Letteratura scientifica selezionata sul tema "Pre-expressivity"
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Articoli di riviste sul tema "Pre-expressivity"
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Taylor, Val. "Body in mind: Exploring pre‐expressivity." Contemporary Theatre Review 7, no. 1 (October 1997): 1–10. http://dx.doi.org/10.1080/10486809708568440.
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Martin, John. "Pre‐expressivity: Some thoughts from the rehearsal floor." Contemporary Theatre Review 7, no. 1 (October 1997): 49–57. http://dx.doi.org/10.1080/10486809708568444.
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Başarı, Şengül, Gözde Latifoğlu, and Ahmet Güneyli. "Influence of Bibliotherapy Education on the Social-Emotional Skills for Sustainable Future." Sustainability 10, no. 12 (December 18, 2018): 4832. http://dx.doi.org/10.3390/su10124832.
Testo completoAbstract (sommario):
The aim of this study is to evaluate the influence of bibliotherapy education on the social-emotional skills of psychological counselling and guidance candidates. The test group of the study consisted of psychological counselling and guidance students who participated voluntarily in the course named “Applied Counselling and Bibliotherapy”. A pre-test and post-test experimental design without a control group was used in the study. The Social Skills Inventory was used, for determining the social skills level of students before and after they are provided with bibliotherapy education. It was concluded from the study that there is a significant difference in the general scores for the social skills of female students after bibliotherapy education and the scores they obtained in the sub-dimensions of social expressivity. With the given reading materials and method of delivery, when the effect of bibliotherapy education on social skills level was compared, it was found in the final test that female students’ scores in the sub-dimensions of emotional expressivity and social control were significantly higher than those of male students. However, it was concluded that male students’ scores in the sub-dimension of emotional control were higher than those of female students.
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Lim, Eunsung, Sung-Yong Park, Seung-Ho Jang, Won-Myong Bahk, Young-Joon Kwon, Bo-Hyun Yoon, Kwanghun Lee, and Sang-Yeol Lee. "M185. THE EFFECTS OF GROUP ARTS THERAPY BASED ON EMOTION MANAGEMENT TRAINING ON THE EMOTIONAL EXPRESSION, ALEXITHYMIA, DEPRESSION AND QUALITY OF LIFE IN PATIENTS WITH SCHIZOPHRENIA." Schizophrenia Bulletin 46, Supplement_1 (April 2020): S206—S207. http://dx.doi.org/10.1093/schbul/sbaa030.497.
Testo completoAbstract (sommario):
Abstract Background The objective of this study was to investigate the effects of group arts therapy based on emotion management training on emotional expression, positive emotion and negative emotion, alexithymia, depression and quality of life in patients with schizophrenia. Methods 24 of 160 in-patients with schizophrenia, according to DSM-IV from H Mental Health Hospital, were randomly assigned to either an experimental or control group. Each group were consisting of 12 patients. Group arts therapy was conducted on the experimental group twice a week, 60 minutes per session, for a total of 16 sessions, while the control group was left untreated. The following scales were used for assessment: Berkeley Expressivity Questionnaire (BEQ), Positive Affective and Negative Affect Schedule (PANAS), Toronto Alexithymia Scale-Korean vesion (TAS-20K), Depression Scale for Schizophrenia (K-CDSS), Positive and Negative Syndrome Scale (PANSS), and Schizophrenia Quality of Life Scale (SQLS-R4K). Independent t-test was conducted to confirm the homogeneity, and to find the effects of group arts therapy, Repeated measures ANOVA was conducted to confirm the differences for scores of each scales regarding groups, measuring timing, and also the interaction between groups and measuring timing by pre, post and follow-up test. Results The result of this study are as follows. First, total score, expressivity factors and impulse strength factors of emotional expressivity were significantly increased after group arts therapy compared to the control group. Second, positive emotion was significantly increased and negative emotion was significantly decreased after group integrative therapy compared to the control group. Third, total score, difficulty identifying feelings of Alexithymia were significantly decreased after group arts therapy compared to the control group. Fourth, depression was significantly decreased after group integrative arts therapy compared to the control group. Fifth, negative syndromes and general psychopathology were significantly decreased after group arts therapy compared to the control group. Sixth, quality of life was significantly increased after group arts therapy compared to the control group. Discussion The group arts therapy have significantly improved the emotional expression, positive emotion, negative emotion and Alexithymia in patients with schizophrenia and also improved negative syndromes, general psychopathology, depression and quality of life. These result suggest that group arts therapy based on emotion management training could be a useful intervention for emotional disturbance treatment for in patients with schizophrenia.
