Research Progressin the Application of Creative Arts Therapy to Behavioral and Psychological Symptoms of Dementia / 中国医学科学院学报

Behavioral and psychological symptoms of dementia (BPSD) are common in the patients with dementia.Creative arts therapies (CAT) are one of the safe and effective non-pharmacological interventions for BPSD.This paper elaborates on the therapeutic effects of four common CAT,including art therapy,music therapy,dance therapy,and drama therapy,on BPSD.Despite the shortcomings,CAT offer a new gateway for the safe and noninvasive treatment of BPSD.

How perspective-taking underlies creative thinking and the socio-emotional competency in trainings of drama pedagogy / Como a tomada de perspetiva está subjacente ao pensamento criativo e à competência sócio-emocional na formação em pedagogia dramática

Policy-makers and scholars agree that creativity and socio-emotional competencies can be taught, learned, and enhanced through creative arts like theatre. Nevertheless, few authors have studied the processes underlying both constructs in artistic education, which would permit to understand how children develop them and re-create adapted methodologies. Thus, we proposed to observe a drama pedagogy training for elementary school children, evaluating their creative thinking and theory-of-mind. To understand perspective-thinking as a process underlying creative thinking and theory-of-mind in the context of drama pedagogy training. Quasi-experimental pre-post-test design. Standardized tests analysis, plus thematic analysis from observation of 240 minutes recording of drama pedagogy training. Higher increase in creative thinking with a strong effect of drama pedagogy training on divergent thinking. Thematic analyses showed that drama pedagogy training activities focus mainly on socio-emotional competency (linked to theory-of-mind). Perspective-taking appears as an underlying process that explains both creative thinking and the development of socio-emotional competencies by permitting the child to see from another person's perspective, providing several ideas-solutions for a problem (creative thinking), as well as understanding other people's emotions and motivations (theory-of-mind).

Os legisladores e estudiosos concordam que a criatividade e a competência socioemocional podem ser ensinadas, aprendidas e aprimoradas através das artes criativas, como o teatro. No entanto, poucos autores estudaram os processos subjacentes a ambas as construções na educação artística, o que permitiria compreender como as crianças as desenvolvem e, assim, recriar metodologias adaptadas. Assim, propõe-se, através deste estudo, observar um Treinamento de Pedagogia Teatral para crianças do ensino fundamental, avaliando no pensamento criativo e teoria da mente ds crianças. Tem por objetivo entender o pensamento prospectivo como um processo subjacente ao pensamento criativo e à teoria da mente no contexto do Treinamento da Pedagogia Teatral. Foi utilizado o método da abordagem mista: Projeto de pré-teste quase experimental. Análise de testes padronizados mais análise temática a partir da observação de 240 minutos de registro do Treinamento da Pedagogia Teatral. Os resultados demonstraram aumento do pensamento criativo com um forte efeito do Treinamento da Pedagogia Teatral sobre o pensamento divergente. As análises temáticas mostraram que as atividades do Treinamento da Pedagogia Teatral se concentram principalmente na competência socioemocional (ligada a teoria da mente). Conclui-se que o pensamento de perspectiva aparece como um processo subjacente que explica tanto o pensamento criativo quanto o desenvolvimento de competências socioemocionais, permitindo que a criança veja da perspectiva alheia, fornecendo várias ideias-soluções para um problema (pensamento criativo), assim como a compreensão das emoções e motivações alheias (teoria da mente).

