Relating body mass index to figural stimuli: population-based normative data for Caucasians

OBJECTIVE: To establish body mass index (BMI) norms for standard figural stimuli using a large Caucasian population-based sample. In addition, we sought to determine the effectiveness of the figural stimuli to identify individuals as obese or thin. DESIGN: All Caucasian twins born in Virginia between 1915 and 1971 were identified by public birth record. In addition, 3347 individual twins responded to a letter published in the newsletter of the American Association of Retired Persons (AARP). All adult twins (aged 18 and over) from both of these sources and their family members were mailed a 16 page 'Health and Lifestyle' questionnaire. SUBJECTS: BMI and silhouette data were available on 16 728 females and 11 366 males ranging in age from 18- 100. MEASUREMENTS: Self-report information on height-weight, current body size, desired body size and a discrepancy score using standard figural stimuli. RESULTS: Gender- and age-specific norms are presented linking BMI to each of the figural stimuli. Additional norms for desired body size and discrepancy scores are also presented. Receiver operating curves (ROC) indicate that the figural stimuli are effective in classifying individuals as obese or thin. CONCLUSIONS: With the establishment of these norms, the silhouettes used in standard body image assessment can now be linked to BMI. Differences were observed between women and men in terms of desired body size and discrepancy scores, with women preferring smaller sizes. The figural stimuli are a robust technique for classifying individuals as obese or thin.

O Figural no Cinema Contemporâneo: Articulações e Disjunções do Visível e do Dizível

O que significa hoje um pensamento do figural? Qual a sua importância no quadro hegemónico do Arquivo Audiovisual e Multimédia Contemporâneo? Qual a relação que o cinema, enquanto assimilável ao pensamento do figural, tem com o Arquivo, tendo em conta a recente apropriação, interpretação, reconfiguração e interrogação das estruturas arquivísticas e materiais de arquivo, por parte de cineastas que usam o cinema, ele próprio, uma forma de arquivagem e material de arquivo, como ferramenta privilegiada de interpelação do Arquivo? Qual a potencial relevância do cinema, encarado nesta perspectiva, face à necessidade política de conceber um exterior do Arquivo? Estas são algumas das perguntas que estão na origem desta tese e a que ela procura responder, através da proposta de (re)corte de um arquivo de filmes e enunciados teóricos e da sua interpelação mútua. Com efeito, a imagem ou ideia de figural supõe uma reconfiguração das relações entre visível e dizível que não só nos serve de topos inspirador da metodologia da tese, num esforço de procurar inscrever a espacialização exigida pelo pensamento do figural na sua própria estrutura, como, sobretudo, nos fornece o quadro teórico de partida para pensar hoje, na senda de autores como Jean- François Lyotard, Michel Foucault e Gilles Deleuze, a relevância simultaneamente epistemológica e política da assimilação de certos gestos cinematográficos contemporâneos a uma imagem do pensamento com estes contornos. Assim, o cinema, sobretudo na sua forma ensaística, é identificado com a possibilidade de pôr em prática, um pensamento do interstício figural, que contraria a identidade dominante do ver e do falar, que rege o paradigma contemporâneo da comunicação, assente na respectiva conversão mútua - as imagens reduzem-se à sua significação ou conteúdo e as palavras convertem-se em imagens legíveis. Através das possibilidades oferecidas pela montagem cinematográfica, trata-se, então, de reenviar as imagens a uma leitura que só elas podem dar, e as palavras a um novo tipo de escuta e entendimento, o que se traduz, em termos da relação do cinema ao Arquivo contemporâneo, na sugestão de que o cinema é uma ferramenta de requalificação do saber que aquele supõe. A nossa hipótese é, pois, a de que o cinema em geral, e certos filmes em particular, ao permitirem a perscrutação arqueológica do Arquivo, introduzem delay na nossa relação aos “documentos”, sendo que é aí, nesse intervalo entre o registo e a sua retoma, que se joga a possibilidade de resistência face ao poder difuso do Arquivo, tal como se manifesta na internet, na televisão, nas redes que hoje geram a regulação, tratamento e transmissão da informação; porque possui uma dimensão audiovisual que lhe permite articular e desarticular arquivos e corpos, e dado que as relações entre dizível e visível não estão estabilizadas, o cinema torna possível a reescrita das figuras, ou seja, um pensamento que não dispõe de uma forma já feita de verdade para o encontro das frases e das experiências, mas que extrai relações essenciais e verdadeiras dos acontecimentos do nosso presente e da nossa história, precisamente a partir da exploração do intervalo instável entre discurso e figura, e da experimentação ao nível da recolagem entre enunciados e visibilidades.

