In both form and content, Wim Wenders's films create a cinema of wandering, tracing a route of intersections between the modern and postmodern visual landscape. The space of the world, its deserted horizons and populated streets, are a kind of visual architecture through which the mobile vision of the film wanders, just as Wenders's peripatetic characters wander through space and time towards encounters with others. This wandering invites a phenomenological understanding of embodied spectator experience and perception, for as much as Wenders's films are about the representative image, they are also about the dynamic relationship of the embodied spectator to the visible world. A first avenue of inquiry leads through the deserts and cities that shape the visual terrain of Wenders's cinema. These locations are always sites (places) and sights (images) of recuperation that offer critique, analysis, and resistance to the hyperreal and the reductive visual practices of postmodernity. A second route follows the journeys of both Wenders's characters and films. The insistence in existential phenomenology that meaning and intentionality inhere in the body's motility provides a starting point for elucidating the relationship of cinematic technology to embodied vision. The film and the spectator share a way of being in the world, and the wandering vision and audition that shape the journeys of Wenders's films are always expressions of the modern experience of space and time. Finally, this dissertation undertakes a third course, applying naturalized phenomenology to a reading of the encounters of Wenders's wandering subjects. This methodology allows for a clearer understanding of the socially mediated subject, and of the relationship of spectator to film. The dynamic mirroring that constitutes cinematic experience as it occurs neurologically and phenomenologically shapes cinematic encounters. Film is a mirror, but more significantly, the spectator is a mirror. For the spectator, as for Wenders's characters, wandering is a way of engaging the contingencies of the other and confronting the truths and lies behind cinematic illusion. / English

This dissertation is primarily concerned with studying the invariant subspaces of left-invertible, weighted shifts, with generalizations to left-invertible operators where applicable. The two main problems that are researched can be stated together as When does a weighted shift have the one-dimensional wandering subspace property for all of its closed, invariant subspaces? This can fail either by having a subspace that is not generated by its wandering subspace, or by having a subspace with an index greater than one. For the former we show that every left-invertible, weighted shift is similar to another weighted shift with a residual space, with respect to being generated by the wandering subspace, of dimension $n$, where $n$ is any finite number. For the latter we derive necessary and sufficient conditions for a pure, left-invertible operator with an index of one to have a closed, invariant subspace with an index greater than one. We use these conditions to show that if a closed, invariant subspace for an operator in a class of weighted shifts has a vector in $l^1$, then it must have an index equal to one, and to produce closed, invariant subspaces with an index of two for operators in another class of weighted shifts. / Ph. D.

Effects of mind wandering on creative thinking is unclear in the literature. Using multiple measures of mind wandering and creativity, the current study investigates the role of different contexts on the relationship between mind wandering and creative thinking. Thought probes measured intentionality and freely moving dimensions of mind wandering in a lexical decision and a movie task (between-subjects). Three measures of attention control were also obtained. Deliberate and spontaneous mind wandering traits were measured with a survey. Participants did not show off-task behaviors during the mind wandering tasks. Attention control positively predicted creative problem solving and divergent thinking scores. Freely moving thought did not predict creative thinking. Deliberate mind wandering positively predicted creative problem-solving scores above and beyond attention control.

No description available.

Héritier d’une longue tradition d’écrivains “bohèmes”, Pierre Jean Jouve est l’auteur d’une œuvre romanesque semblable à une route jalonnée de sentiers épars. Rigoureusement balisés par le romancier, mais jamais totalement explorés par le lecteur, visiteur d’un espace littéraire où les pérégrinations des personnages se confondent avec l’errance de l’écrivain, les romans de Jouve se donnent à lire comme de véritables jalons sur la route qui a mené leur auteur à ce qu’il nomme « l’immuable langue ». Cette étude accorde la place qu’ils méritent aux thèmes fondateurs des romans jouviens que sont les voyages (terrestre et céleste), l’onirisme, Éros et Thanatos… autant de catalyseurs de cette “errance romanesque” qui est au cœur de l’art de Jouve et dont le but affiché est de permettre l’accès à « la vraie libre Poésie ». / Heir to a long tradition of “bohemian” writers, Pierre Jean Jouve is the author of a novel similar to a road dotted with scattered paths. Strictly marked by the novelist, but never fully explored by the reader, a visitor to a literary space where the peregrinations of the characters mingle with the wanderings of the writer, Jouve’s novels are read as real milestones on the road that led the author to what he calls « the unchangeable language ». This study puts emphasis on Jouvian novels’ themes namely travel (terrestrial and celestial), dreamlike, Eros and Thanatos... so many catalysts of this “novelistic wandering” at the heart of Jouve’s art, whose stated aim is to allow access to « real free Poetry ».

