Estudo do impacte da aplicação do SNC nos clubes/SAD do futebol português licenciados pela UEFA

Mestrado em Contabilidade

More than maternal sensitivity shapes attachment : infant coping and temperament

The aim of this longitudinal studywas to investigate the effect of a set of factors from multiple levels of influence: infant temperament, infant regulatory behavior, and maternal sensitivity on infant’s attachment. Our sample consisted of 48 infants born prematurely and their mothers. At 1 and 3 months of age, mothers described their infants’behavior using the Escala de Temperamento do Beb´e. At 3 months of age, infants’ capacity to regulate stress was evaluated during Tronick’s Face-to-Face Still-Face (FFSF) paradigm. At 9 months of age, mothers’ sensitivity was evaluated during free play using the CARE-Index. At 12 months of age, infants’ attachment security was assessed during Ainsworth’s Strange Situation. A total of 16 infants were classified as securely attached, 17 as insecure-avoidant, and 15 as insecure-resistant. Mothers of securely attached infantswere more likely than mothers of insecure infants to describe their infants as less difficult and to be more sensitive to their infants in free play. In turn, secure infants exhibited more positive responses during the Still-Face. Infants classified as insecureavoidant were more likely to self-comfort during the Still-Face and had mothers who were more controlling during free play. Insecure-resistant exhibited higher levels of negative arousal during the Still-Face and had mothers who were more unresponsive in free play. These findings show that attachment quality is influenced bymultiple factors, including infant temperament, coping behavior, and maternal sensitivity.

Travelling to India: Eliza Fay’s narrative account of her voyages

Eliza Fay’s Original Letters from India (1817), initially sold to the Calcutta Gazette to pay off her debts, aroused the curiosity and interest of Edward M. Forster, while he was doing research for his best-selling novel, A Passage to India. In his own words, “Eliza Fay is a work of art.” (apud Fay 7) The value of E. Fay’s travelogue, comprising not one, but three voyages to India (in 1779, 1784, 1796) can be easily explained if we take into account the scope of its geographical coverage, the hardships of its historical context (the political chaos brought about by the fall of the Mughal empire and the consolidation of the British rule in the Indian subcontinent) and the heroism of the first person-narrator that emerges behind the descriptive sketches and the scenes of adversity and imminent danger. Thus the current analysis will focus on the E. Fay’s adventurous mode of narrating, e.g., the discursive situatedness of the traveller visà- vis the Other(s) (European and non-European peoples and loci) and the constraints imposed by the patriarchal idealization of the domestic Woman and their alleged feebleness.

‘O meio é a mensagem’, de Harold A. Innis a Marshall McLuhan

Os contributos para pensar a comunicação, os media e a cultura de Harold A. Innis e Marshall McLuhan foram durante muitas décadas ou praticamente esquecidos ou ignorados, no caso de Innis, ou olhados com desconfiança ou fascínio, no caso de McLuhan, no seio do que se designa hoje por ciências da comunicação. Nos últimos anos, essa situação alterou-se significativamente e hoje Innis desperta um enorme interesse na teoria da comunicação e na economia política dos media. Estes dois autores canadianos, o primeiro escrevendo entre os anos 20 e 40 do século XX e o segundo a partir dos anos 50 e até ao final da década de 70, centraram a sua atenção nas formas/suportes técnicos através dos quais comunicamos e como esses dispositivos produzem efeitos a longo prazo na sociedade, na cultura, na política e na ordem do sensorium humano. Como se está já a ver, ao contrário das tradições mainstream norte-americanas do mesmo período, centradas na análises quantitativas de curto-médio prazo dos efeitos e usos dos contéudos das mensagens, Innis e McLuhan, optaram por formas ensaísticas, de história das civilizações, mobilizando recursos da cultura, da literatura, da economia e da tecnologia, que privilegiam a reflexão de longo prazo (mudanças na ordem social e no sensorium operadas à escala histórica, civilizacional). Embora esta perspectiva de largo alcance temporal tenha tido diversos cultores durante o século XIX e XX, como são exemplos Auguste Comte, Karl Marx, Arnold Toynbee, Oswald Spengler, entre outros, nos estudos de comunicação, ela tinha muito pouca tradição. O impacto destes teóricos radica na introdução na investigação em comunicação e media de uma problemática que durante muito tempo se encontrou ausente da quer na Europa, quer na América do Norte (particularmente nos EUA) que é a relação entre os modos (meios, técnicas) de comunicação e a sociedade. O seu maior contributo para os estudos sociológicos da comunicação foi chamar a atenção para os efeitos a longo prazo das formas técnicas de comunicação na sociedade e na cultura. Pela primeira vez, se questionou a dimensão técnica da comunicação. Ou seja, exploraram a ideia de que as técnicas de comunicação são responsáveis pela configuração das sociedades e da cultura; que os processos de comunicação e as instituições a eles associadas têm efeitos penetrantes na natureza das sociedades e no curso da sua história, erguendo novas constelações culturais; mudam os meios/os suportes técnicos através dos quais comunicamos, muda a cultura, muda a sociedade. Defendem que a história da comunicação é uma das grandes chave da historia universal, o que os faz ler a história universal à luz da história da comunicação. Há quem afirme que exploram uma certa determinação comunicacional da sociedade (perspectiva que já se encontrava presente nos economistas políticos alemães e nos primeiros sociólogos americanos, como Albion Small, William Sumner e Edward Ross, entre outros), segundo a qual a sociedade é um organismo, mas muito mais complexo do que propunha Herbert Spencer, um organismo com formas de consciência forjadas através da comunicação. Eu diria que isto é basicamente aquilo que une estes dois autores, tudo o resto tende a afastá-los como vou tentar mostrar de seguida.