Interactive tobacco control drama:its design and effect evaluation / 上海预防医学

Objective To explore the methods of tobacco control through interactive sitcoms and evaluate its impact on audience in their empathy, knowledge acquisition and behavior, providing basis for health communication activities in relation to tobacco control. Methods Relevant knowledge and skills on tobacco control were integrated into the drama, which ran for 8 performances in Shanghai.Four of them were randomly selected for evaluation.All the audience were invited to complete a questionnaire. Results Over 90% of the audience gave affirmation to the design, performance and interaction of the drama.More than 70% smokers established their supportive attitude for smoke free environment.Audience who preferred interactive activities (OR=8.72, 95%CI:3.16-24.09) had higher education level (OR=2.10, 95%CI:1.06-4.14), and more empathy on roles (OR=6.63, 95%CI:2.38-18.51) thought psycho-scene drama had more effect than traditional ways on tobacco control.Smokers were curious to know the ending of the story (OR=3.90, 95%CI:1.73-8.79), wanted to learn more ways to discourage smoking (OR=4.00, 95%CI:1.88-8.49) and thought psycho-scene drama had more effect than traditional ways in this regard (OR=7.03, 95%CI:2.58-19.18).They came to have a stronger will to discourage smoking. Conclusion Psycho-scene drama proves to be a feasible way in tobacco control communication with a good effect on knowledge communication and behavior change.

Interactive tobacco control drama:its design and effect evaluation / 上海预防医学

Objective To explore the methods of tobacco control through interactive sitcoms and evaluate its impact on audience in their empathy, knowledge acquisition and behavior, providing basis for health communication activities in relation to tobacco control. Methods Relevant knowledge and skills on tobacco control were integrated into the drama, which ran for 8 performances in Shanghai.Four of them were randomly selected for evaluation.All the audience were invited to complete a questionnaire. Results Over 90% of the audience gave affirmation to the design, performance and interaction of the drama.More than 70% smokers established their supportive attitude for smoke free environment.Audience who preferred interactive activities (OR=8.72, 95%CI:3.16-24.09) had higher education level (OR=2.10, 95%CI:1.06-4.14), and more empathy on roles (OR=6.63, 95%CI:2.38-18.51) thought psycho-scene drama had more effect than traditional ways on tobacco control.Smokers were curious to know the ending of the story (OR=3.90, 95%CI:1.73-8.79), wanted to learn more ways to discourage smoking (OR=4.00, 95%CI:1.88-8.49) and thought psycho-scene drama had more effect than traditional ways in this regard (OR=7.03, 95%CI:2.58-19.18).They came to have a stronger will to discourage smoking. Conclusion Psycho-scene drama proves to be a feasible way in tobacco control communication with a good effect on knowledge communication and behavior change.

Early development process of drama and storytelling scripts as media for nutrition education on balanced diets among elementary school children

@# Introduction: The Indonesian Guide on Balanced Nutrition endorsed in 2014, needs to be more widely publicised. One way is to use fun learning methods such as drama and storytelling, especially in schools. This study aimed to develop drama and storytelling scripts for educating students on balanced nutrition. Methods: Sixteen focus group discussions (FDGs) with thematic activities were conducted among 96 mother-child pairs in four elementary schools. The mothers’ age ranged from 30-50 years and the children 9-13 years. In-depth interviews were conducted with eight teachers (two from each participating school). The FGDs and interviews were designed to elicit information on knowledge and implementation of balanced nutrition guidelines at three levels, namely intrapersonal (students), family (mother) and environment (school teacher). Content analysis was used to identify relevant themes, which were developed into scripts for drama and storytelling. Results: The students, mothers, and teachers were not familiar with the general guidelines for balanced nutrition. The lack of variety of the food provided at home was reported. The draft scripts were discussed and modified for accuracy of the nutrition messages that were applied in character dialogues, song lyrics, dramas and storytelling. Conclusion: Storytelling and drama are effective for use by teachers and mothers for delivering nutrition messages in schools and the home.

