L’objectif de cette thèse est à la fois d’identifier les couplages information-mouvement impliqués dans la régulation d’une coordination visio-manuelle rythmique (tâche de frappe cyclique de balle) et également leur développement entre 5 et 12 ans. Dans un premier temps l’étude 1 a montré que la période de raquette (Tr) est couplée à la durée de la phase ascendante de la trajectoire de balle (tup) et que la variation de vitesse de raquette à l’impact (Δvr) est quant à elle couplée à l’erreur de rebond de balle à la cible (ε). Dans un second temps, les études 2 et 3 ont montré que de 5 à 7 ans les enfants montrent une très faible capacité de régulation cycle-à-cycle et adoptent un comportement moteur stéréotypé caractérisé par unehaute fréquence d’oscillation de raquette. Entre 7 et 12 ans le premier couplage information mouvement qui émerge est celui entre Tr à la hauteur de rebond de balle (hp) tandis que Δvrn’ai pas encore régulée. C’est à partir de l’âge de 11-12 ans que les premiers passages d’un couplage de Tr d’une information visuelle spatiale (hp) à l’information visuelle temporelle référence sont observés. L’évolution avec l’âge de la nature des couplages information mouvement impliqués dans la régulation de la tâche notamment au niveau des informations impliquées est en accord avec la séquence développementale du Freezing-Freeing-Exploiting(Savelsbergh & Van der Kamp ; 2000, 2003). Enfin, l’étude 4 a permis de montrer que leenfants âgés de 9 à 12 ans adoptaient un comportement oculaire similaire de fixation du regard au niveau de la cible. / This thesis aims to both identify the information-movement couplings involved in the regulation of rhythmical hand-eye coordination (ball-bouncing task) and their development in children aged from 5 to 12 years old. Study 1 showed that racket period (Tr) is coupled to the duration of the ascending phase of the ball trajectory (tup) while the variation of racket velocity at impact (Δvr) is coupled to bounce error (ε). Studies 2 and 3 showed both poorcycle-to-cycle regulation ability and stereotyped behavior (characterized by a high racket frequency) in children aged from 5 to 7. From 7 to 12, results showed the emergence of the first information-movement coupling between Tr and the ball peak height while Δvr still remains not regulated. Since the age of 11-12, the first shifts from space- (hp) to time-relatedinformation (tup) in the control of Tr are observed. Developmental dynamics related to thenature of informaiton-movement couplings and the source of information involved is in accordance with the Freezing-Freeing-Exploiting developmental sequence proposed by (Savelsbergh & Van der Kamp ; 2000, 2003). Finally, study 4 showed that both children from9 to 12 and adults fixated their gaze at a location closed the target height while performing the task.

Groove är upplevelsen att musik är rörelseskapande, vilket är det som får människor att stampa i takt till gatumusikanterna. Tidigare forskning visar att det finns inneboende egenskaper i musiken som korrelerar med groove. Förevarande studie hade därför som syfte att undersöka om det finns rytmiska egenskaper i musiken som korrelerar med groove, och hur detta eventuellt påverkas av kön och om man får röra sig till musiken eller inte. Hälften av deltagarna fick instruktioner att röra sig naturligt till musiken, och andra hälften att sitta stilla. Den experimentella studien innefattade 30 kvinnor och 30 män (23–68 år) som lyssnade på 50 musikexempel i tre olika temporegioner och skattade groove. Groove var korrelerat medmängden ljudhändelser mellan taktslagen och graden av upprepade rytmiska mönster i musiken. Kvinnor skattade groove högre än män överlag, och groove upplevdes högre när deltagarna satt stilla till musiken. Resultaten anknyter till frågor om musikens sociala funktioner och deras roll i ett evolutionärt perspektiv, speciellt med avseende på skillnaderna mellan könen, och att kön ofta har en central roll i evolutionära teorier. / Groove is the experience that music is movement inducing, which is what gets people to tap their feet while listening to the street musicians. Previous research shows that there are intrinsic properties in the music that correlates with groove. The present study therefore aimed to investigate whether there are rhythmical properties in the music that correlates with groove, and how this eventually is affected by gender and if you move to the music or not. Half of the participants were instructed to move naturally to the music and the other half to sit still. The experimental study included 30 women and 30 men (23–68 years) who listened to 50 musicexamples in three different tempo regions and rated groove. Groove was correlated with the density of sound events between the beats and the degree of repetitive rhythmical patterning in music. Women rated groove higher than men generally, and groove was higher when the participants sat still. The findings relate to questions about the social functions of the music and their role in an evolutionary perspective, especially regarding the differences between sexes, and that sex often has a central role in evolutionary theories.