Variaciones de lo figural: El pensamiento plástico de Jean Epstein,Stephen Dwoskin y Philippe Grandrieux

En Discurso,Figura, Jean François Lyotard acuña un término: “figural”, que teóricos como Nicole Brenez y Philippe Dubois han llevado al terreno del análisis de la imagen cinematográfica. El pensamiento figural hace de la materialidad de la imagen, de su plasticidad, su objeto de estudio privilegiado. Los cineastas Jean Epstein, Philippe Grandrieux o Stephen Dwoskin en sus figuraciones fílmicas del cuerpo y del rostro, pero también en sus reflexiones teóricas sobre el cine en forma de artículos o, incluso, documentos directamente asociados al rodaje como su registro filmado, han erigido un espacio privilegiado en que este concepto de lo figural se despliega en múltiples variaciones.

Modos de producción figural y educación artística : los primeros pasos de un modelo didáctico.

Crear un modelo didáctico que facilite el acceso de los alumnos al mundo del arte, y que esté fundamentado teóricamente en base a lo artístico. Tres profesoras de expresión plástica y tres alumnas de segundo curso del primer ciclo de la Facultad de Ciencias de la Educación, en la que cada una era representativa de tres niveles: una de rendimiento alto, otra de nivel medio y otra de nivel bajo en la evualuación de su nivel de expresión artística. El trabajo está dividido en dos partes. La primera está dedicada a la fundamentación teórica de base, trabaja en torno a lo sustantivo del arte a la vez que apunta a la creación de una base referencial que puede ayudar al análisis de los juegos de arte desplegados por los artistas. Esta primera parte termina presentando otro marco de referencia: el de la didáctica de la expresión artística. En la segunda parte, se presenta el modelo didáctico que ha elaborado y establece un plan de acción para que dicho modelo pueda ser aplicado a las aulas. Después presenta dos experiencias de aplicación del modelo, para acabar el trabajo con una breve recapitulación de lo expuesto y con algunas consideraciones que cierran el trabajo y abren perspectivas de futuro. Prueba de los seis juegos Kleenianos. El marco teórico definidor del modelo MOPRART, ha sido complementado con un ejemplo que demuestra que puede ser aplicado. Muestra como, realizando el curso (que propone el autor) los juegos de arte pueden ser inscritos o coordinados con muy diversos juegos didácticos, y como ello puede acontecer en el seno de particulares formas de vida.

'Atal allur a catade' : Recuperación figural de la Antigüedad pagana en las Cantigas de Santa María de Alfonso X

Existe un nexo figural o tipológico entre el evento histórico relatado en la Cantiga de Santa María 205 y un pasaje de la Estoria de España, ambas obras alfonsíes que no suelen estudiarse en relación. Este recurso, que es sólo una muestra de la rica utilización de la tipología en el cancionero, evidencia un propósito de recuperación y superación simbólica («alegórica¼) del pasado pagano en el contexto más amplio de textos alfonsíes, que incluye también al Setenario.

'Atal allur a catade' : Recuperación figural de la Antigüedad pagana en las Cantigas de Santa María de Alfonso X

Existe un nexo figural o tipológico entre el evento histórico relatado en la Cantiga de Santa María 205 y un pasaje de la Estoria de España, ambas obras alfonsíes que no suelen estudiarse en relación. Este recurso, que es sólo una muestra de la rica utilización de la tipología en el cancionero, evidencia un propósito de recuperación y superación simbólica («alegórica¼) del pasado pagano en el contexto más amplio de textos alfonsíes, que incluye también al Setenario.

'Atal allur a catade' : Recuperación figural de la Antigüedad pagana en las Cantigas de Santa María de Alfonso X

Existe un nexo figural o tipológico entre el evento histórico relatado en la Cantiga de Santa María 205 y un pasaje de la Estoria de España, ambas obras alfonsíes que no suelen estudiarse en relación. Este recurso, que es sólo una muestra de la rica utilización de la tipología en el cancionero, evidencia un propósito de recuperación y superación simbólica («alegórica¼) del pasado pagano en el contexto más amplio de textos alfonsíes, que incluye también al Setenario.

