Self-esteem and internalizing symptoms have been found to be of great consequence throughout the lifespan, but behavioral genetic research exploring these variables in young children is lacking. Minimal research has explored the heritability of internalizing difficulties or self-esteem within preschool-aged children, and no studies have done so while also considering parenting behaviors. Thus, the present study investigated the heritability of self-esteem and internalizing symptoms and examined the relations between self-esteem, internalizing symptoms, and parenting behaviors within preschool-aged twins. Data were collected from 61 twin pairs at the ages of 4 and 5. Parenting behavior data were obtained from parent-child interactions that took place in a lab setting when the twins were 4 years old. At age 5, twins were administered a self-report measure of self-esteem and parents completed a measure of internalizing symptoms. Results indicated that internalizing symptoms were significantly heritable but self-esteem was not, although there was some support for the presence of budding genetic influences for self-esteem. Self-esteem and internalizing symptoms were significantly positively related within one sub-sample of twins and were not significantly correlated within the replication sub-sample. Interestingly, self-esteem and internalizing symptoms were not significant predictors of each other above and beyond genetic influences. Parenting behavior was not significantly related to either self-esteem or internalizing symptoms. Results showed that children who over-rated their peer-related competence tended to have more internalizing symptoms than those who under-rated or realistically rated themselves in this domain. Findings demonstrate that genes are important to consider when investigating internalizing symptoms and self-esteem in this age group. Also, although little support was found for the importance of self-esteem accuracy in children's internalizing symptoms, more research is necessary to understand it.

No description available.

Submitted by Mário Sérgio Teodoro da Silva Junior null (junior.marioteodoro@gmail.com) on 2017-05-25T00:58:46Z No. of bitstreams: 1 Dissertação final.pdf: 9753174 bytes, checksum: 649b1383345da9cedc633ecc820e5c23 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-30T16:09:48Z (GMT) No. of bitstreams: 1 silvajunior_mst_me_arafcl.pdf: 9753174 bytes, checksum: 649b1383345da9cedc633ecc820e5c23 (MD5) / Made available in DSpace on 2017-05-30T16:09:48Z (GMT). No. of bitstreams: 1 silvajunior_mst_me_arafcl.pdf: 9753174 bytes, checksum: 649b1383345da9cedc633ecc820e5c23 (MD5) Previous issue date: 2017-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Devido ao amplo interesse dos estudos da linguagem pelo texto sincrético e midiático, seus mecanismos de produção de sentido e uma metodologia de análise desse tipo de texto, este trabalho dedica-se a aprofundar a discussão do assunto. Como corpus, selecionam-se os filmes de animação dos estúdios da Walt Disney, uma vez que esses textos possuem grande popularidade e circulam com intensidade no meio social, figurando como discursos que, naturalmente, refletem muito características caras à vida cultural do mundo de hoje e das últimas décadas. Unem-se, assim, um assunto precioso à semiótica discursiva – o texto sincrético – e um assunto de interesse peculiar aos estudos do discurso em geral – o estilo no meio social. Como recorte no corpus, são escolhidos apenas quatro filmes, que obtiveram maior destaque dentre a produção dos estúdios. Três deles, A pequena sereia, A bela e a fera e Aladim, lançados, respectivamente, em 1989, 1991 e 1992, fazem parte de uma geração de títulos musicais da era conhecida como renascença Disney. O quarto filme, Frozen: uma aventura congelante, de 2013, parece retomar o estilo musical e conquistar o público em larga escala, pondo a companhia em evidência novamente. Como tópicos teóricos do trabalho, ao lado de questões da imanência do sentido e de articulações internas da expressão e do conteúdo, há também questões relativas à enunciação como uma totalidade concisa de enunciados, no tocante à ligação existente entre os títulos selecionados. Dessa forma, adentra-se o campo da autoria, procurando a definição do que se entende como um estilo próprio da Disney de enunciar, com isotopias discursivas e textuais que circulam com mais força em torno da questão musical. Recorre-se à teoria de estilo de Norma Discini, em O estilo nos textos (2013) e Corpo e estilo (2015), adicionando-se o conceito de ethos discursivo que Dominique Maingueneau discute ao longo de toda a sua obra científica. Quanto à análise semiótica, prestigia-se o plano da expressão, com base, essencialmente, na obra organizada por Lúcia Teixeira e Ana Cláudia Oliveira, Linguagens na comunicação (2009), e na obra de Pietroforte, A significação musical (2015), além de trabalhos mais específicos que dão método à análise da dimensão plástica, musical do conteúdo dos filmes. Por fim, pudemos concluir um estilo Disney essencialmente estadunidense, ligado intimamente à ideologia do Sonho Americano, e que mobiliza seus formantes em um regime de tonificação atenuação da disposição sensível e da retenção material. / Given the wide interest addressed to the study of syncretic texts and media in general by Linguistics and other language fields that discuss how those texts signify and how to systematize their inner mechanisms, we have decided to mature that debate in the present work. Our corpus is composed by animated films by Walt Disney due their popularity and the intensity with which they relate to society and, therefore, can present many characteristics of nowadays and previous decades culture. Thus, we present both a precious subject to discursive semiotics – syncretic text – and another one common to all discourse theories – style and society. We selected four famous titles from the Studios. Three of them – The little mermaid, Beauty and the beast and Aladdin, released, respectively, in 1989, 1991 and 1992, belong to the musical generation known as Disney Renascence. The fourth film, Frozen, 2013, seems to reclaim the musical style and conquer positively the public, putting Disney on the spotlight once more. Besides meaning’s immanent aspects that come the way, the main challenge is to deal with questions relating to enunciation as a totality of enunciates, establishing the relation among them. Hence, the only way is to go through authorship subject, searching for a definition for the Disney enunciative style, with its own discursive and textual isotopies that round the musical issue. At last, we can define a strongly American Disney style, closely linked to the American Dream ideology, that mobilizes its formants by a general structure of amplification and attenuation in the Subject’s sensibility and material retention. / FAPESP: 2014/17482-0