While it implies aimless movement, the act of wandering is an act of discovery and can become a search for the unexpected. Wandering, as a metaphor for making, creates opportunities to work in ways where the final outcome is unknown. This can be accomplished by the creation of methods and instructions designed for wandering-the act of discovery. In the field of design, these ideas can be incorporated as methods for making that guide the design process in ultimately unknowable ways, resulting in products that bear little trace of preconception. The role of chance and indeterminacy as methods for relinquishing control and generating narrative are explored in three projects relying on video and interactivity.

Autour des années 1930, Léopold Sédar Senghor, Aimé Césaire, Léon Gontran Damas et les autres lancent le mouvement de la Négritude. Leur lutte s’oriente vers une convocation poétique et une réappropriation de l’Afrique. En effet, après la prise en compte des valeurs africaines et leur mise en pratique, il faut donc penser et écrire à la manière africaine. Les créations littéraires issues de ce mouvement littéraire étaient donc essentiellement orientées vers l’Afrique, vers cet espace topographique connu et fixe. Dans cette revendication légitime, l’identité du sujet nègre est à rechercher en Afrique, la Négritude participe donc à une sorte de « fixité identitaire ». Les années 1990 voient l’émergence d’une nouvelle génération d’écrivains africains francophones qui, pour la plupart, vivent et mènent leurs activités littéraires en Europe (Bessora, Alain Mabanckou, Kossi Efoui, Calixte Béyala, etc.). Cette quatrième génération d’écrivains africains francophones lutte contre une sorte « d’assignation à résidence » et revendiquent une littérature ouverte sur le monde. À ce sujet, Bessora, comme beaucoup d’autres écrivains de sa génération, évolue en marge d’un espace géographique fermé, elle assume son appartenance à un monde qui abolit les frontières géographiques, esthétiques et même genrologiques. Bien qu’assumant ses origines africaines, Bessora coupe tout lien avec son espace géographique pour inventer et conquérir de nouveaux territoires. Dès lors, Bessora n’écrit plus l’Afrique dans une posture figée et afro-centrée, mais elle invite plutôt à la réalisation du « Tout-Monde » glissantien. / Around Around the 1930s, Léopold Sédar Senghor, Aimé Césaire, Léon Gontran Damas and others launched the Negritude movement. Their struggle is a poetic evocation and a reappropriation of Africa. Indeed, after the taking into account of African values and their implementation, one must think and write in the African way. The literary creations resulting from this literary movement were therefore essentially oriented towards Africa, towards this fixed and known topographic space. In this legitimate claim, the identity of the Negro subject is to be sought in Africa; Negritude is therefore involved in a kind of “fixed identity”. The 1990s saw the emergence of a new generation of francophone African writers who mostly live and conduct their literary activities in Europe (Bessora, Alain Mabanckou, Kossi Efoui, Calixte Béyala, etc.). This fourth generation of francophone African writers struggle against a kind of "house arrest" and advocate a literature open to the world. In this regard, Bessora, like many other writers of her generation, evolves on the fringe of a closed geographical space; she assumes membership in a world that abolishes geographic, aesthetic and even genrologicals frontiers. While not denying her African origins, Bessora cuts all ties with her geographical space in order to invent and conquer new territories. Consequently Bessora no longer writes about Africa from a frozen and African-centered position, but rather calls for the realization of “All-World” of Glissant.

