El cerebro como regulador del rendimiento en la capacidad de repetir sprints

[ES] Durante pruebas cíclicas de larga duración ha sido probada que las estrategias para gestionar la fatiga pueden ser un factor determinante. A pesar de ello, este mismo fenómeno no está del todo probado que pueda darse en esfuerzos máximos de corta duración. Es por eso, que el objetivo de este trabajo ha sido analizar si variando el grado de conocimiento de los atletas durante este tipo de pruebas puede darse alguna alteración en su rendimiento. METODO: Siete deportistas varones completaron durante tres diferentes días un mismo protocolo (8 repeticiones máximas de 30 metros con un minuto de recuperación) en el que se varió la información que se les deba. Así, el primer día se les señaló que realizarían 4 repeticiones, pero cuando finalizaron se les indicó que realizarían 4 más (Prueba decepción). El segundo día, no se les informó del número de repeticiones a realizar (Prueba Suspense) y se les mandó parar al realizar la octava. Y por último, el tercer día se les señaló que realizarían 8 repeticiones (Prueba Control). RESULTADOS: Diferencias significativas (p>0.05) se encontraron en los tiempos de las cuatro primeras repeticiones entre la Prueba Suspense y Prueba Decepción. CONCLUSIÓN: Los resultados muestran como en pruebas máximas de corta duración las estrategias de gestión de la fatiga se pueden dar de manera anticipatoria al número de repeticiones a realizar.

Chico Xavier e o mundo dos espíritos: um estudo de representações sociais

O médium Chico Xavier (1910-2002) impôs-se no cenário religioso brasileiro como uma das personalidades mais admiradas e polêmicas do país dada a sua postura de afirmar se comunicar com espíritos de pessoas falecidas, atribuindo a elas seus mais de 400 livros psicografados, assim como pelas atividades assistenciais desempenhadas. As comemorações, em 2010, do centenário de seu nascimento teve ampla repercussão, com numerosas matérias na mídia, (re)lançamentos de livros e produção de filmes. Foi nesse contexto que se desenvolveu esta pesquisa sobre as representações sociais produzidas sobre ele por pessoas com ou sem religião, de acordo com a Abordagem Estrutural da Teoria das Representações Sociais. A coleta de dados foi feita através de um questionário padronizado, aplicado via "web", ao qual se associou uma tarefa de evocação livre ao termo indutor "Chico Xavier". Foram analisadas as respostas de 1960 sujeitos, dentre espíritas (56,6%), católicos (15,5%), teístas (12,1%), umbandistas (4,6%), ateus (4,2%), evangélicos (4,1%) e agnósticos (2,8%). A análise das evocações permitiu identificar os seguintes termos, possivelmente centrais, mais compartilhados por esses grupos: amor, caridade e humildade evocado por espíritas, umbandistas, teístas e católicos; espiritismo, mediunidade-psicografia por teístas, católicos, agnósticos e ateus; católicos e teístas distinguiram-se pela referência à bondade e paz; e evangélicos e ateus referiram-se a engano-mentira; agnósticos evocaram ainda o termo caridade; e ateus, os termos charlatão-fraude e doente mental. A construção de árvores de co- ocorrências confirmou os temas "amor" e "espiritismo" como mais característicos de Chico Xavier, sugerindo a existência de duas representações distintas. Nesse sentido, "amor" parece organizar as representações de católicos, espíritas, umbandistas, teístas, e "espiritismo", as de evangélicos, agnósticos e ateus. A análise do questionário revelou o seguinte ranking decrescente dos grupos quanto à sua proximidade com relação a Chico Xavier: espíritas, umbandistas, teístas, católicos, agnósticos, evangélicos e ateus. Em seu conjunto, os dados revelaram afinidades de representação entre os grupos, sendo principalmente semelhantes as representações dos espíritas e umbandistas, e dos teístas e católicos. Observamos uma representação de Chico Xavier construída a partir de três planos de significação: o da "virtude", o do "pertencimento" e o da "verdade". No primeiro, caracteriza-se pela valorização de "amor", que o situa numa ordem de sentido mais abrangente, reconhecendo-o como alguém capaz de ter vivido e demonstrado tal virtude de forma irrecusável, tornando-se dela um exemplo; no segundo, pela valorização de "espiritismo" ocorre sua identificação dentro de limites grupais, como alguém que viveu segundo sua crença e dela se tornou uma figura de destaque. E o terceiro, atravessando esses dois planos, pela atribuição de um sentido de "verdade" ou "mentira" sobre o que ele viveu/ensinou quanto à vida após a morte e a comunicação com espíritos. Desse modo, Chico Xavier, em geral, é representado pelos espíritas, umbandistas, teístas e católicos como alguém virtuoso que viveu/ensinou a verdade; e pelos evangélicos e ateus como um espírita não-virtuoso que viveu/ensinou mentiras. Os agnósticos posicionaram-se, principalmente, de modo ambivalente, mas com pequena tendência a enfatizar a virtude e a verdade em Chico Xavier.

