Purpose: To determine whether symptoms of dizziness and fall rates change due to routine cataract surgery and to determine the influence of visual and refractive factors on these common problems in older adults. Methods: Self-reported dizziness and falls were determined in 287 subjects (mean age of 76.5±6.3 years, 55% females) before and after routine cataract surgery for the first (81, 28%), second (109, 38%) and both eyes (97, 34%). Six-month falls rates were determined using self-reported retrospective data. Dizziness was determined using the short-form of the Dizziness Handicap Inventory. Results: The number of patients with dizziness reduced significantly after cataract surgery (52% vs. 38%; χ2 = 19.14 , p < 0.001), but the reduction in number of patients who fell in the 6-months post surgery was not significant (23% vs. 20%; χ2= 0.87, p=0.35). Multivariate logistic regression analyses found significant links between post-operative falls and change in spectacle type (increased risk if switched into multifocal spectacles). Post-operative dizziness was associated with changes in best eye visual acuity and changes in oblique astigmatic correction. Conclusions: Dizziness is significantly reduced by cataract surgery and this is linked with improvements in best eye visual acuity, although changes in oblique astigmatic correction increased dizziness. The lack of improvement in falls rate may be associated with switching into multifocal spectacle wear after surgery.

Esta pesquisa tem o objetivo de abordar uma questão específica da subjetividade na época hipermoderna: a relação de fascínio de um grupo de adolescentes com o site de relacionamentos online Orkut, tendo como pano de fundo a contemporaneidade e os valores da cultura narcísica e da cultura do espetáculo que a sustentam. Para tanto, discorre sobre três aspectos que se inter-relacionam: o contexto da hipermodernidade líquida e digital; as peculiaridades do Orkut e as características psíquicas dos adolescentes. A conjunção desses fatores explica o fascínio, de ordem subjetiva, como uma construção social. Essa análise tem um viés psicossocial, respaldado em autores tais como Zygmunt Bauman, Gilles Lipovetsky, Christopher Lasch e Guy Debord, que interseccionam idéias do campo da Sociologia com conceitos da Psicanálise. Esse quadro teórico desenhou-se a partir de um estudo realizado em duas etapas: a primeira de cunho quantitativo, envolveu 473 adolescentes e pré-adolescentes de uma escola da periferia de São Paulo, com vistas a identificar os usos do computador e da Internet. Nessa amostra, constatou-se que 72 % dos participantes não tinham computador em suas residências, entretanto esta carência não representou impedimento no acesso ao uso, porque 87% utilizavam a máquina em diferentes espaços. Contudo, a escola foi a menos citada e o Orkut um dos usos recorrentes. Para investigar, então, o uso desse site, realizou-se entrevistas semi-estruturadas, com um grupo de 10 adolescentes participantes da primeira etapa. A análise das entrevistas permitiu caracterizar o Orkut como um palco no qual podem ser pseudo-realizados os ideais da sociedade narcísica. Por isso é fascinante, captura o desejo do sujeito. É um espaço virtual em que o adolescente pode \'sair\' momentaneamente de um estado de insatisfação, conflito e ruptura, para um lugar onde pode estar, ter e (a)parecer. Dessa forma, a idealização costura a relação de fascínio pelo Orkut, atrelada às possibilidades de socialização. Verificou-se que os adolescentes buscam responder aos apelos dessa hipermodernidade, mas não deixam de ter prazer em suas atividades corriqueiras do mundo jovem. Culto à aparência, ao hedonismo, à glamourização da auto-imagem, reconhecimento social, fama, popularidade, amizade, vício são temas discutidos neste trabalho e coexistem no Orkut com o interesse de comunicação, reafirmando que, mesmo incentivado o hiper-individualismo e a criação de narcisos digitais, somos seres sociais. / This research aims to address a specific issue of subjectivity in the hipermodern era: the fascination of a group of teenagers with the site of online relationships Orkut, the background of