A motivação da aprendizagem de um instrumento musical em alunos do ensino básico articulado sob a perspectiva da teoria da auto-determinação no Conservatório Regional de Setúbal: relatório de estágio

O presente relatório, no âmbito da obtenção do grau de Mestre no Ensino da Música, na Escola Superior de Música de Lisboa, descreve o estágio efectuado no Conservatório Regional de Setúbal e analisa a prática pedagógica do professor através de três alunos de violino e viola d´arco de níveis diferentes: Iniciação (violino); 4º grau, Ensino Básico (viola d´arco) e 7º grau, Ensino Secundário (viola d´arco). São descritas e analisadas as práticas pedagógicas desenvolvidas com base na filosofia do Método Suzuki e na Teoria da Auto-­determinação de Edward L. Deci e Richard M. Ryan. O objectivo fundamental do processo de ensino-­ aprendizagem é a criação de condições para que os alunos se motivem autonomamente e atinjam níveis altos de motivação intrínseca (Teoria da Auto-­determinação), e que se tornem bons instrumentistas e melhores seres humanos (Método Suzuki).

Tudo exceto a pia da cozinha? A Kitchen Sink School e o Kitchen Sink Drama: figurações realistas no pós-guerra

Ensaio sobre a relação das telas da Kitchen Sink School (John Bratby / Edward Middleditch / Derrick Greaves / Jack Smith) com a dramaturgia realista do pós-Segunda Guerra Mundial em Inglaterra.

Somewhere near reality: artistic portrayal of violence in post WWII British realistic drama

ABSTRACT - I will explore and present the portrayal of violence in some British plays that were staged between 1951 and 1965, in order to discuss the role, impact and aim of its representation. Thus, I will consider John Whiting’s Saint’s Day (1951), Ann Jelicoe’s The Sport of my Mad Mother (1956), Arnold Wesker (Chicken Soup with Barley (1958), Harold Pinter’s Birthday Party (1958), David Rudkin’s Afore Night Come (1962) and Edward Bond’s Saved (1965). My aim is to discuss the way how theatre in the post WWII changed the traditional ways of representing violence. On one hand, violence and reality became more and more familiar and domestic, permitting a representation of multiple and non-agonic violence; and, on the other hand, the violence that was depicted often changed the way one perceived reality itself, being part of a socially engaged artistic attitude.

Predictors of infant positive, negative and self-direct coping during face to face still-face in a Portuguese preterm sample

Past studies found three types of infant coping behaviour during Face-to-Face Still-Face paradigm (FFSF): a Positive Other-Directed Coping; a Negative Other-Directed Coping and a Self-Directed Coping. In the present study, we investigated whether those types of coping styles are predicted by: infants’ physiological responses; maternal representations of their infant’s temperament; maternal interactive behaviour in free play; and infant birth and medical status. The sample consisted of 46, healthy, prematurely born infants and their mothers. At one month, infant heart rate was collected in basal. At three months old (corrected age), infant heart-rate was registered during FFSF episodes. Mothers described their infants’ temperament using a validated Portuguese temperament scale, at infants three months of corrected age. As well, maternal interactive behaviour was evaluated during a free play situation using CARE-Index. Our findings indicate that positive coping behaviours were correlated with gestational birth weight, heart rate (HR), gestational age, and maternal sensitivity in free play. Gestational age and maternal sensitivity predicted Positive Other-Direct Coping behaviours. Moreover, Positive Other-Direct coping was negatively correlated with HR during Still-Face Episode. Self-directed behaviours were correlated with HR during Still-Face Episode and Recover Episode and with maternal controlling/intrusive behaviour. However, only maternal behaviour predicted Self-direct coping. Early social responses seem to be affected by infants’ birth status and by maternal interactive behaviour. Therefore, internal and external factors together contribute to infant ability to cope and to re-engage after stressful social events.

