Kvinnligt och manligt på sociala medier : En kvantitativ studie om medieanvändning och negativa känslor

In the present study the use and experience of using social media was examined in men and women in order to evaluate a possible relationship to gender. Particular emphasis was placed upon negative emotions. A questionnaire was constructed and submitted via Facebook by an online survey. There were 61 women and 50 men who completed the questionnaire. It was found that women and men used social media similarly with regard to frequency and the kind of social media they approached. Both genders used social media on a daily basis and both had profiles on the most popular social network sites as Facebook, Instagram, YouTube and Snapchat. The main purpose for using social media was to maintain already established friend relationships and to take part of other peoples content. A majority of the women but not the men used blogs, whereas a majority of the men but not the women used Twitter more frequently. The study also indicated a sex difference concerning the contents they took part of in the social media. More women took part of content that was related to a female stereotypic image whereas more men took part of content that was related to a male stereotypic image. There was no gender difference concerning contents such as fashion, entertainment, humour, news or politics. In the women there was a significant relationship between the use of social media and negative emotions. However, in the men, such a relationship was not found. The results indicate that more women tend to experience negative emotions when active on social media. More women experienced life as meaningless and boring, as well as stress after consuming contents in social media. They also did compare their life with others on social media leaving them with negative feelings. Such relationships could not be found in the men. In conclusion the present study indicated that for many aspects the use of social media is similar in women and men. However there seems to be a difference with regard to the experience of negative emotions in relation to the use of social media in women but not in men. 

Allegory, It Happens: A Multi-Perspective Case Study of The Lord of the Rings

Allegory is not obsolete as Samuel Coleridge and Johann Wolfgang von Goethe have claimed. It is alive and well and has transformed from a restrictive concept to a concept that is flexible and can form to meet the needs of the author or reader. The most efficient way to evidence this is by making a case study of it with a suitable work that will allow us to perceive its plasticity. This essay uses J.R.R. Tolkien’s The Lord of the Rings as a multi-perspective case study of the concept of allegory; the size and complexity of the narrative make it a suitable choice. My aim is to illustrate the plasticity of allegory as a concept and illuminate some of the possibilities and pitfalls of allegory and allegoresis. As to whether The Lord of the Rings can be treated as an allegory, it will be examined from three different perspectives: as a purely writerly process, a middle ground of writer and reader and as a purely readerly process. The Lord of the Rings will then be compared to a series of concepts of allegorical theory such as Plato’s classical “The Ring of Gyges”, William Langland’s classic The Vision of William Concerning Piers the Plowman and contemporary allegories of racism and homoeroticism to demonstrate just how adaptable this concept is. The position of this essay is that the concept of allegory has changed over time since its conception and become more malleable. This poses certain dangers as allegory has become an all-round tool for anyone to do anything that has few limitations and has lost its early rigid form and now favours an almost anything goes approach.

Geometry and Optimization of Relative Arbitrage

Thesis (Ph.D.)--University of Washington, 2016-06

Nifty after fifty: evaluation of a physical activity directory for older people

Objective: To develop a physical activity directory (PAD) for Brisbane people over the age of 50 years for distribution by two methods (given or requested), and to determine its effectiveness in raising awareness and encouraging older people to participate in local physical activity options. Methods: Baseline demographic data and stage of change was collected from 224 participants who received the directory. Participants were interviewed by telephone six weeks later to determine their use of the directory on a number of dimensions. Results: Most participants interviewed at follow-up remembered reading the directory. Participants who requested the directory were significantly more likely than those who were given it to: be contemplators, read the directory, plan to ring a number, plan to attend a class, and to share the directory with others. Participants who were contemplators were significantly more likely to have participated in physical activity of their own and rang a number from the directory. The directory increased over half the participants' awareness of local physical activity options, yet only 7% reported ringing a number and 15% reported doing their own physical activity. Conclusions: The directory was more effective in raising awareness about physical activity options than encouraging people to participate in physical activity, and participants with short-term plans to be more active were more likely to have used the directory. Implications: The directory, even when linked with other services, raises awareness about physical activity options, but has minimal short-term influence on participation.

