This study has its starting point in physical touch, and I interviewed three health workers; an osteopath, a nurse, and a midwife, about their sense of touch. The data collection method used is the qualitative research interview, with its main emphasis on Eugene Gendlin‟s Focusing (1981), to capture the informant‟s embodied sense of touch. The Constant Comparative Method from Grounded Theory by Strauss and Corbin (1990) is employed to analyse the data, supplied by the descriptive phenomenological method as developed by Giorgi (2009), and inspired by Gendlin‟s Focusing (1968; 1970; 1981). Two main themes and a core theme emerged from the data: 1) "Touch is everything" – The toucher and the touched, 2) "Touch is an art" – The space between and, 3) "It takes courage to be close" – Touch as a meeting between selves. Philosophical theory and humanistic existential counselling psychology theories are at the base of the discussion. This includes Merleau-Ponty (1945), Gendlin (1962; 1996), Buber (1970/1996), Rogers (1961/2004) and Josselson (1996). Theories on body, space, and touch, also in counselling, are represented by Gendlin (1993; 1992), Montagu (1986), Hall (1966/1990), Hunter and Struve (1998), Tune (2001) among others. The study shows that positive touch is important to the person, how touch is more than physical, that the body is more than a physiological machine, and how touch both happens within different types of space and creates a meeting between the selves that reside inside the bodies. It also shows how through providing certain empathic conditions; warmth, acceptance, listening and caring, a health worker or counsellor can ensure a good meeting that can potentially lead to a dialogical I-You meeting. This meeting, based on the empathic conditions provided by a counsellor who is also in tune with him or herself, may also lead to change in the both the counsellor‟s and the client‟s selves.

This thesis deals with the velocity distribution in space between the cylinders. All measurement conducted in labs of VUT Brno Faculty of Civil Engineering. Cause of measurement is research, which is being done by Masarykova unverzita within the thesis of one of the students. It is a research of behavior of certain animals in the aquatic enviroment.

Yes / Wave-seabed-pipelines interaction is of critical importance in the design of submarine pipelines. Previous studies mainly focus on investigating the characteristics of flow fields and hydrodynamics around a single pipeline. In this study, laboratory experiments and numerical simulations have been performed to examine the effect of burial depth and space between the centers of twin pipelines on the wave-seabed-twin pipelines interaction subject to waves. In the mathematical model, the Volume-Averaged Reynolds-Averaged Navier-Stokes (VARANS) equations are used to describe the wave motion in the fluid domain, while the seabed domain is described by using the Biot's poro-elastic theory. Numerical models are validated using these experimental measurements and available relevant experimental data. Experimental and numerical results indicate that the burial depth and relative position of twin pipelines can significantly affect the wave-averaged flow velocity field and the pore-water pressure distribution as well as effective stress.

