873 resultados para Relational poetics


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Tese de doutoramento, Belas-Artes (Educação Artística), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

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Tese de doutoramento, Psicologia (Psicologia da Família e Intervenção Familiar), Universidade de Lisboa, Faculdade de Psicologia, 2014

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Tese de doutoramento, Educação (Didática da Matemática), Universidade de Lisboa, Instituto de Educação, 2014

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Tese de doutoramento, Sociologia (Sociologia da Família, da Juventude e das Relações de Género), Universidade de Lisboa, Instituto de Ciências Sociais, 2014

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Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2015

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Tese de doutoramento, Ciências e Tecnologias da Saúde (Desenvolvimento Humano e Social), Universidade de Lisboa, Faculdade de Medicina, 2014

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Este E-Book reúne um conjunto de investigações apresentadas no “I Congresso Internacional Envolvimento dos Alunos na Escola: Perspetivas da Psicologia e Educação” (ICIEAE), organizado no âmbito do “Projeto PTDC/CPE-CED/114362/2009 - Envolvimento dos Alunos na Escola: Diferenciação e Promoção” (EAE-DP), financiado pela Fundação para a Ciência e a Tecnologia (FCT).

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Tese de doutoramento, Psicologia (Psicologia Clínica), Universidade de Lisboa, Faculdade de Psicologia, 2015

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Tese de doutoramento, Psicologia (Psicologia da Família), Universidade de Lisboa, Faculdade de Psicologia, 2015

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Counselling psychology within the UK has grown over the last three decades, adapting to many changes in the field of applied psychology, whilst remaining true to its core values and humanistic origins. The identity of counselling psychology is strongly rooted in a relational stance and applied psychology, where attention to psychological formulation is given to improve psychological functioning and well-being. This article outlines a brief history of counselling psychology in the UK, the training process, credentialing and looks at some important challenges and future directions for counselling psychology in the UK. A proportion of the members from the British Psychological Society’s division of counselling psychology (DCoP, N = 148) took part in the study. Participants provided demographic, training, employment, workplace and career pathway information obtained through an online questionnaire distributed to all DCoP members. On the whole, DCoP members are working in a variety of areas within the UK and the findings of this article contribute to the international study comparing counselling psychology across the globe.

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Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

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Thesis (Ph.D.)--University of Washington, 2014

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Tese de doutoramento, Educação (Formação de Professores), Universidade de Lisboa, Instituto de Educação, 2016

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Relatório da Prática de Ensino Supervisionada, Mestrado em Ensino da Matemática, Universidade de Lisboa, 2015

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Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Antropologia, Programa de Pós-graduação em Antropologia Social, 2015.