Cette thèse s'interroge sur la connaissance de soi émotionnelle, sur sa place ainsi que sa participation à la connaissance de soi, sur la valeur qu'elle a pour les individus ordinaires et sur la manière dont les individus ordinaires peuvent l'obtenir. L'examen de la nature des émotions et de la valeur que les individus accordent à la connaissance de leurs émotions, qui est effectué dans cette thèse, met en avant l'importance de l'acquisition de la connaissance de soi émotionnelle, ainsi que le lien que cette dernière est communément entendue entretenir avec le bonheur. Si l'acquisition de cette connaissance apparaît comme primordiale, elle n'en est pas pour autant facile. Elle requiert le déploiement d'un certain nombre de capacités cognitives, ainsi qu'un effort cognitif important, notamment au cours de l'utilisation de l'introspection. En effet, cette thèse discute exclusivement de l'accès introspectif à la connaissance de soi émotionnelle, et laisse de côté les autres formes d'accès à la connaissance de soi. Je m'interroge donc dans ce travail, sur la portée pratique mais aussi morale de l'utilisation de l'introspection au regard des émotions, en proposant une défense du processus introspectif comme d'un processus capable de permettre à un individu ordinaire de détecter, d'identifier et d'interpréter ses propres émotions. Cette thèse est donc axée autour de deux arguments principaux. Le premier de ces aruments octroie à la connaissance de soi émotionnelle, une place fondamentale au sein de la forme de connaissance de soi qui importe aux individus ordinaires. Le second défend l'idée selon laquelle l'introspection offre un accès à cette connaissance émotionnelle, notamment par le biais de l'appréhension qu'elle permet de la phénoménologie des émotions, et que cet accès a une fiabilité minimale et donc une valeur épistémique, même faible, ainsi qu'une valeur morale et intrinsèque. / This thesis examines emotional self-knowledge, its place as well as its participation in self-knowledge, the value it has for ordinary individuals and how ordinary individuals can obtain it. The examination of the nature of the emotions and the value that individuals place on the knowledge of their emotions, which is carried out in this thesis, highlights the importance of the acquisition of emotional-selfknowledge, as well as the link thet the latter is commonly heard to maintain with happiness. If the acquisition of this knowledge appears to be essential, it is not easy. It requires the unfurling of a number of cognitive abilities, as well as a significant cognitive effort, especially during the use of introspection. Indeed, this thesis exclusively discusses introspective access to emotional self-knowledge, and set aside other forms of access to self-knowledge. In this woek, I therefore question the practical but also moral scope of the use of introspection with regard to emotions, proposing a defense of the introspective process as a process capable of allowing an ordinary individual to detect, to identify and interpret one's own emotions. This thesis is therefore organized around two main arguments. The first of these arguments gives emotional self-knowledge a fundamental place in the form of self-knowledge that matters to ordinary people. The second defends the idea that introspection offers access ti this emotional knowledge, notably through the apprehension that its allows of the phenomenology of emotions, and that this access has a minimum reliability and therefore an epistemic value - even a weak one - as well as a moral and intrinsic value.

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This paper analyses Arthur Miller’s play, Death of a Salesman. The main focus is on the theme American Dream and its influences on the characters. Classical Marxism and Althusser’s Marxist theory have been used as the theoretical framework for this paper to answer the questions: In which ways has the American dream as a concept of happiness and financial success affected the characters? Can the American dream and capitalism be blamed for the Loman family’s situation? The conclusion drawn after studying Miller’s play is that the material side of the American dream can be identified as the dominant in the play and it has more negative effects than positive ones on the Lomans, the effects are both mental and physical. Despite the negative effects of the American dream and capitalism on the characters in Miller’s Death of a Salesman, one cannot blame them for the Loman family’s situation. It is the individuals (characters) that must be blamed because everyone can independently in a democratic and free society make their own choices. For that reason, people have to stand up for their actions and take responsibility for the consequences of their choices and actions whether the consequences are good or bad. Hence, the problem in Miller’s play is not so much about ideological influences as it is about self-awareness.

Philosophy, art and leadership have been considered in previous studies, nevertheless rarely have all three been blended in one. The aim of this thesis resided in the attempt to build an unfixed conceptual net, having the ambition to shed light on the innermost parts of the leader; by collecting insights from philosophical notions, the figure of an artistic leader arises. The personal importance of this work was rooted in the hope of a leadership sourced in an inner reflection. Through qualitative research, we made use of concepts derived from Kant, Foucault, Nietzsche, Heidegger and several other thinkers, targeting the ontological, sensible, and reflecting centers of the figure of the artistic leader; which ultimately was completed by primary data retrieved from experts. At the heart of the thesis, namely the fourth strand, these thoughts are developed in two volumes. The first regards the emergence of the artistic leader, a concise ontology of this figure, the suggestion of the paramount importance played by self-reflection and the ‘care’ as found in a Foucauldian understanding, as well as the mechanisms of the mind of the leader. The eventual practices of the artistic leader are developed in the second volume, seen as expressive channels through which this figure could interact with the environment. The thesis - by its very nature - is open ended, as it is a suggestion of a figure drawing its relevance in the continual constructive thinking this work hopes to generate in the reader.

