os olhos e os ouvidos ao homem comum, às expressões individuais, às formas particulares com que os indivíduos ordenam seu estar no mundo. Estruturados prioritariamente por um encontro entre sujeitos, esses filmes podem apresentar uma composição da alteridade que não se reduza às configurações de um \"indivíduo típico\", assim como às de um \"outro absolutizado\". Instiga-nos, nas modulações dessa relação, apreender um ponto de vista que se a(u)toriza no documentário, engendrando um espaço de autoria: ao mesmo tempo em que se inscreve na cena, organiza o filme como discurso, pela distribuição das formas de ver e ouvir o outro - panorama em que se tornam apreensíveis as condições que dão forma ao encontro. A análise da autoria no documentário contemporâneo, conforme propomos, considera os condicionantes históricos que o compreendem como gênero discursivo, ao mesmo tempo em que suscita a investigação dos efeitos de singularidade apreensíveis nos filmes, que remetem a um nome de autor. Sob conformações estéticas específicas, delineiam-se lugares de autoria que, pela especificidade do documentário como prática social, não são alheios a uma determinação ética: aquela que se estabelece quando, postos em relação, sujeito da câmera e sujeito para a câmera tornam-se interdependentes, dimensão em que, no encontro com o outro, faz-se do próprio sujeito um outro. Propomos uma análise inter-relacionada, distribuída em três capítulos, dos documentários Nós que aqui estamos por vós esperamos (1999), de Marcelo Masagão; Santiago (2007), de João Moreira Salles; e Pacific (2009), de Marcelo Pedroso; A pessoa é para o que nasce (2005), de Roberto Berliner; Estamira (2006), de Marcos Prado; e Garapa (2009), de José Padilha; Santo forte (1999), de Eduardo Coutinho; A falta que me faz (2009), de Marília Rocha; e O céu sobre os ombros (2010), de Sérgio Borges. / Main aspect in contemporary Brazilian documentaries, the appreciation of the experience of the other as a unique existence forces us to see and listen to the ordinary man, to the individual expressions, to the particular ways in which individuals organize their modes of being-in-the-world. These movies, when primarily structured by an encounter between subjects, present a conception of alterity that is not restricted to the configurations of a \"typical individual\", as well to the \"absolutized other\". In the modulations of this relationship, we aim to understand a point of view that authorizes (actorizes) itself in the documentary, engendering a space for the authorship: at the same time it is registered in the scene, it organizes the movie as a discourse, through the distribution of the forms of seeing and listening the other - creating a panorama in which the conditions that shape the encounter become apprehensible. The analysis of the authorship in contemporary documentaries, as we propose, considers the historical coercions of the discourse genre, at the same time it investigates the singularities of the movies, concerning the name of the author. Under specific aesthetic conformation, some places of authorship are outlined, which, due to the specificity of the documentaries as social practices, are not unconcerned to an ethical determination: the one that is established when the subject of the camera and the subject to the camera become interdependent, and in the encounter with the other, the subject himself becomes the other. We propose an interrelated analysis, which is distributed in three chapters, of the Brazilian documentaries Nós que aqui estamos por vós esperamos (1999), by Marcelo Masagão; Santiago (2007), by João Moreira Salles; and Pacific (2009), by Marcelo Pedroso; A pessoa é para o que nasce (2005), by Roberto Berliner; Estamira (2006), by Marcos Prado; and Garapa (2009), by José Padilha; Santo forte (1999), by Eduardo Coutinho; A falta que me faz (2009), by Marília Rocha; and O céu sobre os ombros (2010), by Sérgio Borges.

Mais do que investigar algumas das relações possíveis entre a pintura e a fotografia, esta pesquisa tem como objetivo criar uma reflexão sobre a minha produção pictórica que estende-se desde o período da minha graduação e segue adiante, explorando os aspectos que permeiam o trabalho - as questões relativas à história da arte; os parques de diversões sob diferentes aspectos; a imagem automatizada e suas características, especialmente no contexto da tecnologia digital disponível no início do Século XXI. / Besides investigating the possible relations between painting and photography, this research work intends on creating a reflection about my pictorical production which began on my graduation years and keeps going on, exploring aspects related to the work - questions related to Art History; amusement parks through their different aspects; automated image and its characteristics, specialy on the context of digital technology available at the beginning of the 21st Century

Made available in DSpace on 2016-04-28T20:39:07Z (GMT). No. of bitstreams: 1 Oswaldo Henrique Duek Marques.pdf: 995964 bytes, checksum: a677e6a03805227f7a6aa2cd85b5fbb9 (MD5) Previous issue date: 2015-08-14 / This work analyses Erich Fromm s psychoanalytical contributions to the understanding of Nazism and its intrinsic anti-Semitism by conducting a theoretical research in Psychoanalysis, while taking into account the historical and philosophical basis. In the first chapter we focus on the historical aspects of Nazism and anti-Semitism. In the second chapter, we discuss psychoanalytical contributions from de the Freudian field in order to reflect on the question of Nazism from a psychoanalytical point of view, as an introduction to Fromm s ideas on this topic. In the third and final chapter, we study aspects of Nazism and anti-Semitism in Fromm s works. In the conclusion, we present Fromm s main psychoanalytical contributions to these themes. Through a critical and reflexive analysis this work attempts to demonstrate this author s crucial contribution to the psychoanalytic understanding of Nazism and Anti-Semitism. The value of this research resides in the fact that no deep and specific study on Fromm s psychoanalytic contributions to the understanding of these topics has been found. The referred issues are still current in today s world, as they reveal, from a psychoanalytical standpoint, the mechanisms that unleash the discrimination and intolerance in totalitarian regimes / Este estudo analisa as contribuições psicanalíticas de Erich Fromm para a compreensão do nazismo e do antissemitismo nele inserido, por meio de pesquisa teórica em Psicanálise, sem afastar as bases históricas e filosóficas. Para tanto, enfoca inicialmente, no primeiro capítulo, os aspectos históricos do nazismo e do antissemitismo, para, na sequência, no segundo capítulo, discorrer sobre os subsídios psicanalíticos no campo freudiano, a fim de pensar a problemática do nazismo da ótica da psicanálise, como introdução às ideias de Fromm sobre esse tema. No terceiro e último capítulo, pesquisam-se, na obra conjunta desse autor, os aspectos do nazismo e do antissemitismo. Ao final, na conclusão, são apresentadas as principais contribuições psicanalíticas de Fromm sobre esses temas. Este trabalho pretende demonstrar, por meio de uma análise crítica e reflexiva, a contribuição essencial desse autor para a compreensão psicanalítica do nazismo e do antissemitismo. Esta pesquisa se justifica na medida em que não foi localizado estudo aprofundado e específico que apontasse as contribuições psicanalíticas de Fromm para compreender o nazismo e o antissemitismo. Os assuntos tratados revestem-se de atualidade, por revelarem, do ponto de vista psicanalítico, os mecanismos que desencadeiam a discriminação e a intolerância, presentes nos regimes totalitáriosa