L’introduction rappelle l’importance et l’intérêt des proses des Journals, des Oxford Essays and Notes, et des écrits dévotionnels, qui doivent être lus en continuité avec la poésie. Le chapitre I se consacre à la restitution des phénomènes naturels et perceptifs chez Hopkins, à la description et à l’analyse des termes d’inscape et d’instress dans les Journals, à la pratique de la prose descriptive chez Hopkins. Le chapitre II examine l’héraclitéisme de Hopkins dans le poème That Nature is a Heraclitean Fire and of the Comfort of the Resurrection. La résurrection est l’autre nom de la restitution (ou apocatastasis) qui donne la première explication de notre titre. Nous y observons le traitement de la description dynamique de la nature, en liaison avec les Journals, et l’ensemble des essais théoriques des années 1863-68, puis leur résonance sur la vingtaine d’années d’activité du poète. Le chapitre III se consacre à l’examen de l’essai « Parmenides » de 1868 qui permet de comprendre l’origine des termes essentiels d’instress et d’inscape dans la traduction commentée du Poème de Parménide, et l’emploi ultérieur de ces termes dans les définitions de la poésie. Le chapitre IV examine la définition de la poésie selon Hopkins, la constitution dialectique de la poésie, en fonction d’un triple trajet, confrontant les Essais d’Oxford, les poèmes et la tradition philosophique. On y relie de manière croisée l’interprétation de la dialectique de Platon, le réalisme d’Aristote à la question de l’imagination, de la fantaisie et de la voix. Ces éléments permettent l'analyse des liens entre langage poétique, vérité et réalité. Le chapitre V se consacre à l’analyse de la place de l’homme singulier dans cette pensée, aux définitions de la poésie, en confrontant les premiers essais d’esthétique aux usages plus tardifs des théologies hypostatiques et eucharistiques ainsi qu’à l’écriture des poèmes. La lecture de Duns Scot conduit à examiner les notions de pitch et de sake, considérées comme autant d’étapes pour parvenir à une définition poétique de l’homme. Le chapitre VI se consacre au développement de la notion d’imagination rythmique et à l’analyse du rythme bondissant, la clef de voûte de la pensée et de la pratique de Hopkins, par un examen des poèmes, des liens avec les poétiques de Wordsworth et de Coleridge, la métaphysique, la pensée du théâtre, la tradition pindarique. La conclusion tente de montrer qu’avec Hölderlin, et Coleridge, Hopkins est une des figures majeures de la pensée de la poésie, ce qui explique l’influence de ses écrits sur la poésie et la poétique du XXe siècle. / Hopkins’ Oxford Essays and Notes as well as his prose writings are of particular relevance for the understanding of his work at large. Chapter I analyzes Hopkins’ Journals and the restitution of natural phenomena and sensations, as well as the use of inscape and instress in descriptive contexts. Chapter II analyzes Hopkins’ Heracliteanism in the poem That Nature is a Heraclitean Fire and of the Comfort of the Resurrection. Resurrection is a synonym for restitution (or apocatastasis in Greek, explaining our choice of the title). We concentrate on the dynamic description of nature in the Journals and the resonance of the Oxford Essays over the twenty years of Hopkins’ activity as a writer and poet. The third chapter is devoted to the 1868 essay « Parmenides », in which we trace the origins of the key-terms of inscape and instress as translations from the Greek of Parmenides’ Poem. Chaper IV examines the import of these notions in Hopkins’ definitions of poetry, the constitutive dialectics of poetry by analyzing the following topics in the Oxford Essays : poetry, its relation to philosophy, to Plato’s dialectics, to Aristotle’s realism and ethics, the definition of voice, imagination and fancy, as well as the analysis of the links between poetical language, truth and reality. Chapter V concentrates on the analysis of man’s singularity by confronting Hopkins’ early aesthetical theories and his more mature uses of hypostatical and eucharistic theologies, in the light of Duns Scotus’s influence. The relation of poetry, theology and anthropology leads us to examine the key notions of pitch and sake in Hopkins’ poetic definition of man. Chapter VI is devoted to the analysis of Hopkins’ rhythmical imagination and sprung rhythm, the keystone of his thought and practice, in relation to his interpretation of Wordsworthian and Coleridgean aesthetics, metaphysics, dramatic theory, poetics and the Pindaric tradition. To conclude, we focus on the importance of Hopkins, as one of the greatest representatives of poetic thought in the XIXth Century along with Coleridge and Hölderlin, hence his influence in XXth century poetry and poetics.