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Farakish, L., S. Legge, M. Owen, M. O’Donovan, J. Walters, and A. Cardno. "Clinical Indicators of Symptom Dimensions and Cognitive Ability in Schizophrenia." European Psychiatry 65, S1 (June 2022): S113. http://dx.doi.org/10.1192/j.eurpsy.2022.317.
Testo completoAbstract (sommario):
Introduction Schizophrenia is a heterogeneous disorder and it is unknown what causes individual variability in symptoms and cognitive ability. Objectives To examine the association between nine clinical predictors measurable at the onset of schizophrenia and five phenotype dimensions: positive, negative (diminished expressivity), negative (motivation and pleasure), disorganised symptoms and cognitive ability. Methods 852 participants (mean age 49 years old) with a diagnosis of schizophrenia or schizoaffective depression were included from the CardiffCOGS cross-sectional sample. Phenotype dimensions were created using confirmatory factor analysis and a 5-factor model. Associations were tested using linear regression, adjusting for age and sex. A Bonferroni correction was applied for (p<1.1x10-3) for multiple testing. Results Age of onset of psychosis was significantly associated with positive symptoms (β=-0.18, p=4.0 x10-6). Lower premorbid IQ was associated with diminished expressivity (β=-0.25, p= 7.0x10-13), reduced motivation and pleasure (β=-0.23, p= 4.3x10-11), disorganised symptoms (β=-0.14, p= 7.6x10-5) and reduced cognition (β=0.54, p= 4.8x10-77). Poor premorbid social adjustment held associations with all except positive. Developmental delay was associated with reduced cognition (β=-0.35, p= 4.3x10-5). Cannabis use (year before onset), psychosocial stressors (within 6 months), childhood abuse and family history of schizophrenia held no associations. Conclusions Clinical indicators measurable at schizophrenia onset are associated with lifetime symptom variability. A younger psychosis onset is associated with more severe positive symptoms, suggesting possible age-targeted management. Pre-established links of lower premorbid IQ with poor premorbid social adjustment and negative symptom severity with cognition are strengthened. Further investigation could potentially improve diagnosis and guide treatment choice for aspects of schizophrenia with poor outcomes. Disclosure No significant relationships.
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Zempelin, Svenja, Karolina Sejunaite, Claudia Lanza, and Matthias W. Riepe. "Emotion induction in young and old persons on watching movie segments: Facial expressions reflect subjective ratings." PLOS ONE 16, no. 6 (June 18, 2021): e0253378. http://dx.doi.org/10.1371/journal.pone.0253378.
Testo completoAbstract (sommario):
Film clips are established to induce or intensify mood states in young persons. Fewer studies address induction of mood states in old persons. Analysis of facial expression provides an opportunity to substantiate subjective mood states with a psychophysiological variable. We investigated healthy young (YA; n = 29; age 24.4 ± 2.3) and old (OA; n = 28; age 69.2 ± 7.4) participants. Subjects were exposed to film segments validated in young adults to induce four basic emotions (anger, disgust, happiness, sadness). We analyzed subjective mood states with a 7-step Likert scale and facial expressions with an automated system for analysis of facial expressions (FaceReader™ 7.0, Noldus Information Technology b.v.) for both the four target emotions as well as concomitant emotions. Mood expressivity was analysed with the Berkeley Expressivity Questionnaire (BEQ) and the Short Suggestibility Scale (SSS). Subjective mood intensified in all target emotions in the whole group and both YA and OA subgroups. Facial expressions of mood intensified in the whole group for all target emotions except sadness. Induction of happiness was associated with a decrease of sadness in both subjective and objective assessment. Induction of sadness was observed with subjective assessment and accompanied by a decrease of happiness in both subjective and objective assessment. Regression analysis demonstrated pre-exposure facial expressions and personality factors (BEQ, SSS) to be associated with the intensity of facial expression on mood induction. We conclude that mood induction is successful regardless of age. Analysis of facial expressions complement self-assessment of mood and may serve as a means of objectification of mood change. The concordance between self-assessment of mood change and facial expression is modulated by personality factors.
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Sabuncuoglu, Alpay, and T. Metin Sezgin. "Kart-ON: An Extensible Paper Programming Strategy for Affordable Early Programming Education." Proceedings of the ACM on Human-Computer Interaction 6, EICS (June 14, 2022): 1–18. http://dx.doi.org/10.1145/3534524.
