Réflexion autour des dictionnaires de droit civil

Par leur mode de rédaction, les dictionnaires de droit civil révèlent une conception du sens en droit qui se caractérise par son objectivité, son historicité et son unité, c’est-à-dire par un ensemble de qualités qui sont intimement liées dans l’imaginaire des civilistes. Ce faisant, les dictionnaires de droit civil présentent un certain découpage du monde qui ne tient pas toujours compte des sens multiples que les juristes attribuent aux termes fondamentaux de leur vocabulaire. C’est en dégageant l’origine et la raison d’être du décalage entre le sens tel qu’il est défini et celui qui est vécu que l’auteur montre à quel point les dictionnaires de droit civil s’inscrivent dans une relation complexe qu’entretiennent les juristes avec leur langage.

Transformative Political Spaces? Asambleas Populares, Identity, Alliances and Belonging in Buenos Aires

Thesis (Ph.D.)--University of Washington, 2016-08

Räume und Identitäten. Stiftsdamen und Damenstifte in Augsburg und Edelstetten im 18. Jahrhundert

Erstmals beschreibt Dietmar Schiersner die Damenstifte von Augsburg und Edelstetten im 18. Jahrhundert, die durch Beispiele aus dem Lindauer Stift ergänzt werden. Der Band handelt vom Leben und Sterben der Frauen, die in einer kleinen Gemeinschaft, meist zu acht oder zehnt, als Mitglieder einer kirchlichen Institution leben. Es sind adlige Frauen, deren Familien fast immer zur schwäbischen Reichsritterschaft gehören. Sie erscheinen in den Quellen als Töchter oder Schwestern, Tanten oder Nichten, als Chorfräulein, Kapitulardamen, Äbtissinnen, Junge und Alte. Der Autor verknüpft einen am anthropologischen Raum orientierten Zugang mit kulturwissenschaftlichen Fragestellungen. So werden die sich wandelnden Identitäten von Stift, Stiftsgemeinschaft und einzelner Frau erfasst und erzählt. Im Blick stehen dabei die gesunden wie kranken Körper der Damen, deren Kleidung, Wohnräume und Räume der Imagination: Lesen, Schreiben, Musizieren, wie auch die prägenden Zeit-Räume wie Tag und Jahr, Lebensalter und Generationenkonflikte, Sterbestunde, Ewigkeit und institutionelle Memoria.

Panoramic Sea Happening (After Kantor): Video Installation

Panoramic Sea Happening (After Kantor) is a 7 minute durational film that reimagines part of Tadeusz Kantor's original sea happenings from 1967 in a landscape in which the sea has retreated. The conductor of Kantor’s original performance is replaced with a sound object cast adrift on a beach in Dungeness (UK). The object plays back the sound of the sea into the landscape, which was performed live and then filmed from three distinct angles. The first angle mimics the position of the conductor in Kantor’s original happening, facing outwards into the horizon of the beach and recalls the image in Kantor’s work of a human figure undertaking the absurd task of orchestrating the sound of a gigantic expanse of water. The second angle exposes the machine itself and the large cone that amplifies the sound, reinforcing the isolation of the object. The third angle reveals a decommissioned nuclear power station and sound objects used as a warning system for the power plant. Dungeness is a location where the sea has been retreating from the land, leaving traces of human activity through the disused boat winches, abandoned cabins and the decommissioned nuclear buildings. It is a place in which the footprint of the anthropocene is keenly felt. The sound object is intended to act as an anthropomorphic figure, ghosting the original conductor and offering the sound of the sea back into the landscape through a wide mouthpiece, echoing Kantor’s own load hailer in the original sequence of sea happenings. It speculates on Kantor's theory of the bio-object, which proposed a symbiotic relationship between the human and the nonhuman object in performance, as a possible instrument to access a form of geologic imagination. In this configuration, the human itself is absent, but is evoked through the objects left behind. The sound object, helpless in a red dingy, might be thought of as a co-conspirator with the viewer, enabling a looking back to the past in a landscape of an inevitable future. The work was originally commissioned by the University of Kent in collaboration with the Polish Cultural Institute for the Symposium Kantorbury Kantorbury in Canterbury (UK) to mark the 100 years since Tadeusz Kantor’s birth (15 - 19 September 2015). It should be projected and requires stereo speakers.

Teaching Rules or Teaching Creativity: a Paradigm Shift

Structure is everything in a screenplay we are told. If indeed there are any rules to screenwriting then this would be carved in tablets of stone. Within pedagogical frameworks we are diligent in our instruction of the three acts, advocating it as a paradigm. We pass on tools for the analysis of character that are gleaned from psychology. But I have seen students struggle with this toolbox. They feel constrained by concrete techniques. So often seeing principles as rules, structure as restriction. The stifling of free-form ideas is further compounded by the plethora of books that claim the path to glory lies only in structural devices. Some even purport to have a formula, a simple prescriptive model that will bestow almost certain success. Yet this is an industry that abhors formula, that hungers for the fresh and the new. Without bravado, imagination and experimentation with character and form, the best structured screenplay in the world is merely a typing exercise. As educators we have a duty to retain a balance between letting a student’s mind dance and keeping them to the tempo. This study will compare a variety of diverse structures, from Hegel to Alcoholics Anonymous, Kubler Ross to Jung. It will analyse recent journal articles, on both new techniques in teaching creativity and new approaches to the instruction of screenwriting, to suggest a model of how best to inform the application of structure to HE students and keep creativity uppermost. A structure of emotional truth. An equal appreciation of both the tools of our craft and an imaginative exploration of character and world that can unlock our originality and our artistry.