Doctor's images in the Korean medical drama viewed from the perspective of Medical Professionalism / 의료커뮤니케이션

BACKGROUND: TV dramas can affect the identity of a person or group that the public perceives by presenting virtualized characters and events. The image of a doctor in the medical drama can influence the identity of a contemporary physician group. The authors analyze several medical dramas in Korea from the viewpoint of medical professionalism and try to contribute to the enlightment of the image of the doctor.METHODS: Among the medical dramas that have been broadcast since medical professions began to appear, 5 dramas were selected for analysis. The author reviewed them by four major areas of medical professionalism: contribution to society, compliance with the four principles of medical ethics, professional autonomy, and recognition from society and scored an upper-middle-lower grade.RESULTS: ‘Contribution to society’ and ‘recognition from society’ were well-founded in all dramas, except ‘Doctor Stranger’. In the case of ‘compliance with the four principles of medical ethics’, ‘Golden Time’ and ‘Romantic doctors Kim’ most frequently violated it. The ‘medical ethics principle’ was frequently infringed on ‘Doctor Strangers’, In the case of ‘Doctors’, the violation of the ethics principle was reduced as the conflict between the drama characters were emphasized. ‘Professional autonomy’ is best demonstrated by stubborn doctors appearing in ‘Golden Time’ and ‘Romantic Doctors Kim’.CONCLUSION: It is necessary to criticize the doctors image in the current drama from the view point of the medical professionalism and to continue to teach the drama writer about medical professionalism.

Enseñanza contextualizada para miembros de la subcultura del heavy metal a través de técnicas teatrales / Contextualized Teaching and Learning using Drama Techniques for Members of the heavy metal Subculture / Ensino Contextualizado para Membros da Subcultura do heavy metal através de Técnicas Teatrais

Este artículo da cuenta de la investigación cualitativa que pretende incluir a la subcultura del metal en el aula de inglés como lengua extranjera (ILE) en Chile, utilizando la enseñanza contextualizada y las técnicas teatrales. En primer lugar, se otorgan algunos antecedentes relacionados con el ILE en Chile. En segundo lugar, se desarrolla una revisión bibliográfica, en la que se describe a las subculturas juveniles, los metaleros como subcultura, la motivación para aprender ILE, la enseñanza contextualizada y finalmente las técnicas dramáticas. En tercer lugar se entrega la metodología de investigación utilizada (entrevistas y observación no participante) y algunos de los resultados obtenidos. En último lugar, se presentan conclusiones y una propuesta pedagógica que se sirve de esta investigación para incluir la subcultura juvenil del metal en el aula de ILE.

This article describes qualitative research on the inclusion of the heavy metal youth subculture in English as a Foreign Language (EFL) classrooms in Chile, using contextualized teaching and learning as well a drama techniques. Background information related to EFL teaching in Chile is provided followed by a literature review that describes heavy metal as a youth subculture, motivation for learning EFL, contextualized teaching and learning and finally drama techniques. The article goes on to detail the research methodology used (interviews and non-participant observation) and the results of the study are highlighted. The authors present their conclusions and suggest a pedagogical proposal that brings together all of the concepts examined by this research for the incorporation of heavy metal subculture in EFL lessons.

Este resumo descritivo relata a pesquisa qualitativa que visa incluir a subcultura do heavy metal em aulas de Inglês como Língua Estrangeira (ILE) no Chile, usando o ensino contextual e técnicas teatrais. Em primeiro lugar, alguns antecedentes relacionados com à ILE no Chile são concedidos. Em segundo lugar, desenvolve-se uma revisão bibliográfica na qual são descritas as subculturas juvenis, os metaleiros como subcultura, a motivação para aprender ILE, o ensino contextualizado e finalmente técnicas dramáticas. Em terceiro lugar, apresenta-se a metodologia de pesquisa utilizada (entrevistas e observação não participante) e alguns dos resultados obtidos. Finalmente, apresentam-se conclusões e uma proposta pedagógica que utiliza essa pesquisa para incluir a subcultura jovem do heavy metal na aula de Inglês como Língua Estrangeira (ILE).

