A presente dissertação apresenta a sensação na arte e no ensino. As vias escolhidas são a da pintura modernista, a da sala de aula e a da construção da casa: a vida de professora-artista-mulher. A Pintura tida como arte e filosofia, seus procedimentos, as cores e os traços, a composição. A sala de aula como espaço da aprendizagem e local de provocação de fissuras na instituição. A casa como lugar de fluxos intensos, do bando, da composição de um território. A sensação como vibração que está na obra e nos corpos. Os blocos de sensação como apresentação das forças sentidas pelo ser. Compreendendo a sensação como via da aprendizagem, este trabalho percorre seu olhar pelos caminhos da Filosofia da Diferença. Através dos autores Deleuze, Guattari, Nietzsche, Gomes, Bergson, entre outros e de pintores e suas obras, como Matisse, Klee, Kandinski, entre tantos mais. Em meio à vida, nos territórios da arte, da escola e da casa. Nos espaços do Observatório da Educação, do atelier da pintora, da casa e da sala de aula. O trabalho apresenta a ideia que aprender é pensar, e que em arte, se aprende pela sensação. / This dissertation aims at presenting the sensation in Arts and teaching. The means chosen were the modernist painting, the classroom and the building of the house: portraits of life of the teacher-artist-woman. The paintings regarded as art and philosophy, its proceedings, its colors and traces, the composition. The classroom considered as a learning environment and an institutional fissure provoking place. The house accounted as an area of intense flux, of the pack, of a territory composition. The sensation believed as a vibration which is in the piece and in the bodies. Blocks of sensations held as presentation of the forces sensed by the being. Regarding this sensation as a learning means, this work deals with the Philosophy of the Difference traits, Authors such as Deleuze, Guattari, Nietzsche, Gomes, Bergson, amongst others and pieces by painters like Matisse, Klee, Kandinski and several others were studied. Amongst life, artistic territories of the school and the house and in the environment of the “Observatório da Educação”, in the painter’s workshop, in the house and in the classroom, the idea that learning is thinking and that in Arts learning happens though sensation.

A presente dissertação se inscreve nas fronteiras da Educação, da Arte e da Filosofia. É produto das artistagens do pensamento em exercícios de escrita conceitual e fabulatória, assim também como do desenho. Tudo se dá por uma necessidade: a da decifragem. Acometida por forças que desconhece, uma professora vê erguer, como gigantes, cinco expressões picturais e sonoras puras – visões paradas no tempo e no espaço - em diferentes lugares da instituição escolar, tornando-a irremediavelmente irreconhecível. Ao estranhar o outro - professores, alunos, aulas - é a si mesma, no entanto, que a professora estranha, seus próprios espaços-tempos é que são violentamente invadidos. Não obstante, o esforço que se move não segue na tentativa de um (re)encontrar ou de um (re)encontrar-se, como algo que de antemão, já é dado, muito pelo contrário. O pensamento, expulso de sua pretensa acomodação, é lançado a uma aventura involuntária que faz com que, no encontro com as visões que sofre, à maneira de um artista que trabalha, lute por arrancar de cada qual, perceptos e afectos, ou seja, a Figura como a forma sensível da sensação, conceito este tomado como vital. Na simultaneidade da destruição e da criação que engendra, essa dissertação aparece, principalmente com Deleuze, mas também com Nietzsche, Foucault, Proust, Valéry, Guattari, Bergson, Blanchot, Barthes, o pintor Francis Bacon e outros tantos tão amados, como o exercício de um eterno vir a ser - devires infindos se dão via a constituição de um processo de sensibilização que, ao jogar estética na existência, aciona o pensar do pensamento. Os agenciamentos que daí resultam, vêm como o traçado de intensidades inteiramente implicadas com a produção de novos modos de vida. A importância que isso apresenta é a mesma que faz dizer sobre a necessidade do contato das pessoas com a arte ou, o que é indispensável afirmar, dos alunos, com a arte, nas escolas. / This dissertation articulates in the different areas: Education, Art and Philosophy. It is product of the artistagens of thought in conceptual and artistic writing exercises, and so as the drawing. Everything happens for a need: the deciphered. Affected by forces that she does not know, a teacher sees rising, like giants, five pure pictorial and sounded expressions - visions stopped in time and space - in different parts of the school, becoming it unrecognizable. Stranging the other - teachers, students, classes - it is the teacher herself who, however, strange, her own space-time that is violentelly invaded. Nevertheless, the effort that moves does not follow in an attempt to a (re)find or to a (re)find itself as something, beforehand, it is already given, in the contrary. The thought, expelled from its alleged accommodation, is launched on an involuntary adventure that makes, in the encounter with the visions suffer, the way an artist works, it fights to rip for each one of the percepts and affects, so, the Figure, how a sensitively form of the sensation, concept that takes as vital. In simultaneous’ destruction and creation that engenders, the dissertation appears, especially with Deleuze, but also with Nietzsche, Foucault, Proust, Valéry, Guattari, Bergson, Blanchot, Barthes, the painter Francis Bacon and many other beloved, as the exercise of an eternal come into being - infinded becomes happened by the constitution of a process of sensibility that, while release aesthetic in the existence, sets to think of thought. The agenciaments that result from it, come as the traced intensities fully involved with the production of new ways of life. The importance that it shows is the same that may say about the need for contact from the people with the art, or, what is indispensable to say, from the students with art, in the schools.