Ctenus fasciatus e Enoploctenus cyclothorax (Araneae: Ctenidae) foram estudadas em cavernas da área cárstica do Alto Ribeira, município de Iporanga, sul de São Paulo, abordando a distribuição no meio subterrâneo, ecologia populacional, deslocamentos, alimentação e reprodução e crescimento. A primeira espécie foi estudada na Gruta da Lage Branca, localizada no Parque Estadual Turístico do Alto Ribeira (PETAR), e em quatro cavernas do Parque Estadual Intervales (Grutas da Barra Bonita, do Tatu, do Fóssil Desconhecido e Toca Detrás), enquanto que E. cyclothorax foi estudada apenas nas cavernas mencionadas do PEI. Utilizou-se o método de marcação e recaptura em viagens mensais e os dados obtidos foram analisados pelo método de Jolly-Seber para se estimar o tamanho das populações. Observou-se que as populações são sazonais, com pico no número de exemplares encontrados coincidindo com o período reprodutivo, que ocorre no verão (novembro a março) para C. fasciatus e no inverno (maio a outubro), para E. cyclothorax. A população de C. fasciatus estudada na Lage Branca apresentou uma acentuada queda de um ano para o outro, o que foi atribuído às constantes enxurradas que ocorreram no período de estudo e às atividades turísticas descontroladas. Também houve queda populacional para essa espécie no conjunto das cavernas do PEI, entretanto em menor escala, a qual foi interpretada como flutuação natural das populações. No caso de E. cyclothorax, o estudo populacional no PEI sugere que a população de exemplares adultos se renova anualmente, com indivíduos machos mais errantes e fêmeas sedentárias. Concluiu-se que estas últimas são trogloxenas não obrigatórias, enquanto aranhas C. fasciatus são troglófilas, distribuídas por todo o interior das cavernas e raramente encontradas no meio epígeo. Estas últimas são caracteristicamente errantes, observando-se deslocamentos de até 140 m em períodos máximos de 4 e 5 meses. Exemplares das duas espécies foram transportados ao laboratório, em sala climatizada no Departamento de Zoologia da USP, onde foram mantidos para acompanhamento do comportamento reprodutivo e desenvolvimento pós-embrionário. Aranhas de uma outra espécie da mesma família (Isoctenus sp.), coletada na Lapa do Angélica, situada no Parque de Terra Ronca (PETER), município de São Domingos (GO), reproduziram-se em laboratório e também foram acompanhadas com relação ao desenvolvimento pós-embrionário. O desenvolvimento tanto de C. fasciatus como de Isoctenus sp. é longo (três a quatro anos), e essas aranhas só atingem a vida adulta após 17 ou 18 mudas. Não foi possível acompanhar o desenvolvimento pós-embrionário de E. cyclothorax, pois os exemplares jovens não suportaram as condições de laboratório. Após a cópula, as fêmeas de C. fasciatus sempre se alimentam dos machos para suportar longos períodos sem alimentação até o nascimento e dispersão dos filhotes. E. cyclothorax pode alimentar-se dos machos ou não, já que elas abandonam suas posturas periodicamente para buscar alimento. As ootecas das três espécies são fixas ao substrato rochoso, em superfícies verticais, e nascem aproximadamente 400 a 500 aranhiços de cada ooteca. / Ctenus fasciatus e Enoploctenus cyclothorax (Araneae: Ctenidae) from caves in the Alto Ribeira karst area, Iporanga Co., southern State of São Paulo, were studied with focus on their distribution in the subterranean habitat, population ecology, movements, feeding, and reproduction and growth. The populations of C. fasciatus from Lage Branca Cave, in the Parque Estadual Turístico do Alto Ribeira (PETAR), and from four caves in the Parque Estadual Intervales (Barra Bonita, do Tatu, do Fóssil Desconhecido e Toca Detrás), as well as those of E. cyclothorax found in the latter, were investigated using mark-recapture techniques. These populations are seasonal, with a peak in the number of observed specimens coincident with the reproductive season, which occurs in the summer (November to March) for C. fasciatus and in the winter for E. cyclothorax. There was an accentuated decrease in the population of C. fasciatus in the Lage Branca Cave from the first to the second study year (2001 to 2002), possibly due to floodings and/or poorly controlled touristic visitation. A less accentuated population decrease was also observed for C. fasciatus in caves from the PEI, possibly representing a natural fluctuation. For E. cyclothorax, the study in the PEI indicates that the males are errant and the females tend to be sedentary, and that the adult population renews every year. Females of E. cyclothorax are non-obligatory trogloxenes (aparently males do not use the hypogean habitat), whereas C. fasciatus is a typical troglophile rarely found in the epigean environment. The latter is found throughout the caves, in different substrata (walking on the floor, on rocky walls, hidden in crevices or log); 140 m long movements within 4-5 months were observed for two individuals. Individuals of both species, as well as Isoctenus sp. from a cave in São Domingos karst area, State of Goiás, Central Brazil, were kept in laboratory for study of reproduction and postembryonic development. Development in C. fasciatus and Isoctenus sp. Takes a long time (three to four years till the sexual maturity) and a relatively high numbers of moults (at least 17-18). It was not possibly to describe the postembryonic development in E. cyclothorax because the spiderlings did not survive in laboratory. C. fasciatus females usually eat the male after copulating, probably as an adaptation to survive the long time of parental care without leaving the egg sac to feed. Females of E. cyclothorax may or may not eat the males, and may leave temporarily the egg sac to eat.