Implications of social capital for the inclusion of people with disabilities and families in community life

This paper seeks to ascertain the usefulness of the theory of social capital as a framework for developing and sustaining the inclusion of people with disabilities and families in community life. We discuss the theoretical elements of social capital and assess its relevance when understanding both the experiences of people with disabilities and their families and the possible implications for policy and programme efforts to promote inclusion. Preliminary findings from two studies of the experiences and social networks of people with disabilities and their families in communities in regional and rural Australia are presented. It is argued that to date, people with disabilities and their families have largely been excluded from the broader social capital debate and that social capital thinking has had minimal influence on efforts to achieve the inclusion of people with disabilities into community life. It is further argued that new paradigms of support are needed that build capacity and social capital through working alongside individuals and families to influence not only outcomes for them, but also for the communities on which they live. The local area coordination model as it has developed in Australia since 1989 provides some instructive signposts for integrating individual, family and community approaches. It is concluded that social capital theory can make a contribution to inclusion theory and practice but we should use it with circumspection.

Do expert drivers have a reduced illusion of superiority?

It is well established that people tend to rate themselves as better than average across many domains. To maintain these illusions, it is suggested that people distort feedback about their own and others' performance. This study examined expert/novice differences in self-ratings when people compared themselves with others of the same level of expertise and background as themselves. Given that a key expert characteristic is increased self-monitoring, we predicted that experts in a domain may have a reduced illusion of superiority because they are more aware of their actual ability. We compared expert police drivers with novice police drivers and found that this prediction was not supported. Expert police drivers rated themselves as superior to equally qualified drivers, to the same degree as novices, Cohen's d = .03 ns. Despite their extensive additional training and experience, experts still appear to be as susceptible to illusions of superiority Lis everyone else. (C) 2004 Elsevier Ltd. All rights reserved.

Eventos culturais para a recordação da marca: estudo do evento Tim Festival

Este estudo analisa o papel dos eventos culturais como um potente elemento socializador na estratégia da comunicação da marca com o mercado. os principais objetivos são retratar o uso da comunicação integrada de marketing como um diferencial sustentável, o marketing cultural frente às novas formas de comunicação com o mercado, a contextualização da marca e os eventos culturais como instrumento de branding. A metodologia desta pesquisa constitui-se em bibliografia, pesquisa documental, entrevistas e o estudo de caso da empresa Tim com o recorte Tim Festival edição 2005 em São Paulo. Dentre as conclusões encontradas, confirmou-se que a propaganda tradicional vem perdendo espaço para os eventos, mas ao mesmo tempo, por si só não se bastam, havendo a necessidade de atrelá-los a outras atividades promocionais. Verificou-se também que os eventos culturais comunicam a mensagem de forma envolvente e finalmente a consideração sobre a relação gratificante do evento com a lembrança de marca.(AU)

COORDENADORES PEDAGÓGICOS: FORMADORES DE PROFESSORES OU SUPERVISORES DE AÇÕES POLÍTICO-PEDAGÓGICAS DA ESCOLA?