Evaluación del testimonio: errores de memoria y mentiras

[ES]Este Trabajo de Fin de Grado (TFG) consiste en una revisión bibliográfica sobre los errores de memoria y la mentira en el testimonio. Para ello, por un lado, se explicarán los tipos de errores de memoria que se pueden dar en el testimonio, así como los factores que influyen en la exactitud de la memoria de los testigos, víctimas y/o agresores, y por otro lado, las mentiras que se pueden contar junto con su posible detección mediante indicadores verbales y no verbales. Respecto a la parte empírica, se recogerán y analizarán los resultados obtenidos gracias a diferentes estudios recogidos en un meta-análisis sobre la capacidad que tienen los policías para detectar la mentira en un testimonio.

Hipocrisia: arte do engano, arte do ator. Um olhar sobre a criação de si em Nietzsche

O objetivo desta tese é o de propor uma via de interpretação e significação possível ao problema ético-estético ou ético-poiētico da criação de si a partir da formulação de um conceito de hipocrisia. A partir de um espectro de análises acerca das práticas de engano, compõe-se um cenário inicial na forma de prolegômenos, nos quais se esboça uma distinção entre hipocrisia e autoengano, sob dois registros: formal, com a distinção de perspectivas entre enganar e ser enganado, com base no reconhecimento do engano; e processual, onde a hipocrisia, como incorporação intencional de personagens, distingue-se do autoengano como processo não reconhecido de incorporação de crenças. O primeiro capítulo dedica-se a compreender como as práticas de engano e a hipocrisia vêm a se tornar um problema moral. Remontando o problema aos gregos, abrem-se, para além dessa condenação, vias para uma reavaliação das formas de inteligência astuciosa nomeada por mêtis. No segundo capítulo, procura-se elaborar um conceito de hipocrisia como significação ao problema ético e estético da criação de si. A oposição entre as formas éticas da amizade e da lisonja, tendo em comum a atenção ao kairós, o tempo oportuno, é o mote para se pensar duas formas de discurso: o retórico, comandado pela mêtis, e o filosófico, pautado pela parrēsía; e para se propor uma forma de cuidado de si distinta da que é constituída pelo discurso parrēsiástico e vertida em ḗthos pela áskēsis. Tal seria a criação de si pela atenção aos acasos e instintos e teria como modelo o trabalho de incorporação e manejo artístico próprio à arte do ator. Daí emerge o conceito de hipocrisia como: arte de interpretar um saber da dóxa pela mestria do kairós, e de configurá-lo pela mímēsis de modo a criar a si como autor e obra de si mesmo. No terceiro capítulo, com enfoque interpretativo, toma-se esse conceito de hipocrisia como fio condutor para uma articulação entre três aspectos do pensamento de Nietzsche: i) a compreensão extramoral acerca das práticas de engano, tendo a vontade de aparência como aquilo que lhes subjaz; ii) a perspectiva epistêmica de processos sem sujeito, tendo as noções de máscara e interpretação como mote para se pensar a hipocrisia como um manuseio ou manejo artístico visando à criação de um eu hipócrita; e iii) a proposta ético-estética de criação de si e constituição de um caráter, onde a hipocrisia poderia ser compreendida como uma ética-estética do espírito livre, que pela incessante troca de papéis, cria a si como obra de arte e se torna o que é.

Fear and manipulation in George Orwells Nineteen Eighty-Four and Alan Moores V for Vendetta

O objetivo desta dissertação é analisar a questão da política do medo e das várias formas de manipulação da realidade encontradas nas narrativa de 1984 (1949), de George Orwell, assim como na narrativa gráfica de V de Vingança tanto na sua versão em quadrinhos, de Alan Moore (1982-88), quanto na sua adaptação cinematográfica, escrita pelos Wachowskis (2005). Em particular, tenta demonstrar similaridades nas técnicas usadas, assim como na análise dos personagens, procurando embasar certos questionamentos com a ajuda de filósofos políticos, estudos de psicologia, culturais, e distópicos. Ao final, este trabalho tenta identificar a importância da influência dos autores estudados, assim como outros autores distópicos, na criação e desenvolvimento de uma nova geração social de mentalidade inconformista

Are mature smokers misinformed?