the present and the values of culture and the culture of narcissist spectacle that gives the support. To this end, we talk about three things that are inter-related: the context of hipermodernidade net and digital; the peculiarities of Orkut and the psychological characteristics of adolescents. The combination of these factors explains the fascination of subjective order as a social construction. This analysis has a psychosocial bias, based in authors such as Zygmunt Bauman, Gilles Lipovetsky, Chistopher Lasch and Guy Debord, who explore ideas in the field of sociology with concepts of psychoanalysis. This theoretical framework is developed from a study conducted in two stages: the first is quantitative, involving 473 adolescents and preadolescents of the poor suburb of an school in Sao Paulo, with the objective of identifying the uses of the computer and the Internet. In this sample, it was found that 72% of participants had no computer in their homes, however this lack of access was not impediment to the use, because 87% use the machine in different spaces. However, the school was the least commented and the Orkut one of the most applicant uses. In order to investigate, then, the use of this site, took place semi-structured interviews with a group of 10 teenagers participants of the first stage. The analysis of the interviews allowed to characterize Orkut as a local in which can be pseudo-realized the ideals of a narcissist society. So it is fascinating, capturing the desire of the subject. It is a virtual space where adolescents can \'exit\' momentarily from a state of dissatisfaction, conflict and disruption, to a place where you can be, show yourself. Thus, the idealization build the fascination for the relationship of Orkut provides,linked to the possibilities of socialization. It was found that teenagers try to respond to the calls of hipermodernity , but they still have pleasure in their usual activities in the world. Worship the appearance, the hedonism, glamourization of self-image, social recognition, fame, popularity, friendship, addictions , are topics discussed in this paper and in the Orkut coexist with the interest of communication, reaffirming that even encouraged the hyper-individualism and creation narcisos of digital era, we are social beings.

Os Centros Educacionais Unificados (CEUs) estão localizados em regiões carentes de infraestrutura e de serviços. Os CEUs, situados em diferentes pontos do município de São Paulo, foram implantados no ano de 2003 e estão comprometidos com a proposição e execução de políticas públicas destinadas a atender demandas educacionais, culturais e esportivas. O projeto do CEU prevê uma gestão compartilhada a ser realizada por diversas instâncias. A proposta de uma gestão conduzida a partir da interação entre distintas partes permite refletir sobre a possibilidade de hibridação entre órgãos públicos e sociedade civil. O CEU deveria ser reconhecido como espaço polifônico que privilegia a produção de conhecimento e o protagonismo dos indivíduos; nele os cidadãos devem agir coletivamente, desenhando uma gestão orientada por processos democráticos. Esta pesquisa destina-se a compreender a proposta de gestão dos CEUs e, especialmente, observá-la em terreno prático. Para compreender a complexidade dessa proposta, faz-se um investimento de estudos na gestão cultural do CEU. Esse estudo se direciona rumo a esta empreitada a partir de um mapa conceitual destinado a tratar de questões referentes ao escopo da cultura, somado à análise das diretrizes que orientam o projeto que deu origem ao CEU e à reflexão crítica associada às ideias do sociólogo francês Guy Debord sobre a experiência prática que pode ser acompanhada dentro do setor de cultura que compõe o dispositivo. A gestão do CEU pode ser um primeiro passo para outros mais complexos que extrapolam os limites do dispositivo; no entanto, verifica-se uma série de entraves que adiam essa possibilidade / The Unified Educational Centers (CEUs) are located in regions damaged by lack of access to different services. The CEUs are located at different places in São Paulo. They were established in 2003 and they have