Orientador: Guacira Marcondes Machado Leite / Banca: María Dolores Aybar Ramírez / Banca: Maria Clara Bonetti Paro / Banca: Fani Miranda Tabak / Banca: Ozíris Borges Filho / Resumo: A postura artística de Henry James (1843-1916) perante o mundo físico se exprime por meio de técnicas narrativas variadas, que tanto refletem uma longa tradição literária quanto apresentam suas contribuições peculiares. Esquivando-se da densidade referencial em favor de uma materialidade sutil, James converte o espaço em símbolo, dota-o de valor psicológico e emprega-o para representar as personagens em suas complexidades humanas. Nesse sentido, esta pesquisa pretende estudar a introdução, descrição e conotação das referências espaciais e espaçotemporais da ficção madura do autor tomando como ponto de partida os romances The wings of the dove, The ambassadors e The golden bowl, publicados respectivamente em 1902, 1903 e 1904. Propomo-nos aqui a examinar a linguagem jamesiana e demonstrar de que forma tais narrativas captam o mundo interior por meio da representação do espaço, principalmente, e do tempo, e engendram o efeito de, por exemplo, subordinar a materialidade do mundo físico às elaborações mentais das personagens, tecer construções sintáticas e semânticas incomuns, sobrepor estratos físicos e psíquicos e desestabilizar a interpretação do leitor. Para isso, buscamos traçar um caminho de análise pautando-nos por uma metodologia paralela baseada nos princípios narratológicos e estilísticos de Gérard Genette (1995, 1969), Dan Shen (2014, 2005a, 2005b) e Leech e Short (1981), dentre outros / Abstract: Henry James's (1843-1916) artistic approach to the physical world is expressed through several narrative techniques which both convey a well-established literary tradition and make their unique contributions. By avoiding referential density in favor of subtle materiality, James turns space into symbol, endows it with psychological value and uses it to represent the characters in their human complexities. Therefore, this research aims to study the introduction, description and connotation of spatial and spatiotemporal references of James's major phase considering, as its starting point, the novels The Wings of the Dove, The Ambassadors and The Golden Bowl, published in 1902, 1903, and 1904 respectively. We propose to examine the Jamesian language and demonstrate how these narratives capture the inner world through the representation of space, chiefly, and time, and produce the effect, for instance, of subordinating the materiality of the physical world to the mental elaboration of characters, of weaving unusual syntactic and semantic structures, of overlapping physical and psychological strata and of destabilizing the interpretation of the reader. In order to do so, this study is guided by a parallel methodology based on the narratological and the stylistic principles of Gérard Genette (1995, 1969), Dan Shen (2014, 2005a, 2005b) and Leech and Short (1981), among others / Doutor

