Reabilitação ortóptica com auxiliares ópticos em casos de baixa visão

De acordo com a Organização Mundial de Saúde existem 180 milhões de pessoas em todo o mundo com incapacidade visual. Nas sociedades ocidentais, o ser humano tornou-se um ser exclusivamente visual. Cada vez mais se privilegia a visão em detrimento dos outros sentidos, sendo constantes os apelos à imagem. Nesse sentido, quando a capacidade visual é perdida, mesmo que parcialmente, despoletam-se problemas sociais graves e de complexa resolução. A reabilitação Ortóptica é uma peça essencial no puzzle da reabilitação nestes casos. O Ortoptista explora as possibilidades de aproveitamento do resíduo visual dos utentes com baixa visão, reeducando-os na utilização dos movimentos oculares, coordenação olho-mão e capacidade discriminatória. A avaliação, treino e acompanhamento na adaptação à leitura e escrita com auxiliares ópticos é de extrema importância na reintegração destes indivíduos numa vida social activa.

Idiosyncratic risk really drives stock returns; Spanish evidence

Following the theoretical model of Merton (1987), we provide a new perspective of study about the role of idiosyncratic risk in the asset pricing process. More precisely, we analyze whether the idiosyncratic risk premium depends on the idiosyncratic risk level of an asset as well as the vatriation in the market-wide measure of idiosyncratic risk. As expected, we obtain a net positive risk premium for the Spanish stock market over the period 1987-2007. Our results show a positive relation between returns and individual indiosyncratic risk levels and a negative but lower relation with the aggregate measure of idiosyncratic risk. These findings have important implications for portfolio and risk management and contribute to provide a unified and coherent answer for the main and still unsolved question about the idiosyncratic risk puzzle: whether or not there exists a premium associated to this kind of risk and the sign for this risk premium.

O metacinema norte-americano e o storytelling : de Orson Welles a David Lynch

ABSTRACT: The American metacinema which, by tradition, is narrative but extremely formulaic favours the story above the telling. No man contributed more to alter this state of affairs than Orson Welles, whose cinematic practice exalted the filmic enunciation and linked it more explicitly to the narrative intentions of the creator, making it obvious that metanarrative is synonymous with metacinema. With Citizen Kane (1941), in particular, the cinema was made more disnarrative, as meant by French writer/director Alain Robbe–Grillet, well ahead of Modernism. The fragmented narration, the temporal convolutions, a tendency for paradox and the interpretative obstacles all come together to anticipate the serial practice of David Lynch in his last four features. Structuring the films in segments which constitute different but complementary versions of the same events, Lynch manages to express the director’s enunciation along with the narration of the characters, reinforcing the role of the telling in the midst of the story. In INLAND EMPIRE (2006) the use of mise-en-abyme as a way of duplicating stories and tellers further increases the objective and complicates what is clearly the reign of the puzzle or mind-game film. In the footsteps of Welles, Lynch contributed for an outbreak of metanarrative / metacinematic crossover indie films closer to the European aesthetic practice but still very much within the American narrative tradition.

Relatório de estágio em reabilitação neurológica: intervenção da fisioterapia em crianças com necessidades especiais

Mestrado em Fisioterapia

Juggling time concepts: complex metanarrative in Alejandro González Iñárritu’s 21 Grams

ABSTRACT - Starting with the explanation of metanarrative as a sort of self-reflexive storytelling (as defended by Kenneth Weaver Hope in his unpublished PhD. thesis), I propose to talk about enunciative practices that stress the telling more than the told. In line with some metaficcional practices applied to cinema, such as the ‘mindfuck’ film (Jonathan Eig, 2003), the ‘psychological puzzle film’ (Elliot Panek, 2003) and the ‘mind-game film’ (Thomas Elsaesser, 2009), I will address the manipulations that a narrative film endures in order to produce a more fruitful and complex experience for the viewer. I will particularly concentrate on the misrepresentation of time as a way to produce a labyrinthine work of fiction where the linear description of events is replaced by a game of time disclosure. The viewer is thus called upon to reconstruct the order of the various situations portrayed in a process that I call ‘temporal mapping’. However, as the viewer attempts to do this, the film, ironically, because of the intricate nature of the plot and the uncertain status of the characters, resists the attempt. There is a sort of teasing taking place between the film and its spectator: an invitation of decoding that is half-denied until the end, where the puzzle is finally solved. I will use three of Alejandro Iñárritu’s films to better convey my point: Amores perros (2000), 21 Grams (2003) and Babel (2006). I will consider Iñárritu’s methods to produce a non-linear storytelling as a way to stress the importance of time and its validity as one of the elements that make up for a metanarrative experience in films. I will focus especially on 21 Grams, which I consider to be a paragon of the labyrinth.