O sistema educacional vem sofrendo influência direta das modificações ocorridas na sociedade, que está cada vez mais exposta a uma gama de informações que nem sempre são transformadas em conhecimento. Essas transformações vão desde uma nova postura do professor em sala de aula até a própria função social da escola, que ainda não responde às necessidades da sociedade. Nesse novo cenário faz-se imprescindível um professor mais preparado para orientar o aluno, ajudando-o a interagir com o outro, a selecionar as informações a que está exposto e a transformá-las em conhecimento, bem como a interagir com seus semelhantes. É importante considerar que aprendizagem do aluno está diretamente relacionada aos métodos de ensino aos quais está submetido. E, para garantir tal aprendizagem é necessário haver uma equipe mais preparada, mais coesa, ciente do trabalho que está desenvolvendo. Por isso a parceria do trabalho entre a coordenação pedagógica e os professores se torna indispensável. Mas será que o coordenador tem esse olhar? Para saber como o coordenador pedagógico atua na formação continuada dos professores, a pesquisa foi desenvolvida com uma parte teórica e uma parte prática. No referencial teórico estão Álvaro Marchesi, Vitor Henrique Paro e José Carlos Libâneo, por sua grande contribuição na área da gestão; Antônio Nóvoa, Cleide Terzi, Laurinda Almeida e Vera Placco, por seus trabalhos sobre formação de professores e de coordenadores pedagógicos, além de dissertações de mestrado e teses de doutorado sobre o tema. Na parte prática a pesquisa se organiza na perspectiva da metodologia quali/quantitativa, com entrevistas com nove coordenadores pedagógicos. Como a ênfase da dissertação está na construção do perfil desse profissional, foram entrevistados coordenadores de diversos segmentos (Educação Infantil, Ensino Fundamental e Ensino Médio) de diferentes escolas (rede particular e pública). No aspecto quantitativo da pesquisa, foi aplicado um questionário a dezesseis professores, para saber da atuação do coordenador pedagógico no aspecto formador. Os resultados mostraram que o coordenador pedagógico também precisa de formação. Ele desempenha tarefas específicas e que não são tratadas nem nas universidades nem nos cursos de especialização; precisa haver a parceria entre o coordenador pedagógico e o diretor pedagógico, para juntos decidirem os caminhos a serem seguidos dentro da escola; precisa haver um olhar mais direcionado para a formação da equipe, com reuniões, encontros, leituras e atividades planejadas, intencionais; há necessidade de devolutivas aos professores com mais frequência, estar mais perto, mais atuante; o coordenador pedagógico precisa repensar o trabalho coletivo, dar a seus professores autonomia para atuarem, dentro do que for possível. Mesmo os coordenadores pedagógicos que não têm autonomia dentro da escola podem fazer algo para deixar o trabalho com a marca do seu direcionamento; somente com um trabalho de parceria será possível resolver os conflitos e as tensões existentes e fortalecer a liderança, a confiança de seus pares, o trabalho em equipe. Dessa forma, as limitações do trabalho pedagógico com certeza diminuirão.

AS RELAÇÕES ENTRE INTELIGÊNCIA EMOCIONAL E BEM-ESTAR NO TRABALHO

Estudos em ambiente laboral acerca do comportamento humano e saúde no trabalho, bem como a melhor forma de se aplicar as competências e habilidades do trabalhador, vêm ganhando maior corpo devido à crescente busca por melhores resultados organizacionais, ao aumento da competitividade no mercado e à necessidade empresarial de atingir melhor desempenho de suas equipes. Gestores procuram por recursos e inovações a fim de tornar possível o alcance das metas organizacionais. Empregados mais capacitados, satisfeitos e envolvidos com seu trabalho são também aqueles que têm maior comprometimento afetivo com a organização. Para a empresa, isto pode significar um aumento da produtividade, o rebaixamento do número de absenteísmo e turnover. A dimensão saúde no trabalho ganha relevância porque bem-estar no trabalho significa também empregado mais feliz, com menor probabilidade de adoecimento físico, psíquico ou moral, reduzindo custos relativos à restituição da saúde do trabalhador. Por outro lado, estudo realizado sobre a inteligência emocional em gestores sugere que pessoas com alto nível deste tipo de inteligência são capazes de ter relacionamentos mais profundos e constituir uma rede social mais segura, ajudar os outros de seu grupo, bem como desenvolver uma liderança onde se possa construir uma equipe coesa e uma comunicação mais efetiva com os outros e levar a cabo planos estratégicos empresariais com mais eficiência. Este estudo teve como objetivo geral analisar as relações entre as habilidades da inteligência emocional e as dimensões de bem-estar no trabalho. A pesquisa foi realizada em uma empresa do setor de plásticos e metalurgia, em uma amostra constituída por 386 participantes dos sexos masculino e feminino, com faixa etária entre 18 e 58 anos. Foi utilizado para a coleta de dados um questionário composto de quatro escalas que mediram os três componentes de bem-estar no trabalho e as habilidades da inteligência emocional. Os resultados do estudo revelaram que apenas três habilidades da inteligência emocional tiveram correlações significativas com as dimensões de bem-estar no trabalho: empatia, sociabilidade e automotivação. Foram observadas correlações mais significativas entre sociabilidade e bem-estar no trabalho. Portanto, o bem-estar no trabalho parece associar-se às habilidades intelectuais e emocionais dos trabalhadores de serem empáticos, manterem-se automotivados e, especialmente, de estabelecerem e conservarem suas amizades (sociabilidade)