Cette thèse explore le rythme. Du chaosmos. De la vie. De la langue. Cette thèse constelle avec Deleuze. Avec Cummings. Avec Ignácio. Avec Diniz. Blake. Klee. Newbery. Delaunay. Avec les Campos. Mais aussi avec les matinées et avec la pluie. Cette thèse est faite avec Whitman. Albert-Birot. Chopin. Neruda. Avec les étoiles et avec la lune. Avec Moore et avec les baleines. Avec Cage. Ligeti. Varèse. Gervasoni. Avec Pessoa et avec la mer. Avec Mallarmé. Avec Pertuis et avec les navires. Avec Saramago. Pas plus qu’avec l’humidité de l’air. Cette thèse compose avec Villa-Lobos et avec l’Amazonie. Avec Tinguely. Feldman. Le Tellier. Kafka. Tavares. Valéry. Schumann. Avec Messiaen et avec les oiseaux. Avec les haikuistes... Finalement avec les et cetera. Mais aussi avec les et alli. Pas plus qu’avec le vent. Cette thèse expérimente avec le rythme. De la différence. De la répétition. De l’éternel retour. Avec une rythmologie. / Esta tese explora o ritmo. Do caosmo. Da vida. Da língua. Esta tese constela com Deleuze. Com Cummings. Com Ignácio. Com Diniz. Blake. Klee. Newbery. Delaunay. Com os Campos. Mas também com as manhãs e com a chuva. Esta tese é feita com Whitman. Albert-Birot. Chopin. Neruda. Com as estrelas e com a lua. Com Moore e com as baleias. Com Cage. Ligeti. Varèse. Gervasoni. Com Pessoa e com o mar. Com Mallarmé. Com Pertuis e com os navios. Com Saramago. Não mais do que com a umidade do ar. Esta tese compõe com Villa-Lobos e com a Amazônia. Com Tinguely. Feldman. Le Tellier. Kafka. Tavares. Valéry. Schumann. Com Messiaen e com os pássaros. Com os haicaístas... Enfim, com os et cetera. Mas também com os et alii. Não mais do que com o vento. Esta tese experimenta o ritmo. Da diferença. Da repetição. Do eterno retorno. Com uma ritmologia.

Cette thèse explore le rythme. Du chaosmos. De la vie. De la langue. Cette thèse constelle avec Deleuze. Avec Cummings. Avec Ignácio. Avec Diniz. Blake. Klee. Newbery. Delaunay. Avec les Campos. Mais aussi avec les matinées et avec la pluie. Cette thèse est faite avec Whitman. Albert-Birot. Chopin. Neruda. Avec les étoiles et avec la lune. Avec Moore et avec les baleines. Avec Cage. Ligeti. Varèse. Gervasoni. Avec Pessoa et avec la mer. Avec Mallarmé. Avec Pertuis et avec les navires. Avec Saramago. Pas plus qu’avec l’humidité de l’air. Cette thèse compose avec Villa-Lobos et avec l’Amazonie. Avec Tinguely. Feldman. Le Tellier. Kafka. Tavares. Valéry. Schumann. Avec Messiaen et avec les oiseaux. Avec les haikuistes... Finalement avec les et cetera. Mais aussi avec les et alli. Pas plus qu’avec le vent. Cette thèse expérimente avec le rythme. De la différence. De la répétition. De l’éternel retour. Avec une rythmologie. / Esta tese explora o ritmo. Do caosmo. Da vida. Da língua. Esta tese constela com Deleuze. Com Cummings. Com Ignácio. Com Diniz. Blake. Klee. Newbery. Delaunay. Com os Campos. Mas também com as manhãs e com a chuva. Esta tese é feita com Whitman. Albert-Birot. Chopin. Neruda. Com as estrelas e com a lua. Com Moore e com as baleias. Com Cage. Ligeti. Varèse. Gervasoni. Com Pessoa e com o mar. Com Mallarmé. Com Pertuis e com os navios. Com Saramago. Não mais do que com a umidade do ar. Esta tese compõe com Villa-Lobos e com a Amazônia. Com Tinguely. Feldman. Le Tellier. Kafka. Tavares. Valéry. Schumann. Com Messiaen e com os pássaros. Com os haicaístas... Enfim, com os et cetera. Mas também com os et alii. Não mais do que com o vento. Esta tese experimenta o ritmo. Da diferença. Da repetição. Do eterno retorno. Com uma ritmologia.