A deeper understanding of both movement control and the effects of nociceptor inputs on our motor systems is critical for proper clinical diagnosis of musculo-skeletal dysfunctions and for development of novel rehabilitation schemes. In the jaw system, masticatory movements are produced by a central pattern generator (CPG) located in the brainstem. Considerable efforts have been made in deciphering this neuronal network. The present thesis contributes towards an increasingly detailed understanding of its essential elements, and presents a hypothesis of how deep somatic pain (i.e. muscle pain) may be evoked and interferes with the masticatory CPG circuitry. In Paper I, the expression of c-Fos-like protein was used as a molecular marker to visualize brainstem neurons that were active during induced fictive mastication in the anesthetized and paralyzed rabbit. Our findings provide a previously lacking detailed record of the neuronal populations that form the masticatory motor pattern. Certain cells were located in brainstem areas previously suggested to be involved in the masticatory CPG. However, it was a new finding that neurons in the dorsal part of the trigeminal main sensory nucleus (NVsnpr-d) may belong to this circuitry. Paper II focused on the discovered neurons in NVsnpr in an in vitro slice preparation from young rats.  Intracellular recordings allowed us to define two cell types based on their response to depolarizing current. Microstimulation applied to the trigeminal motor nucleus, its reticular border, the parvocellular reticular formation and the nucleus reticularis pontis caudalis, elicited postsynaptic potentials in 81% of the neurons tested. Responses obtained were predominately excitatory and sensitive to gluta-matergic antagonists DNQX or/and APV. Some inhibitory and biphasic responses were also evoked. Bicuculline methiodide or strychnine blocked the IPSPs indicating that they were mediated by GABAA or glycinergic receptors. About one third of the stimulations activated both types of neurons antidromically. Neurons in NVsnpr-d seem to gather all the conditions that can theoretically account for a role in masticatory rhythm generation. In Paper III, the masticatory model system was used to investigate the possible role of muscle spindle primary afferents in development of persistent musculoskeletal pain. Following intramuscular acidic (pH 4.0) saline injections of rat masseter muscles, in vitro whole cell recordings were done from jaw closing muscle spindle somata located in the trigeminal mesencephalic nucleus (NVmes). Compared to control neurons, the somata of afferents exposed to acid had more hyperpolarized membrane potentials, more hyperpolarized thresholds for firing, high frequency membrane oscillations and ectopic bursting of action potentials. These changes in membrane properties lasted for up to 35 days. Within the same time frame experi-mental animals showed hypersensitivity to touch on the skin covering the injected muscle. Similar saline injections also resulted in a significant increase of activity dependent c-Fos expression in NVmes neurons compared to controls. Immuno-fluorescence and lectin binding studies indicated that small-caliber muscle afferents containing known nociceptor markers (CGRP, SP, P2X3, TRPV1 and IB4) and expressing glutamate receptors are found close to the annulo-spiral endings of the NVmes afferents. Combined, our new observations support the hypothesis that excessive release of glutamate, within muscle spindles due to ectopically evoked antidromic action potentials, could lead to development of persistent musculoskeletal pain by activation and/ or sensitization of adjacent muscle afferent nociceptors.

Michael Praetorius’ Terpsichore. Musarum Aoniarum Quinta (1612) präsentiert sich als Sammlung von Tänzen, aus der von Ausführenden verschiedene Stücke zusammengestellt werden können, um daraus eine Tanzfolge zu bilden. Das Banchetto musicale (1617) von Johann Hermann Schein hingegen gliedert sich in zwanzig Tanzfolgen mit zusätzlicher Intrada und Padouana. Drei gleiche Arten von Tänzen lassen sich sowohl in Terpsichore als auch im Banchetto musicale beobachten: Pavane de Spaigne, Gaillarde und Courante bzw. Padouana, Gagliarda und Courente. Der Gegenüberstellung dieser einmal französisch, einmal italienisch bezeichneten Tänze in den beiden Sammlungen ist diese Untersuchung gewidmet. / Michael Praetorius’s Terpsichore. Musarum Aoniarum Quinta (1612) takes the form of a collection of dances from which different pieces can be selected by performers to form a set of dances. The Banchetto musicale (1617) by Johann Hermann Schein, in contrast, is divided into twenty sequences of dances, with an additional Intrada and Padouana. The same three types of dances can be observed in both Terpsichore and Banchetto musicale: Pavane de Spaigne, Gaillarde, and Courante, and Padouana, Gagliarda, and Courente respectively. The focus of this study is the comparison of these dances designated in the two collections in French and Italian respectively.

