Patrocínio no circuito nacional de surf : estudo da notoriedade, atitude e intenção de compra dos espectadores face a uma marca

Com a realização deste estudo pretendeu-se cumprir dois objetivos: i) aferir a eficácia do patrocínio desportivo através da utilização de medidas como a notoriedade da marca, a atitude face ao patrocinador e a intenção de compra dos espectadores presentes no circuito nacional de surf (Liga Moche); ii) analisar a forma como o envolvimento das pessoas com o surf pode ter influência na eficácia do patrocínio. Para cumprir estes objetivos foram aplicados 250 questionários a espectadores presentes nas provas do circuito nacional de surf. Os dados foram analisados através de estatística descritiva, testes de correlação de Pearson e de tstudent. Os resultados indicam que a marca patrocinadora do evento de surf, a Moche, apresenta elevados níveis de notoriedade espontânea (83,2%) e assistida (91,2%) entre os espectadores do circuito nacional e que os espectadores apresentam também atitudes favoráveis assim como intenções de compra favoráveis. Verificou-se também uma correlação significativamente positiva entre a atitude face ao patrocinador e as intenções de compra. Por último, os praticantes de surf e os espectadores dos eventos apresentam uma atitude mais favorável e maiores intenções de compra dos produtos patrocinadores do que os que não praticam surf nem costumam assistir a eventos de surf. Estes resultados devem ser levados em consideração pelos responsáveis de futuros eventos de surf.

The effect of ambient scent on moviegoers’ behavior

Atmospheres influence behavior, create a positive image, and influence consumer purchasing patterns and retail perceptions. Nonetheless, the physical environment is a potential source of competitive advantage, though neglected more often than not. In particular, research on the effects of aroma as an independent variable in natural settings is very limited and requires further research. A sample of 407 moviegoers participated in a “natural experiment” in a cinema complex, using scented and unscented conditions. Findings show that scent produces significant positive differences in the evaluation of the theater, its environment, and on intention to return. No significant differences are found in the evaluations of concession products sold, despite the fact that spectators in scented rooms considered product prices to be significantly cheaper than did spectators in unscented rooms. A major implication of this study is that scent significantly affects emotional reactions to atmospheres. Retailers can thus improve environments to create enjoyable experiences and positively influence consumer responses.

Imagens da imparcialidade entre o discurso constitucional e a prática judicial

Tese (doutorado)—Universidade de Brasília, Faculdade de Direito, Programa de Pós-Graduação em Direito, 2016.

Investigating energy and indoor environmental performance of aquatic centres

Aquatic centres are popular recreational facilities in Australia and other developed countries. These buildings have experienced exponential demand over the past few decades. The growing desire for better indoor environmental quality in aquatic centres has resulted in a marked increase in energy consumption in this sector. Community expectations in relation to aquatic centres are rising and these spaces are associated with wellness and health. Energy consumption in indoor swimming pool buildings is high due to the high indoor air temperatures, increased ventilation heat losses and the need to disinfect water. This study investigates the energy consumption and indoor environmental quality of seven aquatic centres in Australia. The construction and various energy consuming systems of the facilities are analysed and compared against the energy consumption. Thermal comfort data is collected through measuring the indoor environmental parameters. Building envelopes were found to be leaky in most of the buildings resulting in energy wastage. The main indicators for energy consumption were gross floor area, area of pool surface, and number of visitors. It was found that the set point temperatures were significantly high in some of the buildings resulting in high level of discomfort for the spectators and staff.

Aspectos cognitivos en torno a la novela y el cine de la memoria histórica: "La voz dormida" de Dulce Chacón y su adaptación fílmica