REDES DE APOIO SOCIAL E QUALIDADE DE VIDA EM HOMENS IDOSOS DE SÃO CAETANO DO SUL

O presente estudo tem como objetivo, identificar as características sócio-demográficas de um grupo de homens idosos moradores de São Caetano do Sul, as principais redes de apoio social entre esses idosos e investigar o nível de qualidade de vida dos mesmos. Os dados foram colhidos entre outubro de 2005 e março de 2006. Ao todo foram entrevistados 40 idosos, todos do gênero masculino, com idade média de 70,68 anos. Desses sujeitos, 20 foram entrevistados em Centro de Convivência (CC) para a terceira idade e 20 foram entrevistados nas ruas e nas praças de São Caetano do Sul. Foram utilizados dois questionários sendo um sobre rede de apoio social e o outro sobre qualidade de vida, o WHOQOL bref. Ao final dos questionários foram incluídas duas questões para investigar as providências tomadas em relação à velhice e como eles gastam seu dinheiro. A comparação entre os dois subgrupos permitiu constatar que os idosos do CC revelaram maior participação em atividades de grupo (p < 0,05) e maior freqüência na prática esportiva semanal (p < 0,01). Em questões sobre situações em que as pessoas procuram por outras, em busca de companhia, apoio ou ajuda, os idosos que não freqüentam o CC obtiveram melhores resultados (p< 0,05), bem como são eles que podem contar com alguém para compartilhar suas preocupações e medos mais íntimos (p < 0,05). Idosos divorciados tendem a contar com alguém que os ajude se ficarem de cama (p < 0,05) mais do que os idosos viúvos e também obtiveram mais ajuda para preparar seus alimentos, caso adoeçam do que os idosos viúvos (p< 0,01). Foi possível observar que há maior incidência de idosos viúvos e separados que freqüentam o CC bem como se verificou que a rede social dos mesmos apresentou-se mais deficiente. Entretanto foi observada melhor qualidade de vida relatada entre esses idosos em relação aos abordados na rua (p < 0,05). Concluímos que a participação no CC para a terceira idade, pode cooperar para melhora da qualidade de vida, devido às atividades esportivas, os eventos sociais e a infra-estrutura que o mesmo proporciona à terceira idade

PERCEPÇÃO DE FATORES E SITUAÇÕES DE RISCO EM MOTORISTAS INFRATORES

O presente estudo teve como objetivo verificar a percepção de situações de acidentes de trânsito por motoristas infratores; levantar dados sócio-demográficos, fatores de riscos e fatores de proteção de motoristas infratores, como também verificou a percepção de invulnerabilidade destes motoristas infratores. A coleta de dados foi realizada através da aplicação de Escala de Percepção de Invulnerabilidade, questionário sócio-demográfico que visou caracterizar o condutor, e entrevista semi-estruturada com finalidade de conhecer as ações do condutor ao volante. A amostra foi realizada por acessibilidade. Foi adotado como critério de inclusão na amostra motoristas habilitados que acumularam mais de vinte pontos em seu prontuário da Carteira de habilitação. O estudo teve um total de 427 sujeitos, sendo 325 do gênero masculino e 102 do gênero feminino. As infrações mais cometidas foram as gravíssimas para os sujeitos habilitados entre 6 e 15 anos, independente do gênero. Em relação à Escala de Invulnerabilidade, identificou-se que a autopercepção positiva foi superior ao senso de proteção e a crença na invulnerabilidade dos sujeitos. Os sujeitos entrevistados têm em média 38 pontos no prontuário, mas consideram-se motoristas cautelosos, atentos, cuidadosos, preocupados com os outros e que procuram obedecer às leis. Verificou-se que o risco está associado com a idéia de perigo, causar danos a outras pessoas ou comprometer sua segurança. As situações de risco estão associadas ao volume excessivo de veículos, alta velocidade, não obediência às leis de trânsito, veículos mal conservados e falta de sinalização. A percepção de riscos tem muito mais a ver com a singularidade do indivíduo diante de algum evento do que com uma estimativa correta de probabilidades. Constatou-se que os níveis elevados de ameaça sempre apresentam estratégias cognitivas de minimização do risco e do seu impacto. Constatou-se que as infrações de trânsito que ocorrem têm a ver com o contexto social. Investigar sobre as possíveis variáveis psicológicas nesse contexto também é uma tarefa de grande amplitude. Os estudos realizados nessa área da psicologia de trânsito no Brasil podem dar mais um passo em direção à compreensão da complexa rede de relações envolvendo o homem, o trânsito e o ambiente.(AU)