El drama creativo una herramienta para la formación cognitiva, afectiva, social y académica de estudiantes y docentes: a tool for cognitive, emotional, social and academic development of students and teachers / Creative drama: uma ferramenta para formação cognitiva, afetiva, social e acadêmica de alunos e professores / O drama criativo

Este artículo explora la naturaleza y el origen del drama creativo, así como sus posibilidades educativas para el desarrollo de la personalidad, el mejoramiento de los procesos cognitivos y el logro de aprendizajes más eficaces. Además, muestra las bondades del drama creativo para conseguir la inclusión de estudiantes con condiciones desfavorables, y, en la formación de docentes.

This article explores the nature and origins of creative drama, as well as its potential educational uses in the development of personality, the improvement of cognitive processes, and the achievement of more efficient learning. It also demonstrates the benefits of employing creative drama to promote the inclusion of students who live in unfavorable conditions, as well as in teacher training.

O artigo explora a natureza, origem e as possibilidades educacionais do drama criativo para o desenvolvimento da personalidade, a melhoria dos processos cognitivos e o alcance de uma aprendizagem mais eficaz. Também mostra os benefícios do drama criativo para a inclusão de estudantes com condições desfavoráveis, e na formação de professores.

Clinical scenery drama in doctor-patient communication training and evaluation / 基础医学与临床

Humanistic doctor-patient communication is an essential capability for medical workers and is as impor -tant as medical technology .Its education has been getting more and more attention in recent years .However , the training and evaluation of humanistic doctor-patient communication as a practical other than theoretical capability has been difficult .A new method , clinical scenery drama , based on psychodrama and role theory , is developed by Dept.of Psychological Medicine , Peking Union Medical College Hospital from recent 10 years of medical doctor and student training .In clinical scenery drama , medical students are thrown to different roles to empathize with their feelings and conflicts , try to resolve clinical dilemma with humanistic communication technique besides medi-cal technology .Then the sharing and comments from teachers and observers help students to understand the situa -tion from other perspectives and think about other possible solutions .

Humanistic Connotation of Medical Drama and Its Enlightenment to Nurses / 中国医学伦理学

At present,domestic medical drama has entered a period of rapid development,and has widespread attention.Medical drama is not only an industry play,but also a soul drama;not only fully demonstrates the medical staff's practice situation,but also more profound humanistic connotation.This paper analyzed the humanistic connotation of current domestic medical drama from four aspects of public understanding of medicine,metaphor of human nature and life motif,professionalism and realistic dilemma and humanistic care,and put forward the enlightenment to nurses.

Dimensões (est)éticas e políticas da paixão entre simone e nelson / Dimensiones (est)éticas y políticas de la pasión entre simone y nelson / Ethical, aesthetic and political dimensions in simone's and nelson's passion

O objetivo deste trabalho é tecer uma reflexão sobre as paixões humanas numa perspectiva histórico-cultural, com base nas contribuições de Vigotski, em diálogo com proposições de Espinosa e Bakhtin. Tomamos comolocus central de análise as narrativas de Frain sobre cartas trocadas entre os amantes Simone de Beauvoir e Nelson Algren, que dão visibilidade aos desdobramentos éticos-políticos da paixão. Exploramos a paixão em sua dimensão política, histórico-cultural e seus impactos na configuração experiencial do drama - choque de sistemas que envolve os protagonistas (pessoas sociais) que vivem na carne o enlace. A conclusão aponta para um deslocamento epistemológico no tratamento da paixão que nos permite questionar duas das dicotomias que marcam o pensamento psicológico: a separação entre o social e o pessoal; a razão e emoção. Ao final, assinalamos o estudo das paixões com foco na ação mobilizadora dos processos criadores, para além da passividade apaixonada.