been committed to the proposition and execution of public policies to attend educational, cultural and sporting demands. The design provides a shared manager to be held jointly by several instances managed. The proposed management conducted from the interaction betwee different parts may allows us to refer it as a possible possibility of hybridization between social spheres, public agencies and the society. The CEU should be recognized as a polyphonic space that emphasizes learning. There citizens should act collectively drawing a management guided by democratic processes. This research aims to understand the CEU\'s management that have been proposed looking at the practical views. To understand the complexity of this proposal we have to return our gaze to one of the instances that participate on it. That is, in trying to understand the management of the structure, we will invest our studies in cultural management of CEU. This study throws himself towards this endeavor from a conceptual map designed to address issues relating to the scope of culture, coupled with analysis of guidelines that guide the project that gave rise to the CEU, and critical reflection associated with the ideas of sociologist Guy Debord on the practical experience that could be followed within the culture that belongs to the device industry. We conclude that the management of CEU may be a first step to more complex ones that go beyond the limits of the structure and at the same time, we found a number of barriers that delay that possibility

Made available in DSpace on 2016-03-15T19:42:46Z (GMT). No. of bitstreams: 1 Leonardo Andre Elwing Goldberg.pdf: 1452372 bytes, checksum: eefc4f4be6d28a82db46f0c526aeedc9 (MD5) Previous issue date: 2014-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this dissertation is to link the social networking sites, more specifically the facebook to Society of Spectacle concepto of Guy Debord. In this proposal the homonyms text and movie Society of Spectacle have been revisited by authors like Marx, Vargas Llosa, Khel, Azevedo and Bauman. The Debord marxismo theory influences as well as the different idea os spectacle concept by Vargas Llosa and the Khel studies about TV realities shows, guided by him, were examined. Furthermore, we emphasize Azevedo language issues and their changes as well as Bauman ideas about the surveillance and recognition in networking. This work wants to understand relationships in the website, passing for Hegel, Freud and Lacan experiences in order to achieve a debordian Desire concept. Besides of this, we are attempting to reach better knowledge of current situation of internet and society from the Debord pespective of Spectacle also to re-signify relationships and society from facebook device. / A presente dissertação se propõe articular a ideia de redes sociais e sites de relacionamentos virtuais, mais especificamente o facebook, ao conceito de Sociedade do Espetáculo de Guy Debord. Dentro dessa proposta, o texto e o filme homônimos, Sociedade do Espetáculo , são revisitados e trabalhados junto aos autores como Marx, Vargas Llosa, Khel, Azevedo e Bauman. Examinou-se a influência marxista em Debord, a ideia diferenciada de espetáculo concebida por Vargas Llosa e o estudo de Khel dos realities shows e da televisão norteados por Debord. Além disso, destacamos Azevedo e a questão da linguagem e suas transformações, e Bauman que deflagra a ideia de vigilância e reconhecimento nas redes sociais. O recorte do trabalho visou à compreensão dos relacionamentos pessoais nos sites de relacionamentos virtuais, então se passou por Hegel, Freud e Lacan para pensar a concepção debordiana de Desejo. Ademais, dentro desse panorama, construiu-se uma tessitura para uma melhor compreensão da conjuntura atual da internet e da sociedade sob o prisma do espetáculo para Debord e do site facebook, e finda em uma elaboração sobre a ressignificação dos relacionamentos pessoais e da sociedade a partir do dispositivo facebook. Concluiu-se que os sites de relacionamentos virtuais atendem à demanda, de forma aperfeiçoada, da Sociedade do Espetáculo, transformando os relacionamentos pessoais.

