Referenciais para a construção do processo de enfermagem na consulta de saúde mental e psiquiatria na infância e adolescência: o processo de implementação

É na infância e adolescência que se cria a individualidade de cada ser humano, adquirem-se normas e valores dos contextos que se está inserido. Na relação com estes contextos surgem formas individuais de pensar e reagir. O enfermeiro especialista em enfermagem de saúde mental surge como elemento que ajuda os utentes na sua relação com os seus contextos internos e externos na promoção da saúde, prevenção de riscos, prestando cuidados de âmbito psicoterapêutico, socioterapêutico, psicossocial e psicoeducacional. O presente relatório descreve o processo de implementação de referenciais para a consulta de enfermagem de saúde mental infantil e juvenil. Divide-se na fase de planeamento e na fase de implementação. Na avaliação e intervenção há a necessidade de adaptação à pessoa e seu nível de desenvolvimento das estratégias usadas. Revelaram-se eficazes as estratégias de ludoterapia, musicoterapia, filmeterapia, mediadores de expressão na gestão da relação da criança e adolescente consigo e com o que o rodeia, havendo ganhos quer a nível da satisfação dos utentes e familiares, adaptação, bem-estar e autocuidado, prevenção de complicações e promoção da saúde; ABSTRACT: BENCHMARKS FOR THE CONSTRUCTION OF THE NURSING PROCESS IN MENTAL HEALTH CONSULTATION AND PSYCHIATRY IN CHILDHOOD AND ADOLESCENCE - THE IMPLEMENTATION PROCESS The individuality of each human being is created during childhood and adolescence. Norms and values of the context where each one is inserted are acquired. Individual thinking and reacting ways rise, relating to this context. The mental health nursing specialist is one element that helps users in their internal and external contexts relationship, regarding to health promotion and risk prevention with psycho therapeutic, social therapeutic, psychosocial and psychoeducational care providing. This report describes how to insert references to the children and adolescent mental health nursing consultation. It is divided in planning and implementation phases. During assessment and intervention, there is the need to adapt these strategies to each person and their level of development. Ludo therapy, music therapy, movie therapy, expression mediators, showed efficacy in children and adolescent management relationship with themselves and their surroundings, with gains both in terms of user and family satisfaction, adaptation, welfare, self-care, complications prevention and health promotion.

O cinema como recurso pedagógico na aula de história

Este estudo pretendeu pesquisar acerca da influência do cinema histórico de ficção na construção do conhecimento histórico de alunos de História A do Ensino Secundário. Foi realizado com uma turma do 10º ano de escolaridade de 20 alunos e foi antecedido de um estudo prévio. O trabalho baseou-se no visionamento do filme "O Gladiador" e na realização de fichas de trabalho: a "Ficha de Enquadramento Histórico do Filme", para contextualizar a época histórica em que decorria o filme; a "Ficha de Análise do Filme”, para recolha de dados e finalmente a "Ficha de Trabalho de Comparação entre Fontes Históricas e o Filme". As respostas fornecidas pelos alunos foram organizadas em categorias. Para as perguntas que pediam uma resposta mais directa e simples foram criadas três categorias: básica primária, básica secundária e definição elaborada. Para as perguntas que exigiam uma resposta mais complexa criaram-se cinco categorias: incoerente, básica primária, básica secundária, definição emergente e definição elaborada. As principais conclusões foram: a) o cinema de ficção desempenha um importante contributo na construção do conhecimento histórico dos alunos do ensino secundário; b) o visionamento de filmes de ficção na aula de História deve ser acompanhado com o confronto de fontes históricas para os alunos distinguirem ficção de conhecimento histórico; c) o cinema desempenha um papel muito importante no desenvolvimento das competências específicas de História do Ensino Secundário e do espírito crítico dos alunos; entre outras. / ABSTRACT: This study aimed to understand the influence of historical fiction movies in historical knowledge of students in History of Secondary Education. The study was conducted with a group of 20 students of the 1O th grade and was preceded by a preliminary study. The work was based on viewing the film Gladiator and on worksheets: A "Historical Background" to contextualize the historical era of the movie, the "The analysis of the Movie" to collect data and finally the “Comparison of Historical Sources and movie” worksheet to analyze distinguish fiction from historical knowledge. The responses given by students were categorized: for questions that asked for a more direct and simple answer were created three categories: Basic; Primary; Definition elaborated. For questions requiring a more complex answer were created five categories Incoherent; Basic; Primary; Emergent and Elaborated. The main conclusions were: a) the film fiction has an important contribution to historical knowledge of secondary school students, b) using films in history lessons should be accompanied with a comparison of historical sources for students to distinguish fiction from historical knowledge, c) the film plays an important role in the development of specific skills for the History of Secondary Education and the students' critical thinking, among others.

The Worldhood of the Cinematic Image

A close analysis of the specifically cinematographic procedure in Akira Kurosawa’s ‘Dream’ Crows reveals it as an articulated and insightful philosophical statement, endowed with general relevance concerning ‘natural’ perception, phenomenological Erlebnis, mechanical image and aesthetic rapture. The antagonism between the Benjaminian lineage of a mechanical irreducibility of the cinematic image to anthropocentric categories, and the Cartesian tradition of a film-philosophy still relying on the equally irreducible structure of the intentional act, be it the one of a deeply embodied and enworlded counsciousness, in accounting for the essential structure of film and spectator (and their relation), i.e., the antagonism between the decentering primacy of the image and the self-centered primacy of perception, cannot be settled through a simple Phenomenological shift from occularcentric, intentional counsciousness to its embodyment ‘in-the-world’ as yet another carrier of intentionality. Still it remains to be explained what is it in the mechanical image that is able to so deeply affect the human flesh, and conversely, to what features in the human bodily experience is its mechanical other, the fascinating image, so successfuly adressing? It should be expected from the anti-Cartesianism of both the early and the late Merleau-Ponty the textual support for an approach to the essential condition of passivity in movie watching, that would be convergent with Benjamin. The Chapter ‘Le sentir’, in Phénoménologie de la perception, will offer us the proper guide to elucidate what we are already perceiving and conceiving in Kurosawa’s film, where the ex-static phenomenological body of the aesthetical contemplator ‘enters the frame’ like the Benjaminian surgeon enters the body and like the painter - and always already like our deepest level of ‘sensing’, previously to any act of cousciousness - ‘just looses himself in the scene before him’. The Polichinello secret of cinema watching is nonetheless too evident to be seen, and that is where Phenomenological description and reduction are still required.