Orientador: Antônio Guilherme Borges Neto / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas / Made available in DSpace on 2018-08-22T19:11:36Z (GMT). No. of bitstreams: 1 Scalha_ThaisBotossi_D.pdf: 4661592 bytes, checksum: 22dd3d1e90578a09ed9428e79f83f094 (MD5) Previous issue date: 2013 / Resumo: O déficit somatossensorial está entre os resultados mais frequentes das lesões cerebrais, em especial após o acidente vascular cerebral (AVC), a alteração se torna importante, pois danifica a exploração eficaz do ambiente e o desempenho de tarefas diárias, afetando adversamente a qualidade de vida, a segurança pessoal, e a recuperação motora. Instrumentos de medida quantitativos e qualitativos capazes de projetar o perfil neurológico dos pacientes pós-AVC são amplamente utilizados e auxiliam os profissionais de saúde a avaliarem o nível de comprometimento das funções sensório-motoras e capacidades funcionais, quando estas são empregadas em conjunto garantem a projeção elucidativa do desempenho geral do paciente. O objetivo do Artigo 1 foi descrever a função somatossensorial do membro superior afetado de hemiparéticos crônicos pós-AVC e verificar as correlações entre instrumentos de medida das funções motora e sensorial, realizadas com e sem privação visual. Foram aplicadas as seguintes avaliações: Protocolo de Desempenho Físico de Fugl-Meyer (FM), Avaliação Sensorial de Nottingham (ASN), e os testes de: Manipulação de Papel (MP), Sequência Motora (SM), Alcance e Preensão (AP), Testes Funcionais (TF), Discriminação Tátil (DT), Discriminação de Peso (DP) e Reconhecimento Tátil de Objetos (RO) em 20 pacientes. Os resultados apontaram correlações moderadas entre a FM motora e itens da subescala sensação tátil da ASN (pressão, temperatura, toque bilateral e propriocepção); a FM sensibilidade correlacionou-se a ASN total; e o teste DP se correlacionou com itens da ANS (pressão, picada e localização tátil). Além disso, durante os testes realizados com privação visual os pacientes demonstraram pior desempenho, fortalecendo o fato de que pacientes pós- AVC se tornam mais dependentes de informações visuais para compensar a perda sensório-motora. O objetivo do Artigo 2 foi avaliar os efeitos de um programa de reabilitação somatossensorial em paciente hemiparéticos crônicos pós-AVC e propor metas para a reabilitação sensorial. Foram recrutados 20 pacientes que foram avaliados por duas escalas, sete testes específicos, e um teste diagnóstico. Todos os pacientes realizaram uma avaliação Inicial (aplicação dos instrumentos de medida); Tratamento Convencional (sem estímulo sensorial) segunda avaliação; Tratamento Específico (com estímulo sensorial); terceira avaliação; período de follow-up e; quarta avaliação. A intervenção consistiu no estímulo sensorial contínuo de objetos com texturas e com características superficiais diferentes; no treinamento de propriocepção para o membro superior afetado; e no treinamento de reconhecimento de objetos. Durante cada sessão, houve o treinamento dessas três atividades sensoriais. Os efeitos da intervenção com o tratamento específico através da exposição de estímulos sensoriais apresentou resultados expressivos da melhora da função sensorial nas duas escalas funcionais, em quatro dos sete testes realizados de olhos fechados, e em um dos quatro testes realizados de olhos abertos quando comparados ao do treinamento convencional. A proposta da reabilitação inclui o fato de que a apresentação de repetidos estímulos sensoriais maximiza o uso da função sensorial residual e se aproveita da recuperação sensória. Os programas de treinamento que incluem exercícios de estimulação com diferentes modalidades somatossensoriais podem ser mais adequados para a reabilitação do déficit somatosensorial e, além disso, podem proporcionar ganhos na função motora. A abordagem visa melhorar habilidades perdidas ao invés de focar sobre a compensação / Abstract: Somatosensory deficit is among the most frequent outcome of brain injury, especially after the stroke, the change becomes important because it damages the effective exploitation of the environment and the performance of daily tasks, adversely affecting the quality of life, personal safety, and motor recovery. Instruments for measuring quantitative and qualitative able to design the neurological profile of patients with stroke are widely used and help health professionals to assess the level of impairment of sensorimotor functions and functional abilities, when they are used together ensure the projection illuminating the of the patient performance. The aim of Article 1 was describe the somatosensory function of the affected upper limb of hemiparetic stroke patients and investigate the correlations between measurements of motor and sensory functions in tasks with and without visual deprivation. We applied the Fugl-Meyer Assessment (FMA), Nottingham Sensory Assessment (NSA), and motor and sensory tests: Paper manipulation (PM), Motor Sequences (MS), Reaching and Grasping (RG) Functional Tests (TF), Tactile Discrimination (TD), Weight Discrimination (WD) and Tactile Recognition of Objects (RO) in 20 patients. The results indicated moderate correlations between the FMA motor subscale and the tactile sensation score of the NSA. Additionally, the FMA sensitivity was correlated with the NSA total; and performance on the WD test items correlated with the NSA. Moreover, during the tests with visual deprivation patients demonstrated lower performance, reinforcing the fact that individuals who suffered from a stroke become more dependent on visual information to compensate for the loss sensory-motor. The aim of Article 2 was to evaluate the effects of a sensorimotor rehabilitation program for upper limb stroke in patients with chronic and somatosensory deficit and propose targets for sensory rehabilitation. We recruited 20 patients who were evaluated by two scales, seven specific tests, and a diagnostic test. All participants underwent an Initial Evaluation (application of measuring instruments); Conventional Treatment (without sensory stimulation); Second Assessment; Specific Treatment (with sensory stimulation); Third Evaluation; Follow-up period and, Fourth Assessment. The intervention consisted of continuous sensory stimulation with textures and objects that had different surface characteristics, proprioception training for the affected upper limb, and object recognition. Each session consisted of these three activities. The effects of intervention with specific treatment by exposing sensory stimulus showed significant improvement in sensory function in the two functional scales in four of the seven tests performed with eyes closed, and one of the four tests performed with eyes open compared to conventional training. The proposal includes rehabilitation of the fact that the repeated presentation of sensory stimuli maximizes the use of residual sensory function and takes advantage of sensory recovery. The training programs that include exercises with different modalities somatosensory stimulation may be more appropriate for the rehabilitation of somatosensory deficits and, in addition, can provide gains in motor function. The approach aims to improve lost abilities rather than focusing on compensation / Doutorado / Ciencias Biomedicas / Doutora em Ciências Médicas