Made available in DSpace on 2016-04-26T18:17:55Z (GMT). No. of bitstreams: 1 Katia Peixoto dos Santos.pdf: 2971643 bytes, checksum: 1dcd4ce62c2d95affd98efd269179e84 (MD5) Previous issue date: 2009-05-11 / Secretaria da Educação do Estado de São Paulo / The study starts from the Luis Renato Martins premise, which, in his book Conflito e interpretações em Fellini (1994), he countered the autobiographical cinema vogue for Fellini s work and established in its place, a more relevant and interesting trend for readings and filmic analysis, e.g.: the parody as critical weapon, the discussion of the mass culture, the fascism and its historical matrix. Getting away of the neo-realistic filmmakers, Fellini tells about the Italian s social reality throw popular shows. The artists assume a role of mediator of Fellini s critic and, from them, establish a contradiction: the arising industrial world in conflict with the Italian identity previously established. Accordingly, the construction of a more structured analysis is where this work goes, considering Fellini s filmic organization issue which converges circus, theater, television and cinema, documentary and fiction creating an intriguing audiovisual possibility provided by television language insertion in the clownish and cinematographic work of Fellini. The exogenous factor, linked with the north american influence, gets hold of the cultural italian ground, changing it. Fellini portrays the encounter between the world of the spectacle and the cinema with televisable media, which, in the path of technological development, planted root in Italian ground. Between losses and damage, the films emphasize the constant movement and adaptation of the spectacles, of the cinematographic language and the own Fellini s style forefront a new differential. Considering those implications, the study focus in the importance of the Fellini s filmic route to defend the hypothesis of the restructure of his language from the advent of TV as a means of mass communication, fact shown in his first movie realized for TV, Block Notes di un Regista (1969). In order of arguing this hypothesis, was made necessary considering and analyzing another Fellini s movies realized for TV: I Clowns (1970) e Prova d orquestra (1978). Another three movies made for cinema, nevertheless with televisable thematic, Ginger e Fred (1985), Intervista (1987), La Voce della Luna (1989), also was elucidated and evaluated. Therefore could have seen that Fellini s filmic aesthetics came from the popular spectacles to gain television in its languages and purposes, converging documentary and fiction, television and cinema / O estudo parte da premissa de Luis Renato Martins, na qual, em seu livro Conflito e interpretações em Fellini (1994), se contrapõe a voga de cinema autobiográfico para a obra de Fellini estabelecendo no lugar, vertentes mais interessantes e pertinentes às leituras e análises fílmicas, como por exemplo: a paródia como arma crítica, a discussão da cultura de massa, o fascismo e suas matrizes históricas. Afastando-se dos cineastas neo-realistas, Fellini conta sobre a realidade social italiana via espetáculos populares. Os artistas assumem o papel de mediadores da crítica felliniana e, a partir deles, estabelece-se uma oposição: o crescente mundo industrial em conflito com a identidade italiana anteriormente estabelecida. Nesse sentido, de construção de uma análise mais fundamentada, é que esse trabalho se envereda, considerando a questão da estruturação fílmica felliniana que converge circo, teatro, televisão e cinema, documentário e ficção criando uma intrigante possibilidade audiovisual proporcionada pela inserção da linguagem televisiva na obra clowesca e cinematográfica de Fellini. O fator exógeno, ligado à marcada influência norte-americana, se apossa do terreno cultural italiano, transformando-o. Fellini retrata o encontro do mundo dos espetáculos e do cinema com a mídia televisiva que, na esteira do desenvolvimento tecnológico, fincou raízes em solo italiano. Entre perdas e danos, os filmes ressaltam o constante movimento e adaptação dos espetáculos, da linguagem cinematográfica e do próprio estilo felliniano frente ao novo referencial. Considerando essas imbricações, o estudo privilegia a importância do percurso fílmico felliniano para defender a hipótese da reestruturação de sua linguagem a partir do advento da TV como meio de comunicação de massa, fato evidenciado em seu primeiro filme realizado para a TV, Block Notes di un Regista (1969). No intuito de argumentar essa hipótese, fez-se necessário considerar e analisar outros filmes de Fellini realizados para a TV: I Clowns (1970) e Prova d orquestra (1978). Outros três filmes feitos para o cinema, porém com temática televisiva, Ginger e Fred (1985), Intervista (1987), La Voce della Luna (1989), também foram elucidados e avaliados. Assim pôde-se constatar que a estética fílmica de Fellini partiu dos espetáculos populares para atingir a televisão em suas linguagens e propósitos, convergindo documentário e ficção, televisão e cinema

This dissertation examines narratives of early modern women travelers and the spectacles these women produced as a strategy to negotiate gender paradigms that aimed to silence and immobilize women. In María de Zayas's short novel “La esclava de su amante” (1647), the protagonist's journey to North Africa gives her the tools she needs to publically address her rape. Historia de la Monja Alférez (c. 1626) is the autobiography of Catalina de Erauso, whose constant movement on both sides of the Atlantic allows her to construct a spectacle of hybridity that both entertains her audiences and authorizes her many transgressions. Finally, Viaje de cinco religiosas capuchinas de Madrid a Lima (1722) highlights the masses of people who clamor to catch a glimpse of the itinerant nuns, creating a spectacle that reaffirms the women's importance in the social hierarchy of the Spanish Kingdom. In these three baroque texts, I highlight the construction of the female traveler's body and the suffering it endures while crossing great distances. I examine the ways in which each text reimagines or reorganizes the traveler's social relationships and her place in early modern Hispanic society. Through an analysis of spectacle based on the mediation of these relationships, I interrogate the image of women travelers and the power that image has to push back against a gendered social hierarchy.

