From transcendental to practical intersubjectivity: a social psychological approach to Kant's musical aesthetics

It is well known that Kant’s aesthetics is framed intersubjectively because he upholds the claim of taste to universality. However, the transcendental foundation of this shared universality is a supersensible ground which is taken for granted but which cannot be brought directly into communicative experience. Kant’s reliance on the synthetic a priori structure of aesthetic judgment also removes it from the sphere of observable personal interaction. This argumentative strategy exposes it to skeptical challenge and generates inaccessible references to inner representations (be they intuitions, categories of the understanding or rational ideas). It is not sufficient, as Kant did, to propose a description of aesthetic experience that is subjectively plausible and thereby claim its intersubjective validity. It is indispensable to embody intersubjectivity in behavior and language. In practical intersubjectivity, aesthetic attitudes are dealt with in a concrete and accessible manner without relying on mentalistic assumptions as a foundation. Conceptual terms such as 'agreeable’, 'beauty’, 'sublime’, 'ugly’, 'universality’ acquire new meaning in a conversational context and aesthetic claims are tested in a dialogical game semantics model.

Comparação dos Potenciais de Latência Média com ou sem estímulo musical

Os Potenciais Auditivos Evocados (PEA) constituem uma fonte rica e complexa de informações sobre as vias do sistema nervoso central e de estruturas ativadas por estimulação auditiva. Devido ao escasso número de trabalhos existentes correlacionando Resposta de Latência Média com diferentes estímulos sonoros, surgiu o interesse em se realizar esse estudo. OBJETIVO: Verificar o Potencial Evocado Auditivo de Média Latência (PEAML) em adultos normo-ouvintes frente à estimulação por clique e com música contralateral. FORMA DE ESTUDO: coorte contemporânea com corte transversal. MÉTODO: Foram realizadas as avaliações de PEAML em 10 sujeitos utilizando cliques na intensidade de 70dBnNA bilateralmente e posteriormente com estímulo musical, sendo que as latências e amplitudes foram medidas. Foi realizada a comparação da amplitude da onda Pa em relação ao eletrodo C3 e C4 e em relação à orelha direita e esquerda na presença e ausência de estímulo musical. RESULTADOS: todos os sujeitos apresentaram PEAML dentro dos limites de normalidade em ambas as orelhas e na avaliação com estímulo musical e clique foi observada uma diminuição das amplitudes na orelha contralateral a apresentação do estímulo musical em todas as posições do eletrodo, embora esta diferença não tenha sido estatisticamente significante. CONCLUSÃO: Sugere-se que o estímulo musical influencia na amplitude do PEAML, uma vez que houve diminuição da amplitude da onda Pa frente a esta estimulação.

The biological meaning of anti-HBC positive result in blood donors: relation to HBV-DNA and to other serological markers

In order to assess the potential risk of anti-HBc-positive blood donors for post-transfusional hepatitis and to investigate whether other HBV serological markers are capable of identifying the presence of the virus, 1000 first-time blood donors were enrolled between June and July 1997. These donors were screened using routine Brazilian blood center tests (HIV 1 and 2, HTLV 1 and 2, Chagas disease, Syphilis, HCV, HBsAg, anti-HBc and ALT ). The 120 (12%) found to be anti-HBc-positive underwent further tests: HBe, anti-HBe, anti-HBs and HBV-DNA by PCR. Ten cases were HBsAg positive and all were HBV-DNA positive by PCR. Three HBsAg-negative donors were HBV-DNA-positive. Two HBV-DNA-positive donors were also anti-HBs-positive. All the HBV-positive donors had at least one HBV marker other than anti-HBc. Anti-HBc is an important cause of blood rejection. Testing for HBsAg alone is not fully protective and anti-HBc remains necessary as a screening test. The presence of anti-HBs is not always indicative of absence of the virus. The addition of other HBV serological markers could represent an alternative in predicting the presence of the virus when compared with PCR. It is recommended that other studies should be carried out to confirm this finding.

Preferência musical e risco de suicídio entre jovens

OBJETIVOS: Considerando-se que vários estudos internacionais indicam que a preferência musical, especialmente pelo heavy metal, correlaciona-se ao suicídio, objetivou-se na presente pesquisa conhecer as relações entre preferência musical e risco de suicídio. MÉTODOS: Participaram 200 estudantes universitários de diversos cursos de uma universidade pública da cidade de João Pessoa, PB, com idade média de 22 anos (DP = 4,77). Estes responderam à Escala Abreviada de Preferência Musical, que visa mensurar a preferência musical com relação a 14 gêneros musicais, e o Inventário de Razões para Viver (RFL), que objetiva aferir as razões que as pessoas têm para viver. RESULTADOS: De acordo com os resultados, verificaram-se correlações entre a pontuação total da RFL e os gêneros musicais convencional (positiva) e alternativo (negativa). Pôde-se ainda verificar que a preferência musical pelo estilo convencional foi um preditor de menor risco de suicídio entre jovens. CONCLUSÕES: Esta pesquisa demonstra a importância de mais uma variável, no caso a preferência musical, para entender o risco de suicídio entre jovens. Mas outros estudos devem ser realizados no contexto brasileiro para que se possa entender melhor essa relação.

