Some notes on a historical perspective of panic disorder

This article aims to describe important points in the history of panic disorder concept, as well as to highlight the importance of its diagnosis for clinical and research developments. Panic disorder has been described in several literary reports and folklore. One of the oldest examples lies in Greek mythology - the god Pan, responsible for the term panic. The first half of the 19th century witnessed the culmination of medical approach. During the second half of the 19th century came the psychological approach of anxiety. The 20th century associated panic disorder to hereditary, organic and psychological factors, dividing anxiety into simple and phobic anxious states. Therapeutic development was also observed in psychopharmacological and psychotherapeutic fields. Official classifications began to include panic disorder as a category since the third edition of the American Classification Manual (1980). Some biological theories dealing with etiology were widely discussed during the last decades of the 20th century. They were based on laboratory studies of physiological, cognitive and biochemical tests, as the false suffocation alarm theory and the fear network. Such theories were important in creating new diagnostic paradigms to modern psychiatry. That suggests the need to consider a wide range of historical variables to understand how particular features for panic disorder diagnosis have been developed and how treatment has emerged.

Para uma pedagogia das literacias: das conceções e práticas docentes aos conceitos e competências discentes. Um estudo da aula de língua portuguesa no 2º ciclo do ensino básico

Tese de Doutoramento em Ciências da Educação (Especialidade em Literacias e Ensino do Português)

Escritas da utopia na literatura contemporânea – da utopia à distopia

Tese de Doutoramento em Ciências da Literatura (Especialidade em Literatura Comparada)

Literatura russa em Portugal: das vias de difusão aos sentidos de receção: o caso de Leão Tolstói

Tese de Doutoramento em Ciências da Literatura (área de especialização em Literatura Comparada).

Cultural studies as the new humanities

The purpose of this study is to argue that Cultural Studies may be regarded as the new humanities. Cultural Studies focus on ethnic, post-colonial, communication, anthropological, ethnographic and feminist studies, and only ‘very marginally’ have they shown an interest in literature and literary studies (Aguiar & Silva, 2008). But those fields, which ‘Social Science’ rather than the ‘Arts’ have invested in (Ibid., p. 254), are the touchstone of modernity. Today, the concept we have of humankind is, to a large extent, played out in these areas. The questioning of both humankind and modernity has as backdrop the technologically-driven shift of culture from word to image (Martins, 2011 a). My proposal takes into account this debate, while underscoring how Cultural Studies are engaged in what is current and contemporary, which means, in the present and everyday life.

O livro na revista: como revistas semanais brasileiras e portuguesas abordam livros e literatura

Dissertação de mestrado em Comunicação, Arte e Cultura

A narrativa na encruzilhada: a questão da fidelidade na adaptação de obras literárias ao cinema

Relatório de projecto de investigação de mestrado em Ciências da Comunicação (área de especialização em Audiovisual e Multimédia)

Escrever para aprender através dos textos literários e não literários

Relatório de estágio de mestrado em Educação Pré-Escolar e Ensino do 1.º Ciclo do Ensino Básico

A estruturação metafórica na concetualização de "Hora" na poesia de Fernando Pessoa ortónimo

Dissertação de mestrado em Ciências da Linguagem

A produção de espetáculo e a formação de públicos na Companhia de Teatro de Braga

Projeto de mestrado em Mediação Cultural e Literária

O autorretrato em literatura: ilustração e ruína

A aplicação ao caso literário do termo e do conceito de retrato, aqui incluindo a espécie mais tardia do autorretrato, não é hoje fluente, apesar da reconhecida permeabilidade do género a inúmeras linguagens artísticas e apesar de uma longa tradição de descrições de figura – particularmente no que toca a representação poético-retórica da beleza feminina – que recua à poesia clássica. Partindo de uma possível distinção entre autorretrato literário e variantes várias de escritas intimistas e autobiográficas com as quais delineia fronteiras nem sempre rigorosamente nítidas, é nosso propósito ilustrar, recorrendo a casos selecionados, modos de concretização verbal de autorretrato que se distanciam progressivamente de um paradigma representativo fundado na perceção e na semelhança, aproximando-se ao contrário de registos de rasura, apagamento, ruína, cegueira que questionam uma noção de identidade estabilizável em imagem (visual ou mental), encaminhando o gesto autorrepresentativo para uma meditação sobre a diferença e sobre o irreconhecimento; no limite, para uma condição fora do visível e porventura, arriscando os seus mais básicos pressupostos, para lá da representação.