ARAÚJO, Alessandra Oliveira. Biograficidade: a arte urbana na formação de si e do espaço. 2017. 296f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-11-07T13:58:36Z No. of bitstreams: 1 2017_tese_aoaraujo.pdf: 2645337 bytes, checksum: 7794c3d9184eea10a09493f6a4a39205 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-11-07T18:59:21Z (GMT) No. of bitstreams: 1 2017_tese_aoaraujo.pdf: 2645337 bytes, checksum: 7794c3d9184eea10a09493f6a4a39205 (MD5) / Made available in DSpace on 2017-11-07T18:59:21Z (GMT). No. of bitstreams: 1 2017_tese_aoaraujo.pdf: 2645337 bytes, checksum: 7794c3d9184eea10a09493f6a4a39205 (MD5) Previous issue date: 2017 / This thesis aims to investigate how urban art can act in the formation of oneself and of spaces. I develop a study with five urban artists from the city of Fortaleza - Narcélio Grud, Emerson Tubarão, Gleison Luz, Leandro Alves and Rafael Limaverde - in order to understand how the production of graffiti on the streets of the city appears as a biographical element in their narratives and as its productions can transform the spaces to be incorporated into the urban landscape, composing the idea of \"biograficidade\", developed in this thesis as a form of writing that we leave in the city and that it incorporates in its narrative. I use the foundations and procedures of (biographical) research from authors such as Josso (2004), Delory-Momberger (2012a), Pineau (2006) and Ferrarotti (1988) as the methodological and epistemological basis of the thesis. For the construction of data for the analysis, I use the narrative interview from the contributions of Jovchelovitch and Bauer (2005). I divided the interview analysis process into two stages, the first one being the \"cloud of words\" methodology, in which I developed a theoretical articulation from the emerging categories of the subjects\' speeches. In the second stage, I use Marinas\' \"scenic comprehension\" (2007) to analyze the context of the interview, to articulate the daily scenes of the interviewees and, finally, to analyze the implied, forgotten or even avoided images. After analyzing the interviews individually, I make a discussion about graffiti from the \"space between\", category in which I develop based on authors such as Deleuze (2006) and Samain (2012). When I realized that graffiti was a recurring element in all the speeches and that there was a differentiation of the way it was seen by the research subjects, I decided to analyze how there is a production from the difference, a multiplicity that does not allow a stable definition of graffiti and also a conversation between the narratives, both in their approaches and in the distance. To make a discussion of \"biograficidade\", I use mainly Jacques (2012), Certeau (1998) and Delory-Momberger (2012a), the authors and the field provides an understanding that our experience has a strong relation with space, since we are changed and transformed by him. In addition, it was possible to arrive at the understanding that there is a narrative of space itself, since the marks that we left in space can be articulated and form an urban narrative. / Esta tese tem como objetivo investigar como a arte urbana pode atuar na formação de si e dos espaços. Desenvolvo um estudo com cinco artistas urbanos da cidade de Fortaleza – Narcélio Grud, Emerson Tubarão, Gleison Luz, Leandro Alves e Rafael Limaverde – com o intuito de compreender como a produção de graffitis pelas ruas da cidade aparece como elemento biográfico em suas narrativas e como suas produções podem transformar os espaços ao serem incorporadas à paisagem urbana, compondo a ideia de “biograficidade”, desenvolvida nesta tese como uma forma de escrita que deixamos na cidade e que ela incorpora em sua narrativa. Uso os fundamentos e procedimentos da pesquisa (auto)biográfica, a partir de autores como Josso (2004), Delory-Momberger (2012a), Pineau (2006) e Ferrarotti (1988), como base metodológica e epistemológica da tese. Para a construção de dados para a análise, uso a entrevista narrativa a partir das contribuições de Jovchelovitch e Bauer (2005). Dividi o processo de análise das entrevistas em duas etapas, sendo a primeira a metodologia da “nuvem de palavras”, em que desenvolvo uma articulação teórica a partir das categorias emergentes das falas dos sujeitos. Na segunda etapa, uso a “compreensão cênica” de Marinas (2007) para analisar o contexto da entrevista, fazer uma articulação das cenas do cotidiano dos entrevistados e, por último, uma análise das imagens implícitas, esquecidas ou mesmo evitadas. Após a análise individual das entrevistas, faço uma discussão sobre graffiti a partir do “espaço entre”, categoria em que desenvolvo com base em autores como Deleuze (2006) e Samain (2012). Ao perceber que o graffiti foi um elemento recorrente em todas as falas e que existia uma diferenciação na forma como era visto pelos sujeitos da pesquisa, resolvi analisar como existe uma produção a partir da diferença, uma multiplicidade que não permite uma definição estável do graffiti e também uma conversação entre as narrativas, tanto nas suas aproximações quanto nos seus distanciamentos. Para fazer uma discussão sobre “biograficidade”, uso principalmente Jacques (2012), Certeau (1998) e Delory-Momberger (2012a), os autores e o campo possibilitam uma compreensão de que a nossa experiência possui uma forte relação com o espaço, pois mudamos e somos transformados por ele. Além disso, foi possível chegar à compreensão de que existe uma narrativa do espaço em si, visto que as marcas que deixamos no espaço podem ser articuladas e formar uma narrativa urbana.