While there are many reasons to continue to smoke in spite of its consequences for health, the concern that many smoke because they misperceive the risks of smoking remains a focus of public discussion and motivates tobacco control policies and litigation. In this paper we investigate the relative accuracy of mature smokers' risk perceptions about future survival, and a range of morbidities and disabilities. Using data from the survey on smoking (SOS) conducted for this research, we compare subjective beliefs elicited from the SOS with corresponding individual-specific objective probabilities estimated from the health and retirement study. Overall, consumers in the age group studied, 50-70, are not overly optimistic in their perceptions of health risk. If anything, smokers tend to be relatively pessimistic about these risks. The finding that smokers are either well informed or pessimistic regarding a broad range of health risks suggests that these beliefs are not pivotal in the decision to continue smoking. Although statements by the tobacco companies may have been misleading and thus encouraged some to start smoking, we find no evidence that systematic misinformation about the health consequences of smoking inhibits quitting.

The Interloping Beguiler: for Bass Clarinet and Orchestra

The Interloping Beguiler is an nineteen-minute concerto in four movements for bass clarinet solo and orchestra. The title refers to the role of the solo instrument, which continually thrusts itself into the affairs of the orchestra, deceiving and diverting the members of the orchestra away from their task of performing a "serious" orchestral composition. The bass clarinet portrays a comical, cartoon-like character whose awkward, and sometimes goofy, interjections cause chaos. Attempts are made by various members of the orchestra, especially the horns, to regain control of the work, but the bass clarinet always succeeds in its distracting antics. By the final movement of the composition, the bass clarinet has propelled the work into a cartoon-like landscape of quickly changing textures, dissonant intervals, and overlapping themes. The first movement, Introduction, sets the serious tone of the music to follow, or so it would seem. The entrance of the bass clarinet immediately changes this texture with its out-of-rhythm alternations between high and low pitches. This gesture provides a glimpse into the personality of the bass clarinet, an instrument here to mislead the members of the orchestra. Deception truly begins in the second movement, The Interloping Initiates. The bass clarinet starts the movement with a driving theme and is immediately supported by the orchestra. As the movement progresses, the bass clarinet quickly begins altering the theme, making it more playful and cartoonish. A struggle ensues between the horns and the bass clarinet, with the bass clarinet catapulting the piece into a latin-inspired section. The struggle continues through to the end of the movement. The third movement, Calm, is exactly what the title suggests. A sectional form distinguishes this movement from the second movement. Throughout Calm, the bass clarinet behaves with decorum, except for very large melodic leaps. The seed of anarchy planted by the bass clarinet in the second movement comes to fruition in the final movement, The Beguiling Builds. Here, the bass clarinet sends the work into chaos with sections recalling Looney Tunes cartoons, Hollywood western music, and children's folk songs.

Three Voices in the Wilderness: Foote, Bloch, and Korngold in the Early Twentieth-Century America

Barbara Hanning points out in her book Concise History of Western Music, that "Twentieth-century American music was in large measure an extension of European music" (Hanning 1998, 515). My dissertation/perforrnance project features cello works written by three contemporary composers who lived in America but were connected to the European heritage in different ways; each contributed significantly to the development of American classical concert life, music education, and even popular culture. Programs of my performances are intended to illustrate their unique compositional styles. The first recital consists of five cello compositions of Massachusetts-born Arthur Foote (1853 - 1937): Drei Stucke fur Pianoforte und Violoncello, Op. 1; Scherzo, Op.22; Romanza, Op.33; Aubade, Op.77; and Sonata for Violoncello and Piano, Op.78. Foote was influenced by the German-trained John Knowles Paine at Harvard University; he composed music famous for its extensive chromaticism in both harmony and melodic line, and for clearly-defined formal structure. The second recital explores the music of Swiss-American composer Ernest Bloch (1880-1959): a short Meditation Hebraique, a Suite No. I for Violoncello Solo and the famous rhapsody Schelomo. Born in Geneva, Switzerland, and settling in the United States in 1916, Bloch is a composer deeply influenced by the European late-Romantic tradition and is also well-known for employing "Hebraic" elements into his works. The final performance comprises two other of Bloch's cello works and one cello concerto by the Austrian-American composer, Erich Wolfgang Korngold (1897- 1957). Bloch's Voice in the Wilderness is a symphonic poem for orchestra and cello (accompanied by piano in this performance), consisting of six movements performed without pause. His Suite No.3 for Cello Solo is shorter and has a simpler style than the first Suite. Korngold was recognized as a child prodigy in his native Austria. After a Nazi-induced exile, he immigrated to America and became a film music composer in Hollywood. The Cello Concerto was used in the movie "Deception" (1 946), for which Korngold provided the film score. The impassioned harmonic language and lavish melodic lines inherited from the high-romanticism make this work one of comparative discordant beauty among other compositions of his time.