Orientador: Antonio Carlos Rodrigues Amorim / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-20T09:13:29Z (GMT). No. of bitstreams: 1 Zanesco_SamuelAntonio_M.pdf: 109405418 bytes, checksum: 41fdc658013f6e05b343bd4687e90663 (MD5) Previous issue date: 2012 / Resumo: Essa dissertação, corpo-texto-imagem, é uma escrita potencializada pela força das imagens, que foge da interpretação para ser sentida. Visita cenas capturadas da peça teatral O Livro de Jó, encenada pela primeira vez no hospital Umberto Primo na capital paulista no início de 1995. Essas imagens, carregadas de significados e possibilidades, reverberam o contínuo movimento cênico a que se destinam e o desejo latente de se tornarem teatro pela força e pelo fluxo de sua intensidade. São imagens carregadas de dramaticidade e violência que também se aproximam da obra não menos perturbadora e pulsante do pintor irlandês Francis Bacon. Entre imagens do teatro e imagens do pintor, há uma corredeira de sensações que nos carrega, entre outros, aos franceses Artaud e Deleuze. / Abstract: This dissertation, body-text-image, is a writing which is potentiated by the strength of the images, that runs away from its performing for being felt. It visits scenes caught by the play "The Book of Job ", staged for the first time at Umberto Primo Hospital São Paulo city in the early of 1995.These images, full of meanings and possibilities, reverberate around the continuous scenic movement for which they are intended, and the strong desire of becoming theater by the force and by the flow of its intensity. They are images loaded with drama and violence that also approaching the work, not least disruptive and pulsing to the Irish painter Francis Bacon. Between the images of the theater and images of the painter, there is a strong linking of sensations that lead us, among others, to the French Artaud and Deleuze. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