Um olhar sobre a música produzida na ESML para clarinete solo e clarinete e eletrónica

O presente Projeto Artístico propõe como principal objetivo a divulgação de obras para clarinete solo e para clarinete e eletrónica produzidas no seio das classes de clarinete e composição da Escola Superior de Música de Lisboa. A preparação e montagem da obra de Edward Luiz Ayres d’Abreu, aqui realizada em estreia absoluta, pretende manter viva a continuidade de produção artística desta instituição a todos os níveis, neste caso, entre dois estudantes. Neste relatório estão registados os benefícios alcançados com o trabalho de pesquisa relacionado com os aspectos biográficos dos compositores, o contexto da criação das obras, assim como a análise e apuramento de questões interpretativas pouco utilizadas na música convencional como por exemplo, as técnicas clarinetísticas contemporâneas (glissando, frulato, vibrato, som e voz, multifónicos, micro-tons), a prática de música com eletrónica, ou a experiência inovadora da recriação musical em palco de uma partitura gráfica.

Preserving the validity of the two-Higgs-doublet model up to the Planck scale

We examine the constraints on the two Higgs doublet model (2HDM) due to the stability of the scalar potential and absence of Landau poles at energy scales below the Planck scale. We employ the most general 2HDM that incorporates an approximately Standard Model (SM) Higgs boson with a flavor aligned Yukawa sector to eliminate potential tree-level Higgs-mediated flavor changing neutral currents. Using basis independent techniques, we exhibit robust regimes of the 2HDM parameter space with a 125 GeV SM-like Higgs boson that is stable and perturbative up to the Planck scale. Implications for the heavy scalar spectrum are exhibited.

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.

Vertex component analysis: a geometric-based approach to unmix hyperspectral data