Bouleversée par plus de vingt années de réformes initiées par Deng Xiaoping en 1978, par le basculement d'une économie planifiée vers une économie de marché et le développement d'une société de consommation de masse, la société chinoise du début des années 2000 est minée par des disparités socio-économiques et territoriales grandissantes. C'est dans un tel contexte que se constitue le discours de la « société harmonieuse » (hexie shehui 和谐社会), un programme officiel présenté par le président Hu Jintao dans l'intention de pacifier les tensions sociales. Notre travail sera de démonter les stratégies discursives mises en place par la « société harmonieuse » par une analyse de ses énoncés, pour démontrer que ce discours prône la construction de l'harmonie sociale par l'acceptation des inégalités et des injustices sociales, et qu'il s'inscrit dans un processus, global et plus ancien, de civilisation de la population chinoise défavorisée. La hexie shehui s'affirme comme un instrument de contrôle et de discipline des populations pauvres, et propose un traitement moral de la question sociale. Nous verrons enfin que la « société harmonieuse » met également en scène une Chine “civilisée” et que ce spectacle est au cœur de son programme.

Ce mémoire-création propose une représentation du mal au théâtre par le biais de fragments littéraires adaptés du roman Les Bienveillantes de Jonathan Littell et d'images vidéo créées de toutes pièces. Tant pour des peintres et graveurs qui, tels Jérôme Bosch, Pieter Bruegel l'Ancien ou Albrecht Dürer, ont voulu représenter le démoniaque au début de la Renaissance, que pour des metteurs en scène contemporains comme Guy Cassiers, Jacques Delcuvellerie ou Claude Régy, qui se sont emparés de la folie génocidaire dans Wolfskers, Rwanda 94 et Holocauste: fragments, les artistes ont cherché à donner au mal une forme visuelle à partir de définitions fluctuant selon le contexte sociohistorique. Au fil du temps, ces variations dans l'acception du concept et, par conséquent, dans ses représentations artistiques, portent à croire que le problème n'est pas tant de savoir si le mal peut prendre une forme visuelle que de déterminer si les représentations qui en sont proposées correspondent au fait qu'il est, par définition, sans véritable nature -autrement dit, qu'il est une disposition qui ne peut être fixée, un état en perpétuelle transformation. Ainsi, l'enjeu de notre essai scénique Les fantaisies militaires de Max Auesberger était de faire apparaître ce mouvement infini de métamorphoses du mal et ce, à partir de la prémisse que seule la projection vidéo, au théâtre, peut en rendre compte. C'est en fonction de cette hypothèse que s'articulent les trois chapitres du présent mémoire. En effet, le premier est consacré à l'analyse de trois cas emblématiques de représentations de génocides au théâtre, soit Mefisto for ever de Cassiers, Rwanda 94 de Delcuvellerie et Holocauste: fragments de Régy. Le deuxième chapitre traite des supports de projection vidéo en tant que matériaux visibles permettant de rendre compte de la vie psychique du personnage de Max Auesberger. Enfin, le troisième chapitre s'articule autour de l'utilisation de l'image vidéo comme outil servant à représenter d'incessantes variations de la notion du mal -et ce, tout en évitant le piège de la monstration et de la tautologie visuelles. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Bourreau, Seconde Guerre mondiale, Mal, Roman, Shoah, Théâtre, Vidéo.