Nuestro objetivo es proponer una reflexión a cerca de las pasiones desde una perspectiva histórico-cultural, basado en las ideas de Vygotsky, en diálogo con proposiciones de Spinoza y Bakhtin. Tomamos como lugar central del análisis la narrativa de Frain sobre cartas intercambiadas entre Simone de Beauvoir y Nelson Algren, que dan visibilidad a los desarrollos ético-políticos de essa pasión. Exploramos la pasión en su dimensión política, histórico-cultural y su impacto en el entorno experiencial del drama - sistemas de choque que implican los protagonistas (personas sociales) que viven el enlace. Las hallazgo apunta a un cambio epistemológico en el tratamiento de la pasión que nos permite cuestionar las dicotomías que marcan el pensamiento psicológico: la separación entre lo social y lo personal; la razón y la emoción. Por último, observamos el estudio de las pasiones en la movilización de la acción de los procesos creativos, además de la pasividad apasionada.

This paper presents a reflection on the human passions from a cultural-historical perspective, based on the contributions of Lev Semenovich Vygotsky with some of the propositions developed by Baruch Spinoza and Mikhail Bakhtin. The analysis is based on Irene Frain's book about letters exchanged between Simone de Beauvoir and Nelson Algren, that give visibility to the ethical-political developments of passion. Our argument explores the passion in its historical and cultural policy dimension and its impact on experiential setting of the drama. The conclusion goes in the direction of an epistemological shift in the treatment of passion that would allow us to question two of the dichotomies that have marked the psychological thinking; the separation between the social and the personal; and the spin-off reason and emotion. Finally, we signal that the study of the passions must be driven beyond passionate passivity. In our view, passion can mobilize creative processes.

A significação das emoções no processo de organização dramática do psiquismo e de constituição social do sujeito / La significación de las emociones en el proceso de organización dramátia del psiquismo y de constitución social del sujeto / The signification of emotions in the dramatic organization process of the psyche and social constitution of the subject

Neste artigo, nos debruçamos sobre a significação das emoções no processo de "organização dramática do psiquismo" e constituição social do sujeito numa perspectiva histórico-cultural. Partindo de algumas elaborações teórico-metodológicas de autores dessa perspectiva (em especial, de contribuições de Vigotski sobre emoção, significação, arte e drama), dedicamo-nos a um exercício analítico do material empírico coletado em pesquisa, cujo lócus de investigação é uma companhia de teatro. O processo de significação das emoções é deflagrado e analisado frente a uma situação vivenciada por atrizes da companhia, videogravada. Procurando dar visibilidade analítica aos aspectos envolvidos no processo de significação das emoções, discutimos mais especificamente: a) As emoções significadas na experiência vivida; b) A catarse na experiência vivida: as emoções em suas (im)possibilidades de transformação. Compreendemos como a emoção humana, para além de manifestações corporais e fisiológicas, consiste num processo subjetivo, sígnico e dialético, impregnado de conteúdo ou sentido ideológico e vivencial...

En este artículo, miramos la importancia de las emociones en el proceso de ®organización dramática de la psique¼ y la constitución social del sujeto en una perspectiva histórico-cultural. Basándose, en particular, en las contribuciones de Vigotsky sobre la emoción, significado, arte y drama, se analizó el material empírico recogido en la investigación, cuyo foco es una compañia de teatro. El proceso de significación de las emociones se dispara y se analiza ante una situación vivida por las actrices de la compañía, grabado en video. Buscando dar visibilidad a los aspectos que participan en el proceso de significación de las emociones, discutimos: a) Emociones significadas en la experiencia vivida; b) Catarsis en la experiencia vivida: las emociones en sus (im)posibilidades de transformación. Entendemos cómo la emoción humana, más allá de las manifestaciones físicas y fisiológicas, es un proceso subjetivo, sígnico y dialéctico, impregnado de contenido o sentido ideológico y experiencial...

In this article, we discuss the question of the signification of emotions in the process of "dramatic organization of the psyche" and the social constitution of the subject in a historical-cultural perspective. Taking in particular the contributions of Vygotsky about emotion, signification, art and drama, we do an analytical exercise of the empirical material collected about the emotions in the actor's work. The process of emotion's signification is triggered and analyzed in a situation experienced by three actresses of a theater company, registered in video recording. Looking to give visibility to the aspects of the process we discuss: a) The significated emotions in the living experience; b) The Catharsis in the living experience: emotions in their (im)possibilities of transformation. We understand how human emotion, in addition to physical and physiological manifestations, is a subjective and signal process, impregnated with content or sense ideological and experiential...