Testo completoAbstract (sommario):
Programming has become a core subject in primary and middle school curricula. Yet, conventional solutions for in-class programming activities require each student to have expensive equipment, which creates an opportunity gap for low-income students. Paper programming can provide an affordable, engaging, and collaborative in-class programming experience by allowing groups of students to use inexpensive materials and share smartphones. However, current paper-programming examples are limited in terms of language expressivity and generalizability. Addressing these limitations, we developed a paper-programming flow and its variants in different abstraction levels and input/output styles. The programming environments consist of pre-defined tangible programming cards and a mobile application that runs computer vision models to recognize them. This paper describes our educational and technical development process, presents a qualitative analysis of the early user study results and shares our design considerations to help develop wide-reaching paper programming environments.
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Mikalonytė, Elzė Sigutė, and Vilius Dranseika. "Intuitions on the Individuation of Musical Works. An Empirical Study." British Journal of Aesthetics 60, no. 3 (March 21, 2020): 253–82. http://dx.doi.org/10.1093/aesthj/ayz051.
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Abstract Philosophers often consider better compliance with prevalent pre-theoretical intuitions to be an advantage of a theory of ontology of musical works. However, despite many predictions of what these intuitions on relevant questions might be, so far there is only one experimental philosophy study on the repeatability of musical works by Christopher Bartel. We decided to examine the intuitions concerning the individuation of musical works by creating scenarios reflecting the differences in the positions of musical ontologists: pure and timbral sonicism, instrumentalism, and contextualism. The results show that emotional expressivity, instrument, timbre, and images evoked in the listeners were not considered as properties individuating musical works. However, the musical works were held to be different if the composers were different. In most cases, the participants had clear intuitions. Pure sonicism, complemented with additional stress on significance of the composer’s creativity, seems to be the most intuitive position.
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Trigg, Dylan. "COVID-19 and the Anxious Body." Puncta 5, no. 1 (2022): 106–14. http://dx.doi.org/10.5399/pjcp.v5i1.7.
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This article reflects on the way COVID-19 has altered our understanding and experience of everyday life, with a particular focus on the relationship between anxiety and the body. There are a number of ways to think about how anxiety has impacted bodily experience during the pandemic, and I focus on two specific aspects. First, I focus on the transformation of the body from a site of pre-reflective unity to its thematization as a discernible thing. In the process, I argue that this disclosure of the body as a thing renders the body an object of anxiety while also being an expression of anxiety. Second, I consider the role anxiety plays in altering our relationship to other people. Instead of a fluid interplay between oneself and another, I argue that the pandemic has shifted our relationship to other people through concealing the expressivity of the body. I conclude by considering how these aspects can challenge conventional ideas of phenomenology while also underscoring the necessity of a critical approach.
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Cascella, Raffaella, Claudia Strafella, Chiara Germani, Giuseppe Novelli, Federico Ricci, Stefania Zampatti, and Emiliano Giardina. "The Genetics and the Genomics of Primary Congenital Glaucoma." BioMed Research International 2015 (2015): 1–7. http://dx.doi.org/10.1155/2015/321291.
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The sight is one of the five senses allowing an autonomous and high-quality life, so that alterations of any ocular component may result in several clinical phenotypes (from conjunctivitis to severe vision loss and irreversible blindness). Most parts of clinical phenotypes have been significantly associated with mutations in genes regulating the normal formation and maturation of the anterior segments of the eye. Among the eye anterior segment disorders, special attention is given to Glaucoma as it represents one of the major causes of bilateral blindness in the world, with an onset due to Mendelian or multifactorial genetic-causative traits. This review will point out the attention on the Primary Congenital Glaucoma (PCG), which is usually transmitted according to an autosomal-recessive inheritance pattern. Taking into consideration the genetic component of the PCG, it is possible to observe a strong heterogeneity concerning the disease-associated loci (GLC3), penetrance defects, and expressivity of the disease. Given the strong PGC heterogeneity, pre- and posttest genetic counseling plays an essential role in the achievement of an appropriate management of PCG, in terms of medical, social, and psychological impact of the disease.
Tesi sul tema "Pre-expressivity"
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De, La Fuente Chávez Campos Mariana. "Regulación y expresividad emocional en docentes de centros de educación inicial privados de Lima." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626430.