Clinical Meaning of Ascites in Patients with Endomyocardial Fibrosis

OBJECTIVE: To evaluate the clinical meaning of ascites and the main features of patients with ascites and endomyocardial fibrosis. METHODS: We studied 166 patients with endomyocardial fibrosis (mean age 37 years, 114 women) treated over the last 20 years. Ventriculography findings, surgery or necropsy confirmed the diagnosis in all patients. Most patients belonged to New York Heart Association Functional Class III/IV (134, 83.7%). Eighty-one (50.6%) had biventricular, 28 (17.5%) had right ventricular, and 51 (31.8%) had left ventricular involvement. During follow-up, 56 patients died. RESULTS: Ascites was present in 67 (41.8%) patients, and right ventricular involvement was present in 59 (88%). In the comparison between patients with or without ascites, those with ascites had higher mortality (49.2% and 24.7%, respectively). Patients with ascites had a higher incidence of edema (95% vs. 43%), hepatomegaly (5.8cm vs. 4.1cm), mean right atrium pressure (19.3 vs. 12mmHg), and final right ventricle diastolic pressure (18.7 vs. 12.9mmHg). Also, patients with ascites had a longer history of illness (5.1 and 3.9 years, respectively) and had atrial fibrillation more frequently (44.7% vs. 30.1%). CONCLUSION: Ascites was observed in less than 50% of cases of endomyocardial fibrosis and was associated with greater involvement of the right ventricle and with a longer duration of the disease, thus being a characteristic of a worse prognosis.

Meaning of becoming mother and son/daughter through massage


Objective: Revealing the experience of mothers when massaging their children to know the phenomenon in the context of a mother-child healthy development. Method: This is a qualitative study with a phenomenological approach carried out with 11 women who massaged their children and answered the guiding question: What did the experience of massaging your child mean to you? Results: The experience of massaging their children meant the development of their being a mother and of being a son/daughter, in addition to developing the attachment relationship between them. The massage can operationalize this integrality, become a tool of communication, stimulation and promotion of secure attachment, by promoting the loving interaction between mother and child. Conclusion: This practice should be considered as an option in the programs that promote the comprehensive health of the mother and child.



Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians

The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females) and 24 nonmusicians aged 17 to 25 years (12 males and 12 females) were required to perform two tasks: 1) listening to different musical excerpts, and 2) associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116) = 268.62, mean square error (MSE) = 0.6676, P < 0.001) and, to a lesser extent, the valence of emotional responses (F(6,348) = 8.71, MSE = 0.6196, P < 0.001). Changes in modes modulated the affective valence of the perceived emotions (F(6,348) = 4.24, MSE = 0.6764, P < 0.001). Some interactive effects were found between tempo and mode (F (1,58) = 115.6, MSE = 0.6428, P < 0.001), but, in most cases, the two parameters had additive effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

Schelling e a constituição da estética musical

O presente artigo conta investigar o processo de constituição da estética musical a partir da teoria da arte elaborada por F. W. J. von Schelling. Para tanto, espera-se mostrar a maneira pela qual o filósofo alemão procura redimensionar as bases que davam sustentação à chamada estética sistemática para, a partir de uma ponderação extremamente inovadora, caracterizar a música como um objeto original de saber.

Filosofia, tom e ilusão musical em Kant: da vivificação sonora do ânimo à recepção do tom da razão

O artigo tenciona, primeiramente, enriquecer o estudo da função que o conceito de tom desempenha na ideia kantiana de razão, ao estendê-lo à análise da música como arte dos sons que a Crítica do Juízo contém. Em segundo lugar, propõe-se determinar os motivos pelos quais a matemática se revela incapaz, devido à especificidade do método filosófico e à corporalidade da recepção musical, respectivamente, de expressar o modo de proceder da razão e da arte dos sons. Finalmente, aponta-se para uma semelhança entre música e razão, no que diz respeito à rejeição que compartilham da queda na Schwärmerei, apesar da distância que se estabelece entre ambas enquanto duas maneiras contrárias de exercitar e fomentar a vida e o sentimento dela.