M.Com. (Industrial Psychology) / The current study investigated, by means of an experiment, the influence of incidental haptic sensations, encountered when completing self-report questionnaires, on formal ratings of an unestablished consumer brand. In total 128 university students (mean age = 20.16 years, males = 31.3%, females = 68.8%) participated in the study. Initially, all the participants completed a pretest self-report questionnaire on standard weighted paper (80gsm). A week later, the same participants were randomly assigned to one of two experimental groups, where Group 1 (n=64) completed a post-test self-report questionnaire on firm paper, and Group 2 (n=64) completed a post-test self-report questionnaire on flimsy paper. The questionnaire scale comprised 30 sets of bipolar pairs of adjectives related to the language association of rigidity and strength. A robust Analysis of Covariance (ANCOVA) revealed a statistical difference between groups for scores between 80 and 104 on the pre-test, while no effect was found for scores of 109 and upwards. Further support of the hypothesis was evident in kurtosis across groups (Group 1: kurtosis = 0.73 , Group 2: kurtosis = -0.03), which indicated that more participants in Group 1 ('Firm') had formed stronger judgements of the unestablished consumer brand than those in Group 2 ('Flimsy'). In conclusion, it appeared that a physically grounded mental framework, consistent with embodied cognition, had nonconsciously led participants to form stronger product judgements, of an unestablished consumer brand, when encountering an incidental, tactile experience of strength when completing self-report questionnaires in the consumer context.

Master of Science / Department of Psychology / Donald A. Saucier / Researchers have yet to examine how trait sensation seeking and state positive affect combine to influence participation in risky behaviors. This study examined how participant levels of sensation seeking and positive affect interacted to influence participant interest in performing a risky behavior. It was hypothesized that an interaction between sensation seeking and positive affect would be found, such that high sensation seekers low in positive affect would show more interest in participating in a risky activity than high sensation seekers that were high in positive affect or all participants low in sensation seeking, regardless of positive affect. Trait sensation seeking was measured in an initial group of participants (N = 693), using a subscale of the Zuckerman-Kuhlman Personality Questionnaire (Zuckerman Kuhlman, Joireman, Teta, & Kraft, 1993). Using these scores, high and low sensation seekers (N = 99) were invited to a second study, where videos were used to manipulate levels of state positive affect (Hemenover, 2003). Participants were then given a questionnaire to measure interest in participating in a risky drug study. No interaction was found, but a main effect for sensation seeking (Zuckerman, 1971) was discovered, such that high sensation seekers reported more interest in participating in a risky behavior than low sensation seekers. Therefore, it appears that participant interest in risky behaviors was a function of levels of trait sensation seeking. It is possible that problems with data collection or the risk-taking scenario contributed to the inability to support the hypothesis.