This thesis explores the challenges of evolving a Theatre of Truth in the context of the immediate zeitgeist. The questions I address are the role of feminist theatre in a world dominated by global media and corporate omnipotence; the conflation of theatre and Realpolitick; the limitations of postmodern thought and critical theory, and the struggle not only of the marginalized, but of all of us to create an activist theatre in perilous times. After examining my response to directing a production of Mud by Maria Irene Fornes, this project will also suggest that a theatre of specialized singular interests, such as feminism, racism, or gender-based concerns, is no longer sufficient to impact the audience of today. Instead, the work suggests that a fresh, revised look at theory, feminism, and "reality," as well as an attempt to unravel the psyche of the hegemonic political and social forces are necessary to reconceive a theatre that serves the new world. Building on the artistry of several contemporary playwrights, this thesis explores a theatre of Truth in action and looks at possibilities to open new avenues to empathy, transformation and liberation.

Thoughts on vulnerability, emotions, social interaction, self-awareness, skin, touching, bodily functions, and the combination of all these ideas into a confined space filled with heat and humidity just enough to leave you feeling damp and perhaps a bit sore.

Orientador: Márcia Valéria Zamboni Gobbi / Banca: Maria Lúcia Dall Farra / Banca: Sônia Helena de Oliveira Raymundo Piteri / Banca: Guacira Marcondes Machado Leite / Banca: Luiz Gonzaga Marchezan / Resumo: Esta tese objetiva apresentar a "outra história" que aflora à obra ficcional de José Saramago e que expõe, de forma intermitente, as diretrizes do seu processo de criação. O texto é visto como construção progressiva de um universo fictício em processo de contínua auto-avaliação e em constante re-elaboração. Integrantes de um fio discursivo coerente, questões específicas sobre o gênero romance e a sua criação, dispersas no todo da obra romanesca do escritor, são reveladoras das linhas mestras que regem a sua poética ficcional. Numa sintaxe coerente que associa explícitos comentários aos contornos alegóricos conferidos às ações das personagens, os romances de Saramago expõem a própria construção, tanto do ponto de vista do seu projeto, como do ponto de vista da avaliação autocrítica do mesmo. A adoção do método comparativo de trabalho sustenta a análise descritiva e interpretativa de obras representativas de momentos decisivos do percurso ficcional do escritor que oferecem patamares eficazes de observação do "caminho já andado" e "do que falta a percorrer" (SARAMAGO, 1983, p. 256). A autoconsciência escritural instaurada no Manual de pintura e caligrafia, romance que re-introduz Saramago no gênero em 1977, se configura como um processo discursivo que marca singularmente a produção posterior, pela "carta de rumos" que lhe oferece, sistematizando-a e conferindo-lhe unidade. Observados em sua duração e constância, os caminhos apontados no manual estético de 1977 se fundem num conjunto que possibilita compreender o caráter singular do ficcionista. Emolduradas pelo questionamento fundamental da representação do real, que emerge do diálogo estabelecido entre caligrafia e pintura, questões sobre os procedimentos narrativos e discursivos adotados afloram em alguns romances que as polarizam: a interface entre Levantado do chão... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis aims at presenting "the other story" that blooms from José Saramago's fictional work and that exposes, intermittently, the directions to its creation process. The text is seen as a progressive construction of a fictional universe which is in a continuous self-evaluation process and is also in constant re-elaboration. Elements of a coherent discursive thread, specific issues on novel as a genre and its creation, dispersed throughout the author's novels, are in charge of revealing the master plots that conduct his fictional poetic. In a coherent syntax that links explicit comments to allegoric outlines given to the characters' actions, Saramago's novels expose their own construction, from the point of view of his project as well as from the point of view of its self-critic evaluation. The adoption of the work comparative method supports the descriptive and interpretative analysis of representative works from decisive moments of the author's fictional path, which offer efficient steps of observation on "the walked path" and on "the to-be-walked path" ("caminho já andado" and "do que falta a percorrer" - SARAMAGO, 1983, p. 256). The writing self-awareness first established on Manual of Painting and Calligraphy, novel that reintroduces Saramago in the genre in 1977, is configured as a discursive process that singly remarks its next production by the "letter of directions" that is offered, systematizing it and giving it unity. Observed as to what concerns their length and constancy, the paths pointed on the 1977 aesthetic manual are merged into a set of characteristics that allows one to understand the single character of the fictionist. Framed by the fundamental questioning of the representation of what is real, which emerges from the established dialog between calligraphy and painting, issues on the adopted narrative and discursive procedures... (Complete abstract click electronic access below) / Doutor