Navegação de robô móvel em ambiente com humanos

Trabalho Final de Mestrado para obtenção do grau de Mestre em Engenharia Mecânica

La banderole imaginaire

La BANDEROLE IMAGINAIRE est un guide de techniques de jeux dramatiques, adapté aux enfants de six à dix ans environ. Il a été conçu en fonction des professeurs de l'école primaire, qui désirent explorer la créativité de l'enfant. Ce document se dessine comme suit: après élaboration des théories sur le jeu et l'enfant et de leurs implications, se dresse une série de jeux préparatoires tels la relaxation, le son, le mouvement. S'enchainent ensuite des jeux d'entraînements, par les stades de la perception et de l'expression verbale, de l'imitation et de l'imagination, pour finalement aboutir au stade créatif par le truchement de l'improvisation et du jeu dramatique. Ce guide a fait partie du projet de recherche intitulé "Création de nouvelles techniques d'intervention au niveau des Élèves" (1974-1975); il a été subventionné par le Ministère de l’Éducation (dossier 74-63).

Le récit fictif dans la formation des élèves

Ce travail traite des ouvrages de fictions et du récit documentaire dans la formation des élèves. Nous voulons démontrer que l'étude de la littérature est nécessaire. Elle transmet des valeurs culturelles essentielles, initie à la recherche de la vérité, satisfait à des exigences de l’esprit. Un récit est un discours qui présente un ensemble de faits et d'idées. L'esprit humain possède la faculté de se représenter ce qui existe réellement par des mots. Il a la possibilité de créer des apparences et de les reconnaître comme telles. Le récit est fictif lorsque la réalité désignée par les mots n'existe que dans l'imagination. L'homme passe sa vie à créer et à distinguer l'apparence de la réalité, ou, le réel de la réalité apparente. La création de récits répond chez lui à des besoins qui s'accompagnent de sentiments esthétiques. La littérature constitue le recueil des récits. Son étude est un apprentissage de la vie et des valeurs que l'homme donne au réel. Elle est une matière scolaire indispensable à la culture. Les directions que l'étude des récits fictifs peut prendre dans la formation des élèves de l'élémentaire et du secondaire sont variées, théoriquement. Mais en pratique, elles sont restreintes. Nous tâchons d'établir des critères qui répondent à des impératifs pédagogiques et littéraires selon lesquels le choix des textes à livrer aux élèves doit être fait. [...]

Detectives de palavras: uma abordagem ao desenvolvimento da criatividade através da escrita

O projecto de intervenção pedagógica “Detectives de Palavras: uma abordagem ao desenvolvimento da criatividade através da escrita” remete-nos para uma análise acerca da importância da criatividade no mundo actual, como capacidade pessoal e social. Partindo da ideia de que a criatividade é o produto da interacção entre o domínio, o campo e a pessoa (Csikszentmihalyi, 1988) e de que a imaginação, a originalidade e a expressão são características essenciais do processo criativo (Bellón, 1998) desenvolveu-se um projecto direccionado para crianças em idade escolar com o intuito de desenvolver o pensamento criativo assim como despertar a motivação para a escrita e para a leitura. No presente projecto, são trabalhadas com os intervenientes algumas estratégias de Escrita Criativa passando, as crianças, a incorporarem o papel de Detectives de Palavras. Cada criança possui um kit pedagógico-didáctico de construção/investigação de histórias. Este kit é constituído por uma pasta de detective que contém alguns objectos utilizados por escritores e por detectives, tais como blocos de notas, lupas, pasta arquivadora de textos, cartões de identificação, entre outros, que podem ser capazes de ajudar as crianças a desenvolverem as suas ideias. Além de ser essencial avaliar o desenrolar do projecto, ou seja, o processo, também é importante avaliar o produto, neste caso, os textos das crianças. Contudo, avaliar a criatividade é uma tarefa complexa e muito subjectiva, por isso, esta avaliação baseia-se nos quatro factores que, de acordo com Guilford (1950) e Torrance (1972), estão envolvidos no processo criativo: a flexibilidade, a originalidade, a fluência e a elaboração.

