Indivisibilidades entre natureza, homem e expressão artística: a reflexão estética de Merleau-Ponty

Pós-graduação em Artes - IA

Efeitos de uma sequência de prática do yoga sobre parâmetros bioquímicos e hemodinâmicos de pacientes com hipertensão arterial

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Estratégias da comunicação no cinema pós-11 de setembro: a legitimação da guerra

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Mediação em fóruns educacionais de curso online de língua estrangeira (espanhol)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A metamorfose seniana: poesia e crítica na obra de Jorge de Sena

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Formação de professores alfabetizadores: os efeitos do programa letra e vida em escolas da região de Assis

Pós-graduação em Educação - FFC

O quadro de escrever como mediador na relação professor-aluno na aula de matemática

A partir das referências bibliográficas consultadas sobre a temática em exposição, é produzido um pensamento que conduz o leitor à meditação acerca dos aspectos que influenciam no mecanismo cognitivo inerente ao processo de ensinoaprendizado, direcionando a aprendizagem para o da Matemática e a mídia Quadro de Escrever, ou seja, usufruindo diretamente da Psicologia da Educação Matemática. O estudo desenvolvido na área de Educação Matemática tem apresentado alguns aspectos que influenciam as atitudes do aluno com relação à Matemática em consonância com o Quadro de Escrever. Esse estudo visa a contribuição para alunos, professores e/ou educadores sobre a afetividade que o aluno apresenta com respeito à disciplina matemática; portanto, há informações e sugestões sobre tal relação. O mesmo trabalho traz algumas inquietações também sobre o uso da mídia, quadro de escrever, como por exemplo: por que o aluno se nega a dirigir-se ao quadro de escrever quando solicitado pelo professor? Quais as dificuldades maiores? O medo, a insegurança, a falta do aprendizado? Enfim, discutem-se os fatores preponderantes que influenciam diretamente a atitude do aluno no momento em que o professor faz uso deste acessório. Portanto, o objetivo deste estudo é apresentar ao corpo docente em Matemática a importância de se refletir acerca da complexa relação afetiva entre o aluno e a Matemática, e também para o professor desta disciplina o conhecimento sobre o instrumento mais utilizado pelos docentes em sala de aula (o quadro de escrever). O uso adequado desta mídia e o que este instrumento, quando usado de modo mal adequado, pode causar nos alunos. Acredita-se que, com posse de tais informações, muitos serão levados a uma auto-avaliação, a uma reflexão e a uma mudança de atitude em favor de uma educação melhor para uma sociedade melhor.

Análise da prática de meditação em duas escolas do município de Rio Claro - SP

Nowadays, meditation had become larger than the mystic’s scope, entering the academy through the scientific interest in this topic. Results documented for so many centuries or the experienced monks that practice meditation for a long time are the aims for researches that want, ultimately, establish the real effects of such techniques upon the human body. Research has gone far, and many effects can be evaluated using more precise methods, specially in the medical field and neuroscience, which had greatly backed up new discoveries about the correlation between the mind, emotions, thoughts and the body, making so that mediation can walk the therapeutic ways and complementary health with more certainty and reliable results, as it is happening with acupuncture and yoga. Facing a promising scenario in the correlation between meditation and life’s quality, well being sensation and happiness, there is the possibility of using it in schools, since because of the difficulties and present challenges, those factors are not commonly associated with the acts of teaching and learning, and acupuncture and Yoga have more restrictions because of their own limitations of time and space necessary for their wide application. Therefore, the current study focused on contextualizing the meditation’s fundaments in the scientific perspective, and apply it, even if qualitatively, in two schools of Rio Claro municipality, researching 57 students from Educação de Jovens e Adultos (EJA). Therefore, it was chosen only one meditation tecnique to be applied on the treatment group. As for the control group, it perfomed normal breathing, i.e., without tecniques. The differences were then analyzed through the filmings of all the sessions of the meetings, counting the number of movements and the agitation among the students for the two groups. Another method of analysis was forms filled by both groups and the presence in a meeting at Unesp – Rio Claro. At the end,...

Gonçalves Dias, a escravidão e o tapete levantado

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Modulação autonômica, pressão arterial, aptidão funcional e qualidade de vida em mulheres com hipertensão arterial submetidas a um programa de Hatha Yoga

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Mediação pedagógica com apoio de material didático para Educação de Jovens e Adultos

Pós-graduação em Docência para a Educação Básica - FC

Desenvolvimento da linguagem oral em crianças afastadas da família de origem

For a complete development of oral language it's necessary the development of genetic roots of thought and utterance postulates by Vygotsky, yet the meditation of adult and the influence social and cultural that is around the child. In cases of children moved away from their birth family by judicial ways because of neglect there, is a new modality of refuge in Brazil, that is the home refuge, which is the object of our research. The present study shows an investigation about the development of speech in a child that was moved away from his birth family and forwarded to Foster Family to comprehend the contributions and activities that help in child development. The research was performed through an approach of qualitative interpretation of bibliographic type and area type. The data analysis allowed us conclude the new social and cultural way that the watched child was inserted helps in his development in a significant way enabling a qualitative jump in speech and psychic functions phase

Desenvolvimento da linguagem oral em crianças afastadas da família de origem

For a complete development of oral language it's necessary the development of genetic roots of thought and utterance postulates by Vygotsky, yet the meditation of adult and the influence social and cultural that is around the child. In cases of children moved away from their birth family by judicial ways because of neglect there, is a new modality of refuge in Brazil, that is the home refuge, which is the object of our research. The present study shows an investigation about the development of speech in a child that was moved away from his birth family and forwarded to Foster Family to comprehend the contributions and activities that help in child development. The research was performed through an approach of qualitative interpretation of bibliographic type and area type. The data analysis allowed us conclude the new social and cultural way that the watched child was inserted helps in his development in a significant way enabling a qualitative jump in speech and psychic functions phase

Neuroimaging during Trance State: A Contribution to the Study of Dissociation

Despite increasing interest in pathological and non-pathological dissociation, few researchers have focused on the spiritual experiences involving dissociative states such as mediumship, in which an individual (the medium) claims to be in communication with, or under the control of, the mind of a deceased person. Our preliminary study investigated psychography - in which allegedly "the spirit writes through the medium's hand" - for potential associations with specific alterations in cerebral activity. We examined ten healthy psychographers - five less expert mediums and five with substantial experience, ranging from 15 to 47 years of automatic writing and 2 to 18 psychographies per month - using single photon emission computed tomography to scan activity as subjects were writing, in both dissociative trance and non-trance states. The complexity of the original written content they produced was analyzed for each individual and for the sample as a whole. The experienced psychographers showed lower levels of activity in the left culmen, left hippocampus, left inferior occipital gyrus, left anterior cingulate, right superior temporal gyrus and right precentral gyrus during psychography compared to their normal (non-trance) writing. The average complexity scores for psychographed content were higher than those for control writing, for both the whole sample and for experienced mediums. The fact that subjects produced complex content in a trance dissociative state suggests they were not merely relaxed, and relaxation seems an unlikely explanation for the underactivation of brain areas specifically related to the cognitive processing being carried out. This finding deserves further investigation both in terms of replication and explanatory hypotheses.

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.