Woven within fashion and dress is the innate ability to create atmosphere and transformative experiences. Architecturally, the façade of a building acts as its skin, having responsibilities that exceed the functions of shelter and materiality. The process of dressing buildings create and shape dynamic relationships with all the elements of its surroundings. Beyond the basic need for convenience and protection, both practices operate as part of a larger world of personified and tailored objects that create ambience and space. This thesis, entitled unDressing Spectacle, explores the parallels between the fashion and architecture within the context of their own industries as well as each other’s. Themes of dress and undress are juxtaposed onto both crafts - literally and metaphorically - at three different scales: the adornment of the individual; the design object within society and the urban fabric; and the discourse between branding and the economic condition. Creating the framework for fantastic events within the urban fabric, this thesis takes the form of a Fashion & Design Event Centre upon which the discourse between user and the design object unfolds. Placed in Toronto’s vibrant west end, the building is a symbol of permanence and an icon for fashion and design. The proposed design is the manifestation of the inherent conflict within the thesis, juxtaposing fashion’s ability to seduce and manufacture desires with the complex structuring of neutral spaces to allow for a multiplicity of users and events. At the city scale, the luminous and dynamic layers of building skin attracts and lures; as users approach and ultimately enter the building, the imagery is transformed into unique atmospheric experiences. This thesis harnesses the glamour of fashion as the medium to ignite the re-imagination of architecture’s value and the interpretation of beauty and style, providing the means for experiences to transcend into a world of spectacle.

The cult of sensibility in the eighteenth century celebrates delicate emotional responses. Such susceptibility to emotion, however, has to rely on somatic representations such as sighs, tears, convulsion, and faints. So, paradoxically, interiority is known to others only by outer bodily signs, signs that could just as easily reflect an affectation of sensibility as sensibility proper. The attempt to control the slippage in the reference between interiority and appearance becomes an anxious cultural feature of eighteenth-century men and, especially, women, of the higher classes. If sensibility requires such careful control and practice, its assumed spontaneity becomes a fiction. The performing body of sensibility turns into a screen that veils one¡¦s true interiority rather than a transparent reflection of it. The performing body is theatricalized¡X placed on the stage as a spectacle, examined by spectators. Sensibility falls prey to insincere, artificial, and affected performances. Emotional representations are constantly facing inroads of theatricality. When emotional expressions are rendered formulaic and reproducible, they lose their naturalness. Moreover, sensibility requires witnesses, spectators who can vouch for its authenticity (but never validate it beyond all doubt). Sensibility cannot proclaim itself because such proclamation would violate sensibility¡¦s principle of sheer sincerity and spontaneity. Theatricality, as an abstracted concept of theater, points both to the formulaic performances and to the model of spectator and spectacle in the theater. Sensibility is closely related to theatricality in these terms. This thesis aims to reveal the dynamics of the interplay between theatricality and sensibility in two eighteenth-century British novels. Both novels present a young heroine making her debut in the world after spending her formative years in seclusion with a male guardian. The Introduction reviews the eighteenth-century cult of sensibility. Chapter One discusses the theoretical and contextual relations between theatricality and sensibility. Chapter Two deals with Charlotte Lennox¡¦s novel The Female Quixote (1752), and how the heroine¡¦s sensibility is ridiculed as a form of self-theatricalization. Lennox gives the clash between sensibility and ridicule a generic dimension by blaming romance for the heroine¡¦s delusions. Chapter Three examines Frances Burney¡¦s epistolary novel Evelina (1778) and argues that the heroine¡¦s sensibility is both sealed and revealed in Burney¡¦s epistolary form since it enables Evelina to switch between being both spectator and spectacle. The conclusion briefly sums up the previous chapters and points out how, more generally, interpretations of literature can benefit from a recognition of the dynamics of theatricality and sensibility.