Neurorehabilitation of hand functions using brain computer interface

Introduction: Brain computer interface (BCI) is a promising new technology with possible application in neurorehabilitation after spinal cord injury. Movement imagination or attempted movement-based BCI coupled with functional electrical stimulation (FES) enables the simultaneous activation of the motor cortices and the muscles they control. When using the BCI- coupled with FES (known as BCI-FES), the subject activates the motor cortex using attempted movement or movement imagination of a limb. The BCI system detects the motor cortex activation and activates the FES attached to the muscles of the limb the subject is attempting or imaging to move. In this way the afferent and the efferent pathways of the nervous system are simultaneously activated. This simultaneous activation encourages Hebbian type learning which could be beneficial in functional rehabilitation after spinal cord injury (SCI). The FES is already in use in several SCI rehabilitation units but there is currently not enough clinical evidence to support the use of BCI-FES for rehabilitation. Aims: The main aim of this thesis is to assess outcomes in sub-acute tetraplegic patients using BCI-FES for functional hand rehabilitation. In addition, the thesis explores different methods for assessing neurological rehabilitation especially after BCI-FES therapy. The thesis also investigated mental rotation as a possible rehabilitation method in SCI. Methods: Following investigation into applicable methods that can be used to implement rehabilitative BCI, a BCI based on attempted movement was built. Further, the BCI was used to build a BCI-FES system. The BCI-FES system was used to deliver therapy to seven sub-acute tetraplegic patients who were scheduled to receive the therapy over a total period of 20 working days. These seven patients are in a 'BCI-FES' group. Five more patients were also recruited and offered equivalent FES quantity without the BCI. These further five patients are in a 'FES-only' group. Neurological and functional measures were investigated and used to assess both patient groups before and after therapy. Results: The results of the two groups of patients were compared. The patients in the BCI-FES group had better improvements. These improvements were found with outcome measures assessing neurological changes. The neurological changes following the use of the BCI-FES showed that during movement attempt, the activation of the motor cortex areas of the SCI patients became closer to the activation found in healthy individuals. The intensity of the activation and its spatial localisation both improved suggesting desirable cortical reorganisation. Furthermore, the responses of the somatosensory cortex during sensory stimulation were of clear evidence of better improvement in patients who used the BCI-FES. Missing somatosensory evoked potential peaks returned more for the BCI-FES group while there was no overall change in the FES-only group. Although the BCI-FES group had better neurological improvement, they did not show better functional improvement than the FES-only group. This was attributed mainly to the short duration of the study where therapies were only delivered for 20 working days. Conclusions: The results obtained from this study have shown that BCI-FES may induce cortical changes in the desired direction at least faster than FES alone. The observation of better improvement in the patients who used the BCI-FES is a good result in neurorehabilitation and it shows the potential of thought-controlled FES as a neurorehabilitation tool. These results back other studies that have shown the potential of BCI-FES in rehabilitation following neurological injuries that lead to movement impairment. Although the results are promising, further studies are necessary given the small number of subjects in the current study.

A importância da expressão dramática com um grupo de crianças de três anos

Relatório de Estágio apresentado à Escola Superior de Educação de Paula Frassinetti para obtenção do grau de mestre em educação pré-escolar

A hora do conto: a importância de contar histórias em contexto pré-escolar

Relatório de estágio apresentado à Escola Superior de Educação de Paula Frassinetti, para obtenção do grau de mestre em Educação Pré-Escolar

La libertad de movimiento de los seres ingrávidos en la plástica de la Edad moderna. Recursos técnicos y formales empleados en su expresión

La abundancia de figuras flotantes en la plástica de la Edad moderna nos invita a estudiar el movimiento que realizan ángeles y divinidades. Por su movimiento ingrávido, estos personajes se diferencian de aquellos que están sujetos a su centro de gravedad. Conocemos su movimiento a través de las representaciones de esta época, movimiento que ha sido inventado a partir de la experiencia sensorial y la imaginación. La expresión virtual del dinamismo en imágenes estáticas se apoya en recursos técnicos y formales que en el caso de la figura humana ingrávida están orientados a resaltar las características peculiares de su movimiento. La independencia de una superficie de apoyo transforma en ilimitado el espacio en el que se mueven los seres ingrávidos; y su independencia del centro de gravedad hace posible desplazamientos que son insólitos en la vida cotidiana. Por ello, todo recurso visual que sugiera esta condición contribuirá a expresar su libertad de trayectorias.

Leitora-criadora: a experiência situada na construção dramatúrgica

This study has the purpose of investigating the term reader-creator , on the textual aspects of the dramatical works A Morte nos Olhos , A Memória Ferida and Na Outra Margem (2010) by Antonia Pereira Bezerra. In this sense, we propose an analysis of these works based on author‟s life experience as creative matter for a autofictional narrative, highlighting the relations between the autobiographical elements (LEJEUNE, 2008; DOSSE, 2009) and fictional elements in the construction of dramatic narratives. The theoretical analysis pervades the studies fields of Reception Aesthetics (ISER, 1996), memory (RICOUER, 2007) and narrative (RICOEUR, 2010), evidencing the relation between the author and the pursuit of her memories and life experiences, the matter to elaboration of writing. Then we intend thinking a reader-creator of herself, that at the same time she seeks in her memories the biographic aspects to her narrative, she converts this reality with the insertion of fictional elements from the imagination (SARTRE, 2008)

Aplicação para pesquisa de clip arts em dispositivos móveis baseada em esboços

Trabalho Final de Mestrado para obtenção do Grau de Mestre em Engenharia de Redes de Comunicação e Multimédia