Testo completoAbstract (sommario):
En la presente investigación se buscó establecer una relación entre la regulación emocional y la expresividad emocional, así como realizar correlaciones y comparaciones entre las variables de estudio y demográficas. Para ello, se evaluaron a 163 docentes del género femenino, tanto profesoras como auxiliares, con una media de 33 años de edad, que ejercían en diez diferentes jardines de educación inicial privados de Lima. Se utilizó el Cuestionario de Autorregulación Emocional (ERQ-P), el cual mide dos estrategias, la reevaluación cognitiva y la supresión emocional. Además, se aplicó el Cuestionario de Expresividad de Berkeley (BEQ) para medir la expresividad emocional, que abarca la expresión de emociones positivas, negativas y la fuerza del impulso. Se comprobó que sí existe una relación significativa entre la reevaluación cognitiva y la expresividad positiva, demostrando así la hipótesis principal. Además, se encontró una correlación negativa entre dicha estrategia y la edad de los niños a cargo, así como también se hallaron diferencias significativas al realizar comparaciones entre la muestra, obteniendo que el grupo de las docentes que son madres, y las del cargo de profesoras, expresan más emociones positivas. Es de gran valor el rol de las docentes para el aprendizaje de la regulación y la expresión emocional en los niños, resultando necesario que las mismas logren regularse adecuadamente, ya que cumplen de modelos en dicho aprendizaje observacional. Finalmente, se señalan las limitaciones del estudio, como lo fue descartar la supresión por baja confiabilidad, y las implicancias prácticas en la labor y formación docente.<br>The present investigation intended to establish a relation between emotion regulation and emotional expressivity in private Pre-School teachers and helpers of Lima, as well as correlate and compare the study and demographic variables. Therefore, 163 female teachers and helpers from ten different Pre-Schools were measured, and the mean age was 33 years old. There are two main regulation strategies, cognitive reappraisal and emotional suppression. On the other hand, emotional expressivity covers positive expressivity, negative expressivity, and impulse strength. These variables were measured with the Emotion Regulation Questionnaire and the Berkeley Expressivity Questionnaire. Results showed that cognitive reappraisal correlated positively with positive expressivity, demonstrating the main hypothesis. Also, this strategy correlated negatively with children’s age, and as of the comparisons, there were significant differences between teachers and helpers, and between mothers and non-mothers, regarding positive expressivity. Since teachers and helpers play the valuable part of being models in children’s learning process of regulation skills, it is crucial they manage to regulate their own emotions adequately, given its impact on their socioemotional development. At last, limitations and future implications are mentioned, so as the removal of emotional suppression due to low reliability, and the practical implications of this study regards the work, training and education of teachers and helpers.<br>Tesis
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Philippsen, Philipe França. "O andamento-ritmo no trabalho pré-expressivo do Grupo Cerco no espetáculo "O Sobrado"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/147611.
Testo completoAbstract (sommario):
Esta pesquisa se inscreve na perspectiva da Etnocenologia e investiga onde e como o ritmo atua nas práticas pré-expressivas do Grupo Cerco de Porto Alegre referentes ao espetáculo “O Sobrado”, criado em 2008. A Etnocenologia estuda as práticas e os comportamentos humanos espetaculares organizados, e esta pesquisa contribui para esta disciplina através de uma autoetnografia da preparação dos atores e atrizes do grupo. Nesta autoetnografia, parte-se da premissa do pesquisador Ernani Maletta de que certos conceitos e parâmetros ditos musicais não são exclusividade da Arte Música, mas também representam fundamentos legítimos e intrínsecos, por exemplo, à Arte Teatral. É sabido que a noção de ritmo está presente tanto no comportamento humano espetacular organizado quanto no som humanamente organizado. Através da análise dos registros e memórias do processo criativo e subsequentes apresentações do espetáculo, procura-se lançar luz sobre as manifestações do ritmo nos exercícios derivados do Sistema Pedagógico de Jacques Lecoq utilizados pelo grupo. Estas práticas serão postas em paralelo aos objetivos e metodologia de Konstantin Stanislavski sobre o andamento-ritmo, por esse ser um exemplo canônico de uma sistematização do trabalho do ator sobre o ritmo. Procura-se demonstrar como o ritmo é inerente ao trabalho do ator não apenas enquanto princípio expressivo, mas também pré-expressivo, agindo sobre os atores enquanto indivíduos ou ensemble, afetando seu uso da atenção, coordenação física, qualidades de conectividade, estados de consciência e emoções.<br>This research subscribes to the perspective of Ethnoscenology and investigates where and how rhythm acts in the pre-expressive practices of Grupo Cerco, from Porto Alegre, relative to the play “O Sobrado”, created in 2008. Ethnoscenology studies organized human performing behaviors and practices, and this research contributes to that discipline through an autoethnography of the preparation of the actors and actresses in the group. In this autoethnography, one starts from the premise of the researcher Ernani Maletta that certain so-called musical concepts and parameters are not exclusive to the Music Art, but also represent legitimate and intrinsic fundamentals of, for instance, the Theater Art. It is known that rhythm is present both in organized human performing behavior and humanly organized sound. Through the analysis of the records and memories of the creative process and subsequent performances of the play, one seeks to shed light on the manifestations of rhythm in the exercises derivate from Jacques Lecoq’s Pedagogical System being used. These practices will be put in parallel to the objective and methodology of Konstantin Stanislavski on tempo-rhythm, for the latter is a canonical example of a systematization of the actor’s work on rhythm. One seeks to demonstrate how rhythm is inherent to the actor’s work not only as an expressive principle, but also as a pre-expressive one, acting on the actors as individuals or ensemble, affecting their use of attention, physical coordination, qualities of connectivity, states of consciousness and emotions.