Culture, history, and biology are inseparable. Cultural manifestations are necessarily immersed in a context, originate in the embodied minds that create them, and are directed to the embodied minds that receive them and recreate them within their contexts (individual and collective). The novel and the film of historical memory in Spain aim to connect their audiences with a problem that has not been solved, as the Civil War, the postwar, and the pact of forgetfulness left a wide sector of the Spanish society voiceless. During the last few years, a series of initiatives coming from the arts, as well as other realms such as the legal, have sought to reexamine the unhealed wound that still haunts Spanish subjects. La voz dormida [The Sleeping Voice] is one of those initiatives. It begins as testimony, develops into a hybrid and intertextual novel, and later becomes a film. It constitutes an inclusive project, one of offering an alternative version to the “official history”, while incorporating the marginal voices of women that had been left out of the memory of the war and the dictatorship. Objective and Results By examining both the literary and the cinematic versions of Chacón’s work I aimed to evidence the connections that exist between the artistic portrayal of the postwar repression (particularly how it affects women) and the current movement of recovery of historical memory in Spain. Specifically, I was interested in showing how both the novel and the film employ a series of narrative strategies that emphasize the body and intentionality, with the purpose of creating in readers and spectators an empathetic response that may lead to prosocial behavior. In order to carry out this interdisciplinary study, which relates fiction, mind, and socio-historical context, I draw on cognitive theories of literature and film, as well as theories from social and developmental psychology, such as the Richard Gerrig’s theory of narrative experience, Keith Oatley’s psychology of fiction, Suzanne Keen’s theory of narrative empathy, and the empathy-altruism hypothesis, derived form the ideas of Jean Decety, among others...

El teatro cómico de Enrique García Álvarez

Enrique García Álvarez (Madrid, 1883-1931) belonged to the group of writers who stood out in the late nineteenth century and early twentieth in what was known as “género chico”, label used to oppose this kind of theater to the dramaturgy considered serious. It was composed of brief and comic works whose intention was to generate a fun time for the spectators. Our author was one of the leading representatives and his numerous creations appeared profusely in the posters of the theaters per hour. In the twentieth century, he adapted to the new forms imposed on the scene. Despite his enormous fame at the time, nowadays Enrique García Álvarez remains completely unknown, not only in the eyes of the general public but also to the more knowledgeable circles of our literature. Studies of his dramatic work are almost nonexistent and basically limited to their collaborations with other authors who had more luck as Arniches or Muñoz Seca. The purpose of this thesis is, therefore, to complete a thorough study of the figure and production of Enrique García Álvarez, as well as its impact on the literature. The opening chapter is a reconstruction of the life and work of the author. In the following chapters, we proceeded to the analysis of structural features such as theme, time, space, and characters of his dramatic world. At the end of these pages, we have included a photographic appendix that illustrates some moments of his personal and professional career. We have also developed appendices to classify his librettos chronologically, by collaborator and by genre...

From ‘Bad’ to ‘Mad’: Labelling and Behaviour in Peter Shaffer’s Equus

The process of ‘labelling’ (whereby labels are socially imposed on a given behaviour by a given person) is an extensive and recurrent one in our society, as proved by the labelling of behaviours and people even into the literary text. In our analysis, we will try to show how applying one of two most different labels (psychopathic or psychotic) greatly influences our understanding of the existence of ‘evil’ or moral responsibility in the deeds of a person. To such end, we will use Peter Shaffer’s play Equus (1973), which requires both the characters in the play and the spectators to decide whether Alan Strang’s terrible crime is a result of evil or of insane behaviour: whether he is ‘mad’ or simply ‘bad’. We will try to evince the current social and cultural confusion between madness and evil, and how processes of medicalization or criminalization affect our understanding of those around us and those living in the books we read.

Fundamentos do agir ético em estudantes do ensino superior

Introduction: It is urgent that higher education in health develop a proactive ethico-moral commitment in students which is translated into the creation of socio-professional values. Objectives: To evaluate the ethical foundations which support morality in higher education students. Methods: A descriptive, cross-sithectional study, performed in 345 ESSV/IPV students, 80% female, average age of 20.82 years old. The “Questionário de Cidadania Ativa e Modo de Agir Ético” (CiAMAE) by Cunha (2015) was applied. Results: The results were 74.8% of the students showed a positive/adequate ethical method of acting; (with 45.8% adequate and 29% very adequate). In 25.2% the method of acting was ethically inadequate. The morality of the student’s actions were focused mostly on individualism and were based on the following ethical principles: 68.7% ethical subjectivism (69.1%♂ and 68.6%♀); 56.5% Relativism ( 56.5%♂ and 56.7%♀); 53.9% Deontological Ethics (Kant) (55.8%♂ and 47.0%♀); 11.3% Subjectivism/Ethical Selfishness (7.4%♂ and 12.3%♀). Conclusions: We may infer that the majority of the students do not have/ do not use an impartial consideration of good as criteria for morality of actions. They mostly manifested accepting an ethical subjectivist perspective, which means that good is not considered as a value for everyone. In contrast, applying the criteria of ethical impartiality would imply considering the greater good, and choosing/adopting the universal point of view in which any rational and enlightened student would choose for him/ herself and for others that universal greater good.