Disputes over memory ownership: What memories are disputed?

The ownership of memories is sometimes disputed, particularly by twins. Examination of 77 disputed memories, 71 provided by twins, showed that most of the remembered events are negative and that the disputants appear to be self-serving. They claim for themselves memories for achievements and suffered misfortunes but are more likely to give away memories of personal wrongdoing. The research suggests that some of the memories in which we play a leading role might in fact have been the experiences of others.

What students can tell about lecturers when they are teaching: manifestations of confident and under-confident lecturers

Delivering a lecture requires confidence, a sound knowledge and well developed teaching skills (Cooper and Simonds, 2007, Quinn and Hughes, 2007). However, practitioners who are new to lecturing large groups in higher education may initially lack the confidence to do so which can manifest itself in their verbal and non-verbal cues and the fluency of their teaching skills. This results in the perception that students can identify the confident and non-confident teacher during a lecture (Street, 2007) and so potentially contributing to a lecturer’s level of anxiety prior to, and during, a lecture. Therefore, in the current educational climate of consumerisation, with the increased evaluation of teaching by students, having the ability to deliver high-quality, informed, and interesting lectures assumes greater significance for both lecturers and universities (Carr, 2007; Higher Education Founding Council 2008, Glass et al., 2006). This paper will present both the quantitative and qualitative data from a two-phase mixed method study with 75 nurse lecturers and 62 nursing students in one university in the United Kingdom. The study investigated the notion that lecturing has similarities to acting (Street, 2007). The findings presented here are concerned with how students perceived lecturers’ level of confidence and how lecturers believed they demonstrated confidence. In phase one a specifically designed questionnaire was distributed to both lecturers and students and a response rate of 91% (n=125) was achieved, while in phase two 12 in-depth semi-structured interviews were conducted with lecturers. Results suggested that students in a lecture could identify if the lecturer was confident or not by the way they performed a lecture. Students identified 57 manifestations of non-confidence and lecturers identified 85, while 57 manifestations of confidence were identified by students and 88 by lecturers. Overall, these fell into 12 main converse categories, ranging from body language to the use of space within the room. Both students and lecturers ranked body language, vocal qualities, delivery skills, involving the students and the ability to share knowledge as the most evident manifestations of confidence. Elements like good eye contact, smiling, speaking clearly and being fluent in the use of media recourses where all seen as manifestations confidence, conversely if these were poorly executed then a presentation of under confidence was evident. Furthermore, if the lecturer appeared enthusiastic it was clearly underpinned by the manifestation of a highly confidence lecturer who was secure in their knowledge base and teaching abilities: Some lecturers do appear enthusiastic but others don’t. I think the ones that do know what they are talking about, you can see it in their voice and in their lively body language. I think they are also good at involving the students even. I think the good ones are able to turn boring subjects into lively and interesting ones. (Student 50) Significantly more lecturers than students felt the lecturer should appear confident when lecturing. The lecturers stated it was particularly important to do so when they did not feel confident, because they were concerned with appearing capable. It seems that these students and lecturers perceived that expressive and apparently confident lecturers can make a positive impact on student groups in terms of involvement in lectures; the data also suggested the reverse, for the under confident lecturer. Findings from phase two indicated that these lecturers assumed a persona when lecturing, particularly, but not exclusively, when they were nervous. These lecturers went through a process of assuming and maintaining this persona before and during a lecture as a way of promoting their internal perceptions of confidence but also their outward manifestation of confidence. Although assuming a convincing persona may have a degree of deception about it, providing the knowledge communicated is accurate, the deception may aid rather than hinder learning, because enhances the delivery of a lecture. Therefore, the deception of acting a little more confidently than one feels might be justified when the lecturer knows the knowledge they are communicating is correct, unlike the Dr Fox Effect where the person delivering a lecture is an actor and does not know the subject in any detail or depth and where the deception to be justified (Naftulin, et al., 1973). In conclusion, these students and lecturers perceive that confident and enthusiastic lecturers communicate their passion for the subject in an interesting and meaningful manner through the use of their voice, body, space and interactions in such a way that shows confidence in their knowledge as well as their teaching abilities. If lecturers, therefore, can take a step back to consider how they deliver lectures in apparently confident ways this may increase their ability to engage their students and not only help them being perceived as good lecturers, but also contribute to the genuine act of education.