M.A.(Counselling Psychology) / Please refer to full text to view abstract

Quel rapport y-a-t-il entre lire et penser? En empruntant à l'Éthique de Spinoza et au Plaisir du texte de Roland Barthes, nous postulons que pour penser, le lecteur a besoin d'être affecté par ce qu'il lit. En empruntant aux principes d'émancipation intellectuelle de Joseph Jacotot, nous considérons que tout le monde peut penser à la lecture du texte philosophique quand il est touché par celui-ci, à contre-courant d'un imaginaire hiérarchique très ancien et toujours ambiant. À partir de là, qu'est-ce qui fait que le lecteur pense par ses propres moyens, qu'il s'interroge à la lumière de ce qu’il a lu? Diverses théories de la lecture (Iser, Jauss, Eco, Picard, Thérien) ont intégré à leurs propos l'affection du lecteur, y voyant un élément important de la composition du sens. Cependant, ces théories tendent à associer la constitution du sens à l'harmonisation des tensions ressenties. Mais alors, si un retour au calme se produit en rendant le texte « sensé », c’est-à-dire cohérent, comment faire pour continuer à penser, avec ce que la lecture nous a fait ressentir? Notre apport repose sur une étude thématique montrant le lien intrinsèque entre les sensations et le phénomène scénique, ainsi que le rôle moteur de la scène dans les théories de la connaissance développées en Occident (chez Platon, Kant, Wittgenstein, Nietzsche). La scène permet ainsi de concevoir la pensée du lecteur au-delà de la composition du sens. En faisant comme si le texte philosophique qu’il lit était une scène – ce qui relève de la métaphore –, le lecteur élabore une cohérence d'ensemble. L’objectif de notre méthode est que, une fois la lecture achevée, sur la scène développée par le lecteur se déploient des sensations en tension. Ces tensions irrésolues donnent à penser, poussent à réfléchir, stimulent la capacité réflexive de chacun. L'approche élaborée est mise en pratique à la lecture du Banquet de Platon, du Maître ignorant de Rancière, de l’Ecce homo de Nietzsche et du Discours de la méthode de Descartes. Les « scènes de pensée » que nous construisons laissent des tensions insupportables. Elles donnent la matière et l'élan d'un questionnement sans réponse immédiate.

Thesis (Ed.D.)--Boston University

My dissertation tracks an emergent theory of character in the wake of the ecological turn in the mid-Victorian period. It identifies the connection between changing representations of character in the popular sensation novel and developments in contemporary psychology. “The Social Ecology of Character” tells the story of how the idea of character fundamentally changed as a result of the development and popularization of the theory of ecology, the burgeoning notion of organisms as plastic and dynamic, given form by the precarious balance between internal physiobiological expression and external social forces. Rather than an innate quality or the result of “blank slate” impressions, character was conceptualized as a dynamic nexus of internal and external pressures in constant adjustment to its physical and social environment. This, what I call, “ecology of character” is intelligible in the sensation novel, a genre born out of a complicated overlap between the perceived physiological effects on readers and the scandalous storylines and infamous for its complex relationship between character and plot. I demonstrate how the sensation novel dramatizes the dynamic interplay between the internal and external forces that determine psychological development. Drawing on an interdisciplinary combination of literary theory, history of psychology, philosophy of science, theories of realism, gender studies, and novel and periodical theory, my dissertation argues that the sensation genre brings to the foreground the effects of the mid-Victorian ecological turn on literary character and incubates a distinctly mid-Victorian British determinism that anticipates late nineteenth-century naturalism. / English