A critical evaluation of theories of nationalism

This thesis considers the main theoretical positions within the contemporary sociology of nationalism. These can be grouped into two basic types, primordialist theories which assert that nationalism is an inevitable aspect of all human societies, and modernist theories which assert that nationalism and the nation-state first developed within western Europe in recent centuries. With respect to primordialist approaches to nationalism, it is argued that the main common explanation offered is human biological propensity. Consideration is concentrated on the most recent and plausible of such theories, sociobiology. Sociobiological accounts root nationalism and racism in genetic programming which favours close kin, or rather to the redirection of this programming in complex societies, where the social group is not a kin group. It is argued that the stated assumptions of the sociobiologists do not entail the conclusions they draw as to the roots of nationalism, and that in order to arrive at such conclusions further and implausible assumptions have to be made. With respect to modernists, the first group of writers who are considered are those, represented by Carlton Hayes, Hans Kohn and Elie Kedourie, whose main thesis is that the nation-state and nationalism are recent phenomena. Next, the two major attempts to relate nationalism and the nation-state to imperatives specific either to capitalist societies (in the `orthodox' marxist theory elaborated about the turn of the twentieth century) or to the processes of modernisation and industrialisation (the `Weberian' account of Ernest Gellner) are discussed. It is argued that modernist accounts can only be sustained by starting from a definition of nationalism and the nation-state which conflates such phenomena with others which are specific to the modern world. The marxist and Gellner accounts form the necessary starting point for any explanation as to why the nation-state is apparently the sole viable form of polity in the modern world, but their assumption that no pre-modern society was national leaves them without an adequate account of the earliest origins of the nation-state and of nationalism. Finally, a case study from the history of England argues both the achievement of a national state form and the elucidation of crucial components of a nationalist ideology were attained at a period not consistent with any of the versions of the modernist thesis.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Transcranial magnetic stimulation reveals modulation of corticospinal excitability when observing actions with the intention to imitate

Studies using transcranial magnetic stimulation have demonstrated that action observation can modulate the activity of the corticospinal system. This has been attributed to the activity of an 'action observation network', whereby premotor cortex activity influences corticospinal excitability. Neuroimaging studies have demonstrated that the context in which participants observe actions (i.e. whether they simply attend to an action, or observe it with the intention to imitate) modulates action observation network activity. The study presented here examined whether the context in which actions were observed revealed similar modulatory effects on corticospinal excitability. Eight human participants observed a baseline stimulus (a fixation cross), observed actions in order to attend to them, or observed the same actions with the intention to imitate them. Whereas motor evoked potentials elicited from the first dorsal interosseus muscle of the hand were facilitated by attending to actions, observing the same actions in an imitative capacity led to no facilitation effect. Furthermore, no motor facilitation effects occurred in a control muscle. Electromyographic data collected when participants physically imitated the observed actions revealed that the activity of the first dorsal interosseus muscle increased significantly during action execution compared with rest. These data suggest that an inhibitory mechanism acts on the corticospinal system to prevent the immediate overt imitation of observed actions. These data provide novel insight into the properties of the human action observation network, demonstrating for the first time that observing actions with the intention to imitate them can modulate the effects of action observation on corticospinal excitability.

In-fiber microchannel device filled with a carbon nanotube dispersion for passive mode-lock lasing

Fueled by their high third-order nonlinearity and nonlinear saturable absorption, carbon nanotubes (CNT) are expected to become an integral part of next-generation photonic devices such as all-optical switches and passive mode-locked lasers. However, in order to fulfill this expectation it is necessary to identify a suitable platform that allows the efficient use of the optical properties of CNT. In this paper, we propose and implement a novel device consisting of an optofluidic device filled with a dispersion of CNT. By fabricating a microchannel through the core of a conventional fiber and filling it with a homogeneous solution of CNTs on Dimethylformamide (DMF), a compact, all-fiber saturable absorber is realized. The fabrication of the micro-fluidic channel is a two-step process that involves femtosecond laser micro-fabrication and chemical etching of the laser-modified regions. All-fiber high-energy, passive mode-locked lasing is demonstrated with an output power of 13.5 dBm. The key characteristics of the device are compactness and robustness against optical, mechanical and thermal damage.