The purpose of this study is to demonstrate that Symphony No. 1 in F major, Op. 17, by Zdeněk Fibich embodies musical style features associated with both Czech and German composers of the nineteenth century. The identification of these style features is accomplished by comparing and contrasting Fibich's Symphony No. 1 in F major with works by other prominent Czech and German composers whose music was performed and well-known at the time. Particular emphasis is placed on the aural similarities between Fibich's first symphony and that of other composers' works in an effort to show Fibich's unique hybrid compositional style. A second area of focus is the rise in European nationalism during the latter half of the nineteenth century. Due to Fibich's mixed Czech and German heritage, nationalism is explored in order to ascertain what effect, if any, nationalistic bias might have had on the overall reception of Fibich's music and the composer's ability to have his music performed during his lifetime.

No description available.

Road safety has become a major concern due to the increased rate of deaths caused by road accidents. For this purpose, intelligent transportation systems are being developed to reduce the number of fatalities on the road. A plethora of work has been undertaken on the detection of different styles of behaviour such as fatigue and drunken behaviour of the drivers; however, owing to complexity of human behaviour, a lot has yet to be explored in this field to assess different styles of the abnormal behaviour to make roads safer for travelling. This research focuses on detection of a very complex driver’s behaviours: ‘tafheet’, reckless and aggressive by proposing and building a driver’s behaviour detection model in the context-aware system in the VANET environment. Tafheet behaviour is very complex behaviour shown by young drivers in the Middle East, Japan and the USA. It is characterised by driving at dangerously high speeds (beyond those commonly known in aggressive behaviour) coupled with the drifting and angular movements of the wheels of the vehicle, which is similarly aggressive and reckless driving behaviour. Thus, the dynamic Bayesian Network (DBN) framework was applied to perform reasoning relating to the uncertainty associated with driver’s behaviour and to deduce the possible combinations of the driver’s behaviour based on the information gathered by the system about the foregoing factors. Based on the concept of context-awareness, a novel Tafheet driver’s behaviour detection architecture had been built in this thesis, which had been separated into three phases: sensing phase, processing and thinking phase and the acting phase. The proposed system elaborated the interactions of various components of the architecture with each other in order to detect the required outcomes from it. The implementation of this proposed system was executed using GeNIe 2.0 software, resulting in the construction of DBN model. The DBN model was evaluated by using experimental set of data in order to substantiate its functionality and accuracy in terms of detection of tafheet, reckless and aggressive behaviours in the real time manner. It was shown that the proposed system was able to detect the selected abnormal behaviours of the driver based on the contextual data collected. The novelty of this system was that it could detect the reckless, aggressive and tafheet behaviour in sequential manner, based on the intensity of the driver’s behaviour itself. In contrast to previous detection model, this research work suggested the On Board Unit architecture for the arrangement of sensors and data processing and decision making of the proposed system, which can be used to pre-infer the complex behaviour like tafheet. Thus it has the potential to prevent the road accidents from happening due to tafheet behaviour.

A thinker of impurity, Rancière is most often read as proposing an alternative to the ontology of the political. Against the many attempts to restore a pure sense of politics and of its public space, Rancière maintains the place of politics in a common appearance that is identical to reality. Though typically seen as having broken with the Marxist tradition, I argue here that it is possible to find in his fragmentary style something like a negative dialectic. While politics is what his works address, it is also how it is addressed. Politics, and its assertion of an apparently impossible equality, must be lived out by critique and not merely described. In doing just this, Rancière offers a renewed take on the western-Marxist tradition’s politics of aesthetics. Indeed, I maintain that Rancière, far from breaking with Marxism full stop, instead effects a reversal, a reversal of education into politics.