The influence of genetic and environmental factors in estimations of current body size, desired body size, and body dissatisfaction

The objective was to investigate the genetic epidemiology of figural stimuli. Standard figural stimuli were available from 5,325 complete twin pairs: 1,751 (32.9%) were monozygotic females, 1,068 (20.1%) were dizygotic females, 752 (14.1%) were monozygotic males, 495 (9.3%) were dizygotic males, and 1,259 (23.6%) were dizygotic male-female pairs. Univariate twin analyses were used to examine the influences on the individual variation in current body size and ideal body size. These data were analysed separately for men and women in each of five age groups. A factorial analysis of variance, with polychoric correlations between twin pairs as the dependent variable, and age, sex, zygosity, and the three interaction terms (age x sex, age x zygosity, sex x zygosity) as independent variables, was used to examine trends across the whole data set. Results showed genetic influences had the largest impact on the individual variation in current body size measures, whereas non-shared environmental influences were associated with the majority of individual variation in ideal body size. There was a significant main effect of zygosity (heritability) in predicting polychoric correlations for current body size and body dissatisfaction. There was a significant main effect of gender and zygosity in predicting ideal body size, with a gender x zygosity interaction. In common with BMI, heritability is important in influencing the estimation of current body size. Selection of desired body size for both men and women is more strongly influenced by environmental factors.

Individual differences in control of language interference in late bilinguals are mainly related to general executive abilities

Background: Recent research based on comparisons between bilinguals and monolinguals postulates that bilingualism enhances cognitive control functions, because the parallel activation of languages necessitates control of interference. In a novel approach we investigated two groups of bilinguals, distinguished by their susceptibility to cross-language interference, asking whether bilinguals with strong language control abilities ('non-switchers") have an advantage in executive functions (inhibition of irrelevant information, problem solving, planning efficiency, generative fluency and self-monitoring) compared to those bilinguals showing weaker language control abilities ('switchers"). Methods: 29 late bilinguals (21 women) were evaluated using various cognitive control neuropsychological tests [e.g., Tower of Hanoi, Ruff Figural Fluency Task, Divided Attention, Go/noGo] tapping executive functions as well as four subtests of the Wechsler Adult Intelligence Scale. The analysis involved t-tests (two independent samples). Non-switchers (n = 16) were distinguished from switchers (n = 13) by their performance observed in a bilingual picture-naming task. Results: The non-switcher group demonstrated a better performance on the Tower of Hanoi and Ruff Figural Fluency task, faster reaction time in a Go/noGo and Divided Attention task, and produced significantly fewer errors in the Tower of Hanoi, Go/noGo, and Divided Attention tasks when compared to the switchers. Non-switchers performed significantly better on two verbal subtests of the Wechsler Adult Intelligence Scale (Information and Similarity), but not on the Performance subtests (Picture Completion, Block Design). Conclusions: The present results suggest that bilinguals with stronger language control have indeed a cognitive advantage in the administered tests involving executive functions, in particular inhibition, self-monitoring, problem solving, and generative fluency, and in two of the intelligence tests. What remains unclear is the direction of the relationship between executive functions and language control abilities.

Individual differences in control of language interference in late bilinguals are mainly related to general executive abilities

Background: Recent research based on comparisons between bilinguals and monolinguals postulates that bilingualism enhances cognitive control functions, because the parallel activation of languages necessitates control of interference. In a novel approach we investigated two groups of bilinguals, distinguished by their susceptibility to cross-language interference, asking whether bilinguals with strong language control abilities ('non-switchers") have an advantage in executive functions (inhibition of irrelevant information, problem solving, planning efficiency, generative fluency and self-monitoring) compared to those bilinguals showing weaker language control abilities ('switchers"). Methods: 29 late bilinguals (21 women) were evaluated using various cognitive control neuropsychological tests [e.g., Tower of Hanoi, Ruff Figural Fluency Task, Divided Attention, Go/noGo] tapping executive functions as well as four subtests of the Wechsler Adult Intelligence Scale. The analysis involved t-tests (two independent samples). Non-switchers (n = 16) were distinguished from switchers (n = 13) by their performance observed in a bilingual picture-naming task. Results: The non-switcher group demonstrated a better performance on the Tower of Hanoi and Ruff Figural Fluency task, faster reaction time in a Go/noGo and Divided Attention task, and produced significantly fewer errors in the Tower of Hanoi, Go/noGo, and Divided Attention tasks when compared to the switchers. Non-switchers performed significantly better on two verbal subtests of the Wechsler Adult Intelligence Scale (Information and Similarity), but not on the Performance subtests (Picture Completion, Block Design). Conclusions: The present results suggest that bilinguals with stronger language control have indeed a cognitive advantage in the administered tests involving executive functions, in particular inhibition, self-monitoring, problem solving, and generative fluency, and in two of the intelligence tests. What remains unclear is the direction of the relationship between executive functions and language control abilities.