A digital twin is an enabling technology that facilitates monitoring, understanding, and providing continuous feedback to improve quality of life and well-being. Thus, a digital twin can consider a solution to enhance one's mood to improve the quality of life and emotional well-being. However, there remains a long road ahead until we reach digital twin systems that are capable of empowering development and the deployment of digital twins. This is because there are so many elements and components that can guide the design of a digital twin. This thesis provides a general discussion for the central element of an emotional digital twin, including emotion detection, emotional biofeedback, and emotion-aware recommender systems. In the first part of this thesis, we propose and study the emotion detection models and algorithms. For emotions, which are known to be highly user dependent, improvements to the emotion learning algorithm can significantly boost its predictive power. We aimed to improve the accuracy of the classifier using peripheral physiological signals. Here, we present a hybrid sensor fusion approach based on a stacking model that allows for data from multiple sensors and emotion models to be jointly embedded within a user-independent model. In the second part of this thesis, we propose a real-time mobile biofeedback system that uses wearable sensors to depict five basic emotions and provides the user with emotional feedback. These systems apply the concept of Live Biofeedback through the introduction of an emotion-aware digital twin. An essential element in these systems guides users through an emotion-regulation routine. The proposed systems are aimed at increasing self-awareness by using visual feedback and provide insight into the future design of digital twins. We focus on workplace environments, and the recommendations are based on human emotions and the regulation of emotion in the construct of emotional intelligence. The objective is to suggest coping techniques to a user during an emotional, stressful episode based on her or his preferences, history of what worked well and appropriateness for the context. The developed solution has been studied based on usability studies and extensively compared to related works. The obtained results show the potentials use as an emotional digital twin. In turn, the proposed solution has been providing significant insights that will guide future developments of digital twins using several scenarios and settings.

In its many manifestations, psychosis leads to a number of clinical and philosophical debates. Despite their practical and conceptual importance, a number of these debates remain unresolved. Appealing to the connection between phenomenological descriptions, empirical evidence, and philosophical analysis, this dissertation is devoted to the careful examination of five of the main debates surrounding the occurrence of delusions of thought insertion, one of the most complex and severe symptoms of psychotic disorders. Roughly speaking, patients suffering from thought insertion report that external agents of different nature have placed certain thoughts into the patients' minds. The introduction to this compilation clarifies the main distinctions underlying the general discussions about delusions and the specific debates surrounding thought insertion. The introduction is followed by a collection of five papers. The first paper tries to explain the way in which subjects self-attribute their own conscious thoughts in terms of agency. The second paper, assuming that delusions are a type of belief, engages with the discussion about the role that experiential abnormalities have in the process of formation of the delusional belief of thought insertion. The third paper examines the role that affective impairments might have in the process of production of thought insertion, an issue that is often overlooked by current dominant approaches to thought insertion. Taken altogether, the first three papers of this collection offer a novel understanding of the aetiology and architecture of thought insertion. The fourth paper examines a much larger discussion that overlaps with the debate about the subjective features of thought insertion. It is argued that cases of thought insertion - in conjunction with other psychotic phenomena - undermine the current self-presenting theory of consciousness, a theory meant to explain the most fundamental subjective character of conscious experiences. Finally, the fifth paper of the compilation engages with a more general discussion about the nature and role that delusions might play in a subject's life. It is argued against the dominant view that there are good reasons to characterize a certain type of monothematic delusions (including some cases of thought insertion) as biologically adaptive.

This thesis investigates the effect that non-anonymity has upon student team-member evaluations; more specifically, it looked at how to create conditions of openness and honesty in which students will readily give and receive constructive criticism. The central hypothesis of this research is that if students are taught and prepared to properly give and receive constructive criticism, and have multiple opportunities to do so, non-anonymous feedback is the most effective and desirable. In order to gauge the effects of non-anonymity, eight specific hypotheses relating to different aspects of the feedback process were tested. Predictions were made as to the effects upon the self-awareness and defensiveness of those who received feedback, the honesty and candor of those who provided it, as well as the effect upon teams' levels of trust and unity, and levels of performance. The statistical analysis showed that non-anonymity had no significant effect upon self-awareness, trust and unity, and performance. Significant differences were observed for honesty and candor, as well as defensiveness. Although some of these differences were in favor, others were contrary to the assumptions that were made. One of the results showed that at the beginning of the procedure, non-anonymous ratings were more lenient, but at the end of the process there was no difference. This was as expected. In regards to the overall process, non-anonymous students perceived ratings to be less honest and candid. A second conclusion was that non-anonymous students were actually more defensive towards negative feedback. In the end, there was no strong evidence for or against non-anonymity, and thus it appears that there was no major treatment effect. There are two justifications as to why this may be the case. These are based upon insights gained from the free-response section of a follow-up survey which the participants took. First, if non-anonymous feedback does indeed produce positive outcomes it may take a longer period of time for these differences to be noticed. This process took place over only about a three-month period, and feedback was received only 3-4 weeks apart. Secondly, when teams are small (i.e., only 3-5 members), it is difficult to maintain anonymity, which essentially removes the treatment. From these observations, the final recommendation of this report is that for students working in small teams, non-anonymous feedback is preferable. This is because, as just noted, anonymity is difficult to maintain even if it is a required condition. It seems that pretending that anonymity exists, when in fact it does not, actually hinders transparency and trust. Also, it seems that giving feedback non-anonymously will more effectively prepare students for working on teams in their careers, as this is more reflective of the way that feedback will be provided in the workforce.