The Fraud Act 2006: some early observations and comparisons with the former law

Provides a detailed analysis of the Fraud Act 2006 provisions on the offence of fraud by false representation (s.2) and the offence of obtaining services dishonestly (s.11) and assesses the extent to which they address problems arising in connection with the former deception offences under the Theft Acts 1968 and 1978. [From Legal Journals Index]

Doubly duped males: the sweet and sour of the orchid's bouquet

Flowers of the orchid genus Ophrys resemble female insects, and thereby sexually deceive, attract and are pollinated by male insects. Floral bouquet is thought to play a major role in this sexual mimicry, although the search for functional odour components has been something of a chemical ecologist's Holy Grail. Two new papers unravel the exquisite intricacy of the chemical deception by the orchid.

El "Fedro" de Platón: un ejercicio de buena retórica engañosa

En este artículo me propongo mostrar que lo que Sócrates hace con Fedro a lo largo de toda la obra no es otra cosa que utilizar la auténtica retórica (con su doble carga, dialéctica y psicológica) que es descrita en la segunda parte del diálogo. Las tensiones, rivalidades y celos de la situación inicial entre ellos expone un perfil representativo de relaciones entre interlocutores con perspectivas intelectuales opuestas. Es preciso disolver la resistencia emocional por medio de una serie de pasos graduales, estratégicos, y ‘engañosos’ (no se puede develar el propio juego desde el principio). Hay que partir de acuerdos, siquiera parciales, para continuar dialogando. Sin embargo, Sócrates también introduce nociones nuevas acerca del amor, pero éstas pasan desapercibidas a un Fedro obsesionado con la imitación de su enamorado Lisias. Hasta que Sócrates decide cortar el juego y cruzar el río. Este corte provoca un giro en ambos personajes: Fedro se dispone a escuchar lo que Sócrates quiere contarle (el mito del carro alado) y Sócrates se revela ante sí mismo como un personaje capaz de ‘encantar’ a Fedro con la belleza rapsódica del relato y superar su propio temor de convertirse en una bestia devoradora. Al final Sócrates muestra su juego a Fedro y le enseña cómo ha sido posible llegar a un auténtico diálogo filosófico, donde pueda tener lugar la enseñanza y el aprendizaje recíprocos.

Signal residuals and hermit crab displays: flaunt it if you have it!

In animal contests selection should favour information gathering regarding the likely costs and benefits of continued conflict, and displays may provide a means for contestants to gain information about the fighting ability or aggressive intent of competitors. However, there is debate over the reliability of such displays and low levels of deception may occur within otherwise honest signalling systems. Hermit crabs use displays involving the chelipeds during agonistic encounters. We examined how variation in chelae size in relation to body size, a determinant of fighting ability, affects their use in displays and the process and outcome of contests over gastropod shells. In accordance with deceptive use of an otherwise honest signal, we found that contestants with large chelipeds for their body size spent more time performing the cheliped presentation display. Moreover, cheliped residuals and displays influenced the escalation level of encounters. There was a positive association between cheliped displays and the occurrence of 'grappling', but a negative association between displays and the occurrence of shell fights, suggesting that displays may signal aggressive intent and a reluctance to back off or accept the more passive defender role in a fight. Furthermore, the smaller of the two contestants in shell fights had larger cheliped residuals compared to those smaller contestants not involved in shell fights, which is consistent with disrupted opponent assessment. This study adds to mounting evidence that when acting as a signaller, individuals for whom the display exaggerates competitive ability attempt to manipulate opponents, using the display more often. (C) 2009 The Association for the Study of Animal Behaviour. Published by Elsevier Ltd. All rights reserved.

Micromorphology of the labellum and structure of the osmophore in a group of closely related species of the sexually deceptive Orchid genus Ophrys (orchidaceae)

Tese de doutoramento, Biologia (Biologia Celular), Universidade de Lisboa, Faculdade de Ciências, 2016