Les nouveaux médias, ou, L’ère du labyrinthe intermédial

Avec l’émergence des nouveaux médias, une nouvelle façon de raconter les histoires s’impose. Les structures connues de l’esthétisme classique semblent désuètes par rapport aux dispositions des nouvelles plateformes de diffusion. Mieux encore, ces plateformes propulsent le récit, lui permettent de sortir de la rigidité de la ligne narrative : elles intègrent la technique au logos. L’intermédialité devient omniprésente; la diversité des types médiatiques employés dans une œuvre sont rendus visibles et sont articulés par la mise en récit. Méchoulan dira que dans l’« être-entre », dans l’espace reliant chacune des unités sémantiques, que l’événement de la pensée advient; pour Rodowick c’est le « figural ». Une figure particulière s’impose : le labyrinthe. Multipliant les possibilités narratives spécifiques aux nouveaux médias, le labyrinthe fait converger les composantes intermédiales. Bleeding Through : Layers of Los Angeles 1920-1986, une œuvre dirigée par Norman Klein, pose le labyrinthe comme élément structurel en y tissant un réseau où s’inscrit une pratique intermédiale. On y adresse le temps comme une opération fragmentaire, qui se sectionne, se réorganise en rompant avec la linéarité classique. Il nous faudra alors voir comment le labyrinthe réfléchit dans l’étude du temps certains éléments de la mythologie grecque. Les réflexions de Gervais sur le labyrinthe permettront d’étayer pareille hypothèse. Nous analyserons Bleeding Through à la lumière de ces théories pour ainsi dégager l’essence de cette figure qui a infiltrée la narration contemporaine. En somme, le labyrinthe se présente dans l’écologie médiatique actuelle comme une figure inhérente à la mise en récit.

Figures of Time : Preemptive Narratives in Recent Television Series

Faute de droits d'auteurs pour les captures d'écrans, mon document ne contient pas d'images. Si vous voudriez consulter ma thèse avec les images, veuillez me contacter.

Convergences/divergences : le dialogue intermédial dans Vues et visions de Claude Cahun

Ce mémoire étudie les rapports texte/image dans Vues et visions de Claude Cahun, première œuvre composite créée en collaboration avec la peintre graphiste Marcel Moore. L’objet littéraire protéiforme, appartenant au genre de l’iconotexte (Alain Montandon), instaure un dialogue intermédial entre le textuel et le visuel au point de déconstruire l’horizon d’attente du lecteur : celui-ci est incité à lire et à voir alternativement les poèmes en prose ainsi que les dessins de sorte que les frontières qui définissent l’espace du littéral et du figural apparaissent poreuses. Subdivisé en deux chapitres, notre travail s’attachera dans un premier temps à mettre en lumière le rôle de l’écriture qui intègre certains dessins de Moore. En nous inspirant de l’iconolecture (Emmanuelle Pelard), nous tenterons d’effectuer des liens entre la plasticité et la signification littérale des signes linguistiques qu’illustrent ces images-textes tout en étudiant les correspondances thématiques et formelles qu’elles entretiennent avec les poèmes de Cahun. Le second chapitre étudiera la manière dont le figural investit le texte littéraire en adoptant une approche intermédiale. Après avoir abordé la figure du double, une partie de l’analyse sera consacrée à la figure de l’allusion, une stratégie d’écriture pour introduire le visuel au sein du textuel, ce qui nous permettra d’entrer en matière pour étudier « l’image-en-texte » (Liliane Louvel). Enfin, l’effet-tableau ainsi que l’anamorphose seront employés comme cadre d’analyse afin de penser le dialogue qui se noue entre le pictural et le texte littéraire dans Vues et visions.