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Arrighi, Gillian Anne. "The Neutral Mask: its position in Western actor training, and its application to the creative processes of the actor." Thesis, 2003. http://hdl.handle.net/1959.13/24925.
Testo completoAbstract (sommario):
This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor.<br>Masters Thesis
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Arrighi, Gillian Anne. "The Neutral Mask: its position in Western actor training, and its application to the creative processes of the actor." 2003. http://hdl.handle.net/1959.13/24925.
Testo completoAbstract (sommario):
This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor.<br>Masters Thesis
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Hujerová, Václava. "Pohybové vyjádření básní v předškolním věku dítěte." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-304055.
Testo completoAbstract (sommario):
The object of my disertation is connection poetry and locomotion with pre-school children. The goal of my research is realize, which poems and motions are prefered by children and what is the reason of their choose. The methods in my dissertation are interview, experiment and observation. All of these methods detect relation of children to poetry and locomotion. I have discovered the interesting style of work with pre-school children. The children have appreciated various language and form resources. I have discovered, that children love particularly dynamical and simple activities, which enable maximum discharge of energy. I will trying to choose the poetry and locomotion, which is the nearest for pre- school age.I hope, that my discovered will be interesting inspiration for teacher in kindergarten.
Libri sul tema "Pre-expressivity"
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Ralph, Yarrow, ed. Presence and pre-expressivity. Amsterdam: Harwood Academic, 1998.
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YARROW. Presence and Pre-Expressivity, Part I (Contemporary Theatre Review). Routledge, 1998.
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Presence and Pre-Expressivity, Part II (Contemporary Theatre Review). Routledge, 1998.
Cerca il testo completoCapitoli di libri sul tema "Pre-expressivity"
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"Pre-expressivity." In A Dictionary of Theatre Anthropology, 216–34. Routledge, 2011. http://dx.doi.org/10.4324/9780203863954-24.
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"Eugenio Barba and Nicola Savarese PRE - EXPRESSIVITY." In Physical Theatres: A Critical Reader, 283–86. Routledge, 2007. http://dx.doi.org/10.4324/9780203012857-63.
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Ribière, Mireille. "Georges Perec’s Enduring Presence in the Visual Arts." In The Afterlives of Georges Perec. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474401241.003.0002.
Testo completoAbstract (sommario):
A former student of Roland Barthes, Perec rejected the dogmatism of the French avant-garde and the oppressive nature of theory in the late 1960s and 1970s, while dismissing the myth of the inspired artist and upholding those aspects of modernism that enabled art to assert itself as constructed intentionality. When he reconsidered the issue of the subject in its relationship to history and society, to the real, and to time and space, he managed to steer clear of expressivity, psychology and conventional mimesis. The co-existence of autobiographical and sociological concerns with formal constraints that both challenge and integrate the notion of chance, as well as his particular brand of formal pre-composition, which does not exclude humour, playfulness and immediacy, constitute further aspects of his enduring presence in the visual arts. This chapter argues that Perec practised literature both as a craft and as a form of conceptual art, and examines how the fundamental questions he raised, the conversations he initiated and the various methodologies he proposed have made, and continue to make him relevant to contemporary artists.