Being trustworthy: going beyond evidence to desiring

If educators are to educate they must be accorded some level of trust. Anthony Giddens claims that because trust is not easily created, it is now being replaced with ‘confidence’ because this latter disposition is much easier to give and is more convenient. It is argued in this paper that this shift from trust to confidence stifles education because emphasis is placed solely upon qualifications and competence, and is neglectful of disclosing one’s motives and desires—which are considered to be essential elements for relationships and communities which depend upon trust. Therefore, educators ought to seek to become more trustworthy by going beyond evidence-based practices and codes of ethics, towards articulating a developed personal philosophy of education outlining the ultimate end-purposes to which they aspire. Through such a philosophy, educators identify their ultimate desires and commitments and this self-disclosure can make trust-giving more likely. Demonstrated evidence of achievements and qualifications encourage confidence and this has some value. In addition to these artefacts of evidence, it is argued here that educators must also articulate what they actually desire. This can be understood as John Dewey’s virtue of ‘genuine interest’ which he characterises as being wholehearted, persistent and impartial. For educators, this is often represented in our personal philosophy of education and because it is personal, it is also existential in the sense that it pertains to giving sense, meaning and purpose to all of our activities and way of life for which we are individually responsible and passionately committed to as professionals. As a consequence of being existential, our philosophy and our commitment to it has an intellectual and moral aspect and because it reaches to the very depths of our raison d’être, it pertains to our passion as described by Søren Kierkegaard. This paper shall draw upon Dewey’s notion of wholeheartedness and Kierkegaard’s notion of purity of heart, to make the case that if educators embrace these in their practices, we may become more trustworthy.

Supersession of the senior-most judges in Bangladesh in appointing the chief justice and the other judges of the appellate division of the supreme court : a convenient means to a politicized bench

The Constitution of Bangladesh has provided the President with the unfettered power to appoint the Chief Justice of Bangladesh. However, the President is required by the Constitution to act on the advice of the Prime Minister, after consulting the Chief Justice, in appointing the puisne judges of the Supreme Court - the apex court of the nation. This Article finds that in the absence of any specific constitutional provisions specifying that the senior-most judge of the Appellate Division - the higher Division of the Supreme Court - should be appointed as the Chief Justice, a convention to this effect was developed for ensuring that extraneous considerations did not play a part in the pivotal appointment of the Chief Justice. In the same vein, a convention of appointing the senior-most judges of the High Court Division, which is the lower Division of the Supreme Court, as the judges of the Appellate Division was developed. But both these conventions have been transgressed at regular intervals by succeeding generations of executives, particularly by the current one, for politicizing the superior judiciary of the nation, thereby undermining its credibility in the eyes of the litigants as an impartial arbitrator of disputes. Accordingly, this article concludes that in order to exclude the possibility of appointments on extraneous considerations, the principles of appointing the Chief Justice and the other judges of the Appellate Division on the basis of seniority should be inserted in the Constitution by means of an amendment.

Policy directive

The purpose of this policy is to facilitate the flow of information between the South Carolina Department of Public Safety, the news media and the general public, while protecting the rights of both the defendants and the prosecuting authorities in pending cases from exposure to prejudicial publicity. The DPS is committed to and recognizes the right of the general public and the news media to be fully and accurately informed about all matters of public interest regarding DPS. This policy will assure that the release of information meets the needs of the general public and news media without infringing on an individual’s right to privacy or interfering with the process of conducting a fair and impartial trial.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.