Can medical drama motivate students to have an interest in the healthcare professionalism? / 한국의학교육

PURPOSE: This study was planned to evaluate that a lecture employing medical drama could motivate students to have an interest in the professionalism of healthcare personnel, which has currently become a critical subject in the field of medical education. METHODS: We analyzed subject headings, learning objectives, and further plans developed by students and their responses after two drama modules, 'car crash' and 'refusal of instruction', which were selected based on the conditions made by our faculty members, were given through video or paper to our 121 second-grade medical and nursing students in year 2012. RESULTS: Meaningful subject headings and learning objectives developed by students were 58.2%~60.0% and 36.8%~38.0% and significantly more in the 'refusal of instruction' than the 'car crash' (p=0.000). According to the students' major, medical students developed significantly more than nursing students (p=0.000). In the analysis of responses, 91.7% of students reported as impressive to the educational modules and 55.3% of them described their ideas associated with healthcare professionalism. CONCLUSION: Our study results suggest a possibility that the educational module employing selected medical drama could motivate students' healthcare professionalism.

Violence in Korean medical dramas

PURPOSE: Although violence occurs frequently in Korean television dramas, its description or definition is unusual. Many studies have shown that TV dramas have a powerful effect on society and the violence shown in medical dramas helps in comprehension of hospital violence occurring in real life. Therefore, this study will cover the types and levels of violence. METHODS: We selected five recent Korean medical dramas. These five dramas, which consisted of 94 episodes and were broadcast from 2007 to 2011, are analyzed. Violence is limited to the occurrence inside the hospital; violence that occurs outside of the hospital is excluded. Media violence is analyzed within PAT (perpetrator-action-target). In addition, the violence levels and violence relationships are analyzed. RESULTS: Among the types of violence, 88.5% is verbal abuse, 3.5% is physical threat, and 8.0% is physical violence. In comparison of the violence relationship, violence between a doctor and a doctor forms the highest rate of 72.6%. In the level of violence, 0 level of violence caused by verbal abuse is the highest (88.5%); however, 5 level of violence level, which is death, is not observed. There are 1475 minutes of violence scenes from 6243 minutes, which is 23.6% of total time. CONCLUSION: Frequency of violence in Korean medical dramas is higher than that of normal dramas. Considering the powerful influence of the mass media, the violence of medical dramas should be controlled. To resolve the problem, the role of advisory doctors seems important.

Drama como proposta de compreensão da clínica de Milton Erickson / Drama as a means to the understanding of Milton Erickson's clinic

O presente trabalho procura oferecer, por meio da noção de drama, um arcabouço inicial para a compreensão da clínica de Milton Erickson. Tal como esse autor parecia conceber, a noção de drama toma o teatro como metáfora da subjetividade humana, concebendo que as ações da pessoa ocorrem num cenário vivido e são pautadas por enredos simbólicos que influenciam suas tramas relacionais, mas, geralmente, mantêm-se inconscientes. Tal noção remete a uma complexa relação da pessoa com o mundo, na qual as ações, produção de sentido, papéis e corporeidade são perpassadas pela cultura, incluindo a participação da pessoa que pode se tornar ator e autor de seu destino e do terapeuta que pode construir personagens pertinentes ao cenário vivido pela pessoa

The present work aims to offer, through the notion of drama, an initial ground to the understanding of Milton Erickson’s clinic. To Erickson, the notion of drama takes theater as a metaphor of human subjectivity, assuming that the actions of the person take place in a living scenario and are supported by symbolic plots that influence their relational nets, but are generally kept unconscious. This notion points to a complex relation between the person and the world, in which the actions, the production of meanings, the roles and the corporeity are crossed over by culture, including the participation of the person, who can become actor and author of his destiny, and of the therapist, who can build characters relevant to the scenario lived by the person