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This dissertation examines the reconfiguration of the limits of representation in reference to the intermediary function of angels. The Modernist engagement with the figure of the angel entailed, primarily, a reconsideration of the problem of representation as well as an attempt to trace the contours of a poetics that plays itself outside the mimetic understanding of representation. My contention is that this transformation of literary referentiality was not simply a disengagement of art from reality but, rather, from the truthfalsity, reality-fiction, subject-object dichotomies. The angel, defined as the figure of passage par excellence, but also as the agency that induces the transformation of the visible in the invisible and vice versa, appears both as a model/archetype and as a guide towards the illumination of this intermediary aesthetic. Working with the joined perspectives from angelology, contemporary phenomenology, and poetics, this dissertation is an extended overview of the notion of intermediary spaces, as well as an attempt to probe the relevance of this concept for the field of literary studies. In the first case, this dissertation offers a theoretical background to the concept of intermediality, seen in its theological, phenomenological, aesthetic and ethical significances. In the second case, it presents the reader with a heuristic apparatus for approaching this problematic in the field of literary interpretation and provides examples of ways in which such an analysis can become relevant. The primary texts discussed here are all examples of attempts to redefine the notion of representation away from the truth-falsity or subject-object oppositions, as well as to create an aesthetic space with its own particularities, at the limit between visibility and invisibility, excessive presence and absence. Nicholas of Cusa’s “Preface” to The Vision of God proposes an ethics of reading defined by admiratio (the consubstantiation of immediacy and distance) under the aegis of the all-seeing icon of God. Louis Marin’s reading of the episode of the Resurrection reveals that history and narrative arise from the conjunction of the excessive absence of the empty tomb of Jesus and the excessive presence announcing the resurrection of Christ. Sohravardî’s “Recital of the Crimson Angel” is a presentation of the space-between of revelation, between cognitio matutina and cognitio vespertina. Walter Benjamin’s “Agesilaus Santander” restores the connections between the exoteric and the esoteric under the patient gaze of “Angelus Novus”. Paul Valéry’s Eupalinos, ou l’Architecte explores the aesthetic of “real appearance” in the space-between the image and the perceiving eye. Poe and Malamud’s short stories reveal the affinities between poetic language and angelophany. Elie Wiesel’s Les portes de la forêt expands the apophatic itinerary from the self to the radically other in a hermeneutical gesture which has the angel as its initial and final guide. Finally, Rafael Alberti’s Sobre los ángeles shows that the aphaeretic function of poetic language is very similar to the apophatic treatment of the world as representation; in this last sense too, the angels are indispensible guides.

This dissertation examines the reconfiguration of the limits of representation in reference to the intermediary function of angels. The Modernist engagement with the figure of the angel entailed, primarily, a reconsideration of the problem of representation as well as an attempt to trace the contours of a poetics that plays itself outside the mimetic understanding of representation. My contention is that this transformation of literary referentiality was not simply a disengagement of art from reality but, rather, from the truthfalsity, reality-fiction, subject-object dichotomies. The angel, defined as the figure of passage par excellence, but also as the agency that induces the transformation of the visible in the invisible and vice versa, appears both as a model/archetype and as a guide towards the illumination of this intermediary aesthetic. Working with the joined perspectives from angelology, contemporary phenomenology, and poetics, this dissertation is an extended overview of the notion of intermediary spaces, as well as an attempt to probe the relevance of this concept for the field of literary studies. In the first case, this dissertation offers a theoretical background to the concept of intermediality, seen in its theological, phenomenological, aesthetic and ethical significances. In the second case, it presents the reader with a heuristic apparatus for approaching this problematic in the field of literary interpretation and provides examples of ways in which such an analysis can become relevant. The primary texts discussed here are all examples of attempts to redefine the notion of representation away from the truth-falsity or subject-object oppositions, as well as to create an aesthetic space with its own particularities, at the limit between visibility and invisibility, excessive presence and absence. Nicholas of Cusa’s “Preface” to The Vision of God proposes an ethics of reading defined by admiratio (the consubstantiation of immediacy and distance) under the aegis of the all-seeing icon of God. Louis Marin’s reading of the episode of the Resurrection reveals that history and narrative arise from the conjunction of the excessive absence of the empty tomb of Jesus and the excessive presence announcing the resurrection of Christ. Sohravardî’s “Recital of the Crimson Angel” is a presentation of the space-between of revelation, between cognitio matutina and cognitio vespertina. Walter Benjamin’s “Agesilaus Santander” restores the connections between the exoteric and the esoteric under the patient gaze of “Angelus Novus”. Paul Valéry’s Eupalinos, ou l’Architecte explores the aesthetic of “real appearance” in the space-between the image and the perceiving eye. Poe and Malamud’s short stories reveal the affinities between poetic language and angelophany. Elie Wiesel’s Les portes de la forêt expands the apophatic itinerary from the self to the radically other in a hermeneutical gesture which has the angel as its initial and final guide. Finally, Rafael Alberti’s Sobre los ángeles shows that the aphaeretic function of poetic language is very similar to the apophatic treatment of the world as representation; in this last sense too, the angels are indispensible guides.