Fragmento e ruína: retratos modernos

"Cadernos de literatura comparada, nº. 28 (2013) - Modernismos revisitados, 1912-2012"

A linguagem como corpo grotesco e o feminino em Mário de Sá-Carneiro

Dissertação de mestrado em Teoria da Literatura e Literaturas Lusófonas

New York City: "gilt cage" or "promised land" ? : representations of urban space in Edith Wharton and Anzia Yezierska

This thesis explores the importance of literary New York City in the urban narratives of Edith Wharton and Anzia Yezierska. It specifically looks at the Empire City of the Progressive Period when the concept of the city was not only a new theme but also very much a typical American one which was as central to the American experience as had been the Western frontier. It could be argued, in fact, that the American city had become the new frontier where modern experiences like urbanization, industrialization, immigration, and also women's emancipation and suffrage, caused all kinds of sensations on the human scale from smoothly lived assimilation and acculturation to deeply felt alienation because of the constantly shifting urban landscape. The developing urban space made possible the emergence of new female literary protagonists like the working girl, the reformer, the prostitute, and the upper class lady dedicating her life to 'conspicuous consumption'. Industrialization opened up city space to female exploration: on the one hand, upper and middle class ladies ventured out of the home because of the many novel urban possibilities, and on the other, lower class and immigrant girls also left their domestic sphere to look for paid jobs outside the home. New York City at the time was not only considered the epicenter of the world at large, it was also a city of great extremes. Everything was constantly in flux: small brownstones made way for ever taller skyscrapers and huge waves of immigrants from Europe pushed native New Yorkers further uptown on the island, adding to the crowdedness and intensity of the urban experience. The city became a polarized urban space with Fifth Avenue representing one end of the spectrum and the Lower East Side the other. Questions of space and the urban home greatly mattered. It has been pointed out that the city setting functions as an ideal means for the display of human nature as well as social processes. Narrative representations of urban space, therefore, provide a similar canvas for a protagonist's journey and development. From widely diverging vantage points both Edith Wharton and Anzia Yezierska thus create a polarized city where domesticity is a primal concern. Looking at all of their New York narratives by close readings of exterior and interior city representations, this thesis shows how urban space greatly affects questions of identity, assimilation, and alienation in literary protagonists who cannot escape the influence of their respective urban settings. Edith Wharton's upper class "millionaire" heroines are framed and contained by the city interiors of "old" New York, making it impossible for them to truly participate in the urban landscape in order to develop outside of their 'Gilt Cages'. On the other side are Anzia Yezierska's struggling "immigrant" protagonists who, against all odds, never give up in their urban context of streets, rooftops, and stoops. Their New York City, while always challenging and perpetually changing, at least allows them perspectives of hope for a 'Promised Land' in the making. Central for both urban narrative approaches is the quest for a home as an architectural structure, a spiritual resting place, and a locus for identity forming. But just as the actual city embraces change, urban protagonists must embrace change also if they desire to find fulfillment and success. That this turns out to be much easier for Anzia Yezierska's driven immigrants rather than for Edith Wharton's well established native New Yorkers is a surprising conclusion to this urban theme.

La concepció clàssica de la monarquia egípcia a partir de la documentació literària del Regne Mitjà i la seva pervivència en Època Grecorromana. El cas paradigmàtic d'Alexandre el Gran

Aquest estudi s’insereix en un projecte de tesi. L’estudi versa sobre l’ideal egipci de monarquia durant el Regne Mitjà, a partir de l’anàlisi directa de quatre fonts literàries del període. S’ha constatat que la concepció de monarquia resultant, concebuda com a clàssica o modèlica, és la que es transmet en essència fins a l’etapa final de la història antiga egípcia, encara que readaptant-se a les noves realitats polítiques i culturals. L’anàlisi d’aquest ideal teòric de monarquia ha estat fonamental per afrontar l’objectiu essencial del projecte de tesi: l’estudi de la legitimació d’Alexandre el Gran com a faraó d’Egipte, és a dir, l’examen en profunditat del conjunt de mecanismes mitjançant els quals el macedoni va assumir el rol clàssic dels monarques egipcis i que expliciten el procés segons el qual un nou sobirà, que a més era d’origen estranger, fou inserit en la ideologia faraònica tradicional. Per tal de determinar com això es va produir, es fa necessari l’estudi del període en què Alexandre és el titular del tron del país (332-323 aC), és a dir, del moment de gènesi, formulació i desenvolupament de l’entramat ideològic que proporcionarà base teològica al nou govern i l’adequarà a la tradició. Per a l’examen d’aquest període cronològic, la documentació egípcia s’erigeix com la principal font d’informació, i per tant, durant el projecte s’ha compilat i analitzat el conjunt de la documentació de procedència egípcia disponible fins al moment que, datada o no, s’adscriu cronològicament a aquest període.