Bakgrund: Rytmisk insmörjning enligt Wegman/Hauschka (RI) är en beröringsterapi inom antroposofisk vård. RI utförs av sjuksköterskor inom landstingsfinansierad integrativ vård. Patienter får RI i primärvård, öppenvård och slutenvård. Det centrala i den antroposofiska synen på kropp, hälsa och lidande överrensstämmer i stor utsträckning med den vårdvetenskapliga livsvärldsteorin. Syfte: Att belysa hur patienter som fått eller får RI i öppenvård upplevt att behandlingen har påverkat dem. Metod: Kvalitativ innehållsanalys enligt Lundman och Hällgren Graneheim (2012) baserad på semistrukturerade intervjuer med fem patienter.   Resultat: Patienter som fått RI i öppenvård upplevde att deras hälsa förbättrades kroppsligt, själsligt och andligt. Kroppsligt lidande som smärta, nedsatt lungfunktion, tarmbesvär och sömnsvårigheter förbättrades. Själsligt och existentiellt lidande minskade i form av förbättrade kognitiva funktioner och ökad möjlighet att känna avslappning, avgränsning, mening, hopp, bekräftelse, trygghet samt livskraft. Slutsats: I denna studie på patienter i öppenvård liksom i tidigare studier på patienter i slutenvård upplevs RI kunna stärka hälsan kroppsligt, själsligt och existentiellt. RI är en vårdaktivitet där patienten bemöts utifrån ett helhetsperspektiv och vårdvetenskaplig teori omsätts i praktik. Större, jämförande studier med till exempel kontrollgrupp utan behandling eller med läkemedelsbehandling eller samtalsterapi liksom studier över tid är nödvändigt innan RI kan integreras i större utsträckning inom dagens hälso- och sjukvård. / Background: Rhythmical Einreibungen according to Wegman/Hauschka (RE) is a soft massage therapy for use in medicine and nursing extended through anthroposophy. RE is practiced by nurses working with integrative health care in the public financed health system, both with inpatients and outpatients (e.g. in primary care). The ontological definitions of caring science grounded in lifeworld theory of the human body, health and suffering is to a high extent corresponding with anthroposophic medicine. Aim: To explore how outpatients receiving RE have experienced that the therapy have affected them. Method: A quality content analysis, according to Lundman and Hällgren Graneheim (2012), based on semi structured interviews with five patients. Results: A decrease in physical suffering such as pain, reduced lung capacity, IBS and sleeping disorders was experienced. Psychological and spiritual improvement was experienced in cognitive functions, sense of relaxation, meaning, hope, confirmation, security and vitality. Improved health was experienced despite severe illness. Conclusion: RE is a therapy where caring science seems to be put in practice. This study on outpatients receiving RE indicates that it may improve health physically, psychologically and spiritually. The results match with earlier studies on inpatients receiving RE. Further studies, e.g. in comparison with psychotherapy or medical treatments, would be of great interest.

The diploma thesis gives the information of the preferences of locomotive activities at chosen groups of the students of South Bohemian University. The preferences of the students that study Physical Education have been compared to the preferences of the students of other pedagogical subjects and also the mutual comparison of locomotive activities of women and men has been done. The research has been performed in a questionnaire form. The results have shown that young people currently prefer both traditional sports, and new, modern kinds of sports, developed in the last ten years. These activities also reflect the development of the society and economics, and also technical possibilities in new sport facilities.

Bruhn (2008) and Griffiths (1978) have referred in passing to Messiaen's use of non-Western content as an appropriation, but a consideration of its potential moral and aesthetic failings within the scope of modern literature on artistic cultural appropriation is an underexplored topic. Messiaen's first encounter with India came during his student years, by way of a Sanskrit version of Saṅgītaratnākara (c. 1240 CE) written by the thirteenth-century Hindu musicologist Śārṅgadeva. I examine Messiaen's use of Indian deśītālas within a cultural appropriation context. Non-Western music provided a safe space for him to explore the familiar, and served as validation for previously held creative interests, prompting the expansion and development of rhythmic techniques from the unfamiliar. Chapter 1 examines the different forms of artistic cultural appropriation, drawing on the ideas of James O. Young and Conrad G. Brunk (2012) and Bruce H. Ziff and Pratima V. Rao (1997). I consider the impact of power dynamic inequality between 'insider' and 'outsider' cultures. I evaluate the relation between aesthetic errors and authenticity. Chapter 2 considers the internal and external factors and that prompted Messiaen to draw on non-Western rhythm. I examine Messiaen's appropriation of Indian rhythm in relation to Bloomian poetic misreading, and whether his appropriation of Indian rhythm reveals an authentic intention. Chapter 3 analyses Messiaen's interpretation of Śārṅgadeva's 120 deśītālas and its underlying Hindu symbolism. Chapter 4 contextualises Messiaen's Japanese poem Sept haïkaï (1962) in relation to other European Orientalist artworks of the late-nineteenth and early-twentieth centuries, and also in relation to Michael Sullivan's (1987: 209) three-tiered definitions of japonism.