O presente trabalho visa investigar a desestabilização de categoria rígidas como o lugar e o sujeito por meio do deslocamento. A viagem possibilita outras formas de ser e estar no espaço que reordenam essas categorias e as suas relações, problematizando a possibilidade de enunciação como sutura da relação entre sujeito e lugar. De encontro ao romance 2666 de Roberto Bolaño, a dissertação persegue os espectros dessas fissuras a partir de miradas múltiplas. Primeiro, investiga-se o lugar desde o qual se fala do lugar nos estudos da literatura e da linguagem e a violência subjacente ao desejo de querer colocar uma coisa em seu lugar. A tradução, como subversora da máxima física de que dois corpos nunca podem ocupar o mesmo lugar ao mesmo tempo, é também explorada desde a perspectiva de Babel, em que a confusão linguística está dada como a impossibilidade de uma linguagem plenamente ordenadora. Parte-se, então, para a viagem, aquilo que deixa o lugar rumo a outros e decompõe, via deslocamento, a coesão, operando um movimento de abertura ao desconhecido, um reordenamento das configurações previamente estabelecidas. Essa aparente emancipação, porém, incorre rapidamente também em uma condenação, o seu revés mais íntimo, compreendida aqui como a possibilidade de enunciar desde um eu dissociado, aberto ao outro que existe em si. / This study aims to investigate the destabilizing of rigid categories such as the place and the subject through travel, understood here as displacement. The trip enables different manners of being in space that reorganize these categories and their relations, questioning the possibility of enunciation as the seam between subject and place. Through an encounter with Roberto Bolaños novel 2666, this dissertation follows the specters of these fissures from multiple viewpoints. First it investigates the place from which one speaks of place in literary and language studies and the violence ingrained in the desire to allocate a thing to its own place. Translation, as a subversive element of the physical axiom two bodies cannot occupy the same place at the same time, is explored within the scope of Babel, in which linguistic confusion is exerted as the impossibility of a fully analytical language. Then, the concept of travel is sought as that which leaves a place, bound for others, and decomposes, via displacement, cohesiveness, operating a movement of opening towards the unknown and reorganizing previously established configurations. However, this apparent emancipation quickly brings about condemnation, its intimate double, understood here as the possibility to enunciate from a dissociated I, open to the other that exists in the I.

Esta pesquisa tem por objetivo entender, por meio da análise fílmica, as formas como a temporalidade está presente no imaginário social na modernidade. Para isso, foi inicialmente elaborada uma abordagem histórica da constituição da temporalidade moderna, refletindo sobre a perda da narrativa, e da tradição e as mudanças no significado da morte. A análise dos filmes Dolls, Paris, Texas, Sob a areia e A eternidade e um dia vêm mostrar formas de temporalidade que se apresentam como contraponto àquela hegemônica na modernidade. Em seus temas, são abordados os elementos de ruptura: a errância, o desenraizamento, o luto e a rememoração / This thesis seeks to understand, through filmic analysis, the ways in which temporality is present in the social imaginary of modernity. To do so, it initially elaborates a historic approach to the construction of modern temporality, reflecting on the loss of narrative, tradition and the changing meaning of death. The analysis of the four films Dolls, Paris, Texas, Under the Sand and Eternity and a Day demonstrates forms of temporality that are presented as a counterpoint to that which is hegemonic in modernity. The key themes approached are elements of rupture: wandering, uprooting, mourning and remembering