Hyperspectral remote sensing exploits the electromagnetic scattering patterns of the different materials at specific wavelengths [2, 3]. Hyperspectral sensors have been developed to sample the scattered portion of the electromagnetic spectrum extending from the visible region through the near-infrared and mid-infrared, in hundreds of narrow contiguous bands [4, 5]. The number and variety of potential civilian and military applications of hyperspectral remote sensing is enormous [6, 7]. Very often, the resolution cell corresponding to a single pixel in an image contains several substances (endmembers) [4]. In this situation, the scattered energy is a mixing of the endmember spectra. A challenging task underlying many hyperspectral imagery applications is then decomposing a mixed pixel into a collection of reflectance spectra, called endmember signatures, and the corresponding abundance fractions [8–10]. Depending on the mixing scales at each pixel, the observed mixture is either linear or nonlinear [11, 12]. Linear mixing model holds approximately when the mixing scale is macroscopic [13] and there is negligible interaction among distinct endmembers [3, 14]. If, however, the mixing scale is microscopic (or intimate mixtures) [15, 16] and the incident solar radiation is scattered by the scene through multiple bounces involving several endmembers [17], the linear model is no longer accurate. Linear spectral unmixing has been intensively researched in the last years [9, 10, 12, 18–21]. It considers that a mixed pixel is a linear combination of endmember signatures weighted by the correspondent abundance fractions. Under this model, and assuming that the number of substances and their reflectance spectra are known, hyperspectral unmixing is a linear problem for which many solutions have been proposed (e.g., maximum likelihood estimation [8], spectral signature matching [22], spectral angle mapper [23], subspace projection methods [24,25], and constrained least squares [26]). In most cases, the number of substances and their reflectances are not known and, then, hyperspectral unmixing falls into the class of blind source separation problems [27]. Independent component analysis (ICA) has recently been proposed as a tool to blindly unmix hyperspectral data [28–31]. ICA is based on the assumption of mutually independent sources (abundance fractions), which is not the case of hyperspectral data, since the sum of abundance fractions is constant, implying statistical dependence among them. This dependence compromises ICA applicability to hyperspectral images as shown in Refs. [21, 32]. In fact, ICA finds the endmember signatures by multiplying the spectral vectors with an unmixing matrix, which minimizes the mutual information among sources. If sources are independent, ICA provides the correct unmixing, since the minimum of the mutual information is obtained only when sources are independent. This is no longer true for dependent abundance fractions. Nevertheless, some endmembers may be approximately unmixed. These aspects are addressed in Ref. [33]. Under the linear mixing model, the observations from a scene are in a simplex whose vertices correspond to the endmembers. Several approaches [34–36] have exploited this geometric feature of hyperspectral mixtures [35]. Minimum volume transform (MVT) algorithm [36] determines the simplex of minimum volume containing the data. The method presented in Ref. [37] is also of MVT type but, by introducing the notion of bundles, it takes into account the endmember variability usually present in hyperspectral mixtures. The MVT type approaches are complex from the computational point of view. Usually, these algorithms find in the first place the convex hull defined by the observed data and then fit a minimum volume simplex to it. For example, the gift wrapping algorithm [38] computes the convex hull of n data points in a d-dimensional space with a computational complexity of O(nbd=2cþ1), where bxc is the highest integer lower or equal than x and n is the number of samples. The complexity of the method presented in Ref. [37] is even higher, since the temperature of the simulated annealing algorithm used shall follow a log( ) law [39] to assure convergence (in probability) to the desired solution. Aiming at a lower computational complexity, some algorithms such as the pixel purity index (PPI) [35] and the N-FINDR [40] still find the minimum volume simplex containing the data cloud, but they assume the presence of at least one pure pixel of each endmember in the data. This is a strong requisite that may not hold in some data sets. In any case, these algorithms find the set of most pure pixels in the data. PPI algorithm uses the minimum noise fraction (MNF) [41] as a preprocessing step to reduce dimensionality and to improve the signal-to-noise ratio (SNR). The algorithm then projects every spectral vector onto skewers (large number of random vectors) [35, 42,43]. The points corresponding to extremes, for each skewer direction, are stored. A cumulative account records the number of times each pixel (i.e., a given spectral vector) is found to be an extreme. The pixels with the highest scores are the purest ones. N-FINDR algorithm [40] is based on the fact that in p spectral dimensions, the p-volume defined by a simplex formed by the purest pixels is larger than any other volume defined by any other combination of pixels. This algorithm finds the set of pixels defining the largest volume by inflating a simplex inside the data. ORA SIS [44, 45] is a hyperspectral framework developed by the U.S. Naval Research Laboratory consisting of several algorithms organized in six modules: exemplar selector, adaptative learner, demixer, knowledge base or spectral library, and spatial postrocessor. The first step consists in flat-fielding the spectra. Next, the exemplar selection module is used to select spectral vectors that best represent the smaller convex cone containing the data. The other pixels are rejected when the spectral angle distance (SAD) is less than a given thresh old. The procedure finds the basis for a subspace of a lower dimension using a modified Gram–Schmidt orthogonalizati on. The selected vectors are then projected onto this subspace and a simplex is found by an MV T pro cess. ORA SIS is oriented to real-time target detection from uncrewed air vehicles using hyperspectral data [46]. In this chapter we develop a new algorithm to unmix linear mixtures of endmember spectra. First, the algorithm determines the number of endmembers and the signal subspace using a newly developed concept [47, 48]. Second, the algorithm extracts the most pure pixels present in the data. Unlike other methods, this algorithm is completely automatic and unsupervised. To estimate the number of endmembers and the signal subspace in hyperspectral linear mixtures, the proposed scheme begins by estimating sign al and noise correlation matrices. The latter is based on multiple regression theory. The signal subspace is then identified by selectin g the set of signal eigenvalue s that best represents the data, in the least-square sense [48,49 ], we note, however, that VCA works with projected and with unprojected data. The extraction of the end members exploits two facts: (1) the endmembers are the vertices of a simplex and (2) the affine transformation of a simplex is also a simplex. As PPI and N-FIND R algorithms, VCA also assumes the presence of pure pixels in the data. The algorithm iteratively projects data on to a direction orthogonal to the subspace spanned by the endmembers already determined. The new end member signature corresponds to the extreme of the projection. The algorithm iterates until all end members are exhausted. VCA performs much better than PPI and better than or comparable to N-FI NDR; yet it has a computational complexity between on e and two orders of magnitude lower than N-FINDR. The chapter is structure d as follows. Section 19.2 describes the fundamentals of the proposed method. Section 19.3 and Section 19.4 evaluate the proposed algorithm using simulated and real data, respectively. Section 19.5 presents some concluding remarks.