125 resultados para Beynon, Thomas, 1744-1833.


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BACKGROUND "The feeling of being there" is one possible way to describe the phenomenon of feeling present in a virtual environment and to act as if this environment is real. One brain area, which is hypothesized to be critically involved in modulating this feeling (also called presence) is the dorso-lateral prefrontal cortex (dlPFC), an area also associated with the control of impulsive behavior. METHODS In our experiment we applied transcranial direct current stimulation (tDCS) to the right dlPFC in order to modulate the experience of presence while watching a virtual roller coaster ride. During the ride we also registered electro-dermal activity. Subjects also performed a test measuring impulsiveness and answered a questionnaire about their presence feeling while they were exposed to the virtual roller coaster scenario. RESULTS Application of cathodal tDCS to the right dlPFC while subjects were exposed to a virtual roller coaster scenario modulates the electrodermal response to the virtual reality stimulus. In addition, measures reflecting impulsiveness were also modulated by application of cathodal tDCS to the right dlPFC. CONCLUSION Modulating the activation with the right dlPFC results in substantial changes in responses of the vegetative nervous system and changed impulsiveness. The effects can be explained by theories discussing the top-down influence of the right dlPFC on the "impulsive system".

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Why does Adrian Leverkühn choose a Shakespeare play for his major first and his first twelve-tone composition? Why in particular a Shakespeare comedy? And why, of all comedies, Love’s Labour’s Lost? Why does he start working on it in Munich? Why does his work there soon come to a halt? Why does it prosper only in Italy? And why does he eventually return to Upper Bavaria so as to complete it? Why is he said to have completed the opera exactly one hundred years ago? And why, finally, is it first performed only after the outbreak of the war and then, surprisingly, in a German adaptation? In order to answer these and similar questions, this paper sets out to re-contextualise Doktor Faustus with regard to discourse history and re-read the novel from a gender-theoretical perspective. The leading hypothesis is that Thomas Mann’s novel belongs to the proto-history of feminist Shakespeare reception, an assumption to be substantiated through an analysis of settings, locations and the constructions of space.