Um caso de Binswanger sob a lente de Merleau-Ponty / A case of Binswanger in the light of Merleau-Ponty / Un cas de Binswanger sur le biais de Merleau-Ponty / Un caso de Binswanger bajo la óptica de Merleau-Ponty

Pretendo, neste artigo, abordar um caso de Binswanger privilegiado por Merleau-Ponty. Nesse caso, o filósofo desenvolve a questão do estatuto do sintoma como uma forma de elaboração de vida, mas chega num impasse: como pensar essa elaboração sem que isso nos leve a negar que o sujeito se reestrutura totalmente diante de um impasse? Além do que, o que significa dizer que o sujeito elabora uma nova forma de vida? Veremos como a análise merleau-pontyana da psicanálise é peculiar, levando-o a negar um conceito chave da metapsicologia freudiana: o inconsciente.

In this article, we intend to deal with a case of Binswanger privileged by Merleau-Ponty. In this case, the philosopher develops the question of the statute of the symptom as a way of elaboration of life, but arrives in an impasse: how to think this elaboration without denying that the subject complete restructures itself in front an impasse? Furthermore, what means to say that the subject elaborates a new way of life? We will see how this Merleau-Ponty’s reflection of psychoanalyses is peculiar, leading him to deny a key concept of Freudian’s metapsychology: the unconscious.

Je prétends, dans cet article, aborder un cas de Binswanger privilégié par Merleau-Ponty. Dans ce cas, le philosophe développe la question du statut du symptôme comme une forme d’élaboration de vie, mais arrive dans une impasse: comment penser cette élaboration sans nier que le sujet se restructure totalement en face d’une impasse? Bien plus, qu’est-ce que signifie dire que le sujet élabore une nouvelle façon de vie? Nous verrons comme l’analyse merleau-pontienne de la psychanalyse est singulier, conduisant lui à nier un concept clé de la metapsychologie freudienne: l’inconscience.

Me propongo en este artículo ponerme frente a un caso de Binswanger privilegiado por Merleau-Ponty. El filósofo desarrolla el tema de los síntomas como una forma de elaboración de la vida, pero llega en un dilema: ¿cómo pensar sin que esta elaboración nos lleve a negar que el tema es completamente reestructurado en un callejón sin salida? Aparte de eso, ¿qué significa que el sujeto desarrolla una nueva forma de vida? Vamos a ver cómo un análisis merleau-pontyana del psicoanálisis es peculiar, haciéndolo negar un concepto clave dela metapsicología freudiana: el inconsciente.

Vida como drama: repensando o papel do cliente em psicoterapia / Life as drama: rethinking the role of the client in psychotherapy

O artigo busca uma discussão sobre o papel do cliente em psicoterápica, a partir do pensamento de José Ortega y Gasset. Se a psicoterapia é a preocupação com a experiência vivencial, sua filosofia se oferece de grande valia, pois coloca a vida humana no centro de suas investigações. A vida é um projeto pessoal que implica, simultaneamente, as circunstâncias e a subjetividade. A vida requer um processo de “quefazer”. Viver é sentir-se fatalmente forçado a exercitar a liberdade, a decidir quem vai ser neste mundo. Este é o caráter dramático da vida. Esta visão ajuda a explicar a sua negação afiada de uma essência humana. Assim, altera-se o papel do cliente, bem como sua expectativa em relação ao psicólogo.

The article searches a discussion about the role of the client in psychotherapy, from the thought of José Ortega y Gasset. If the psychotherapy is the preoccupation with the existential experience, his philosophy offers great value, therefore places human life in the center of his inquiries. Life is a personal project that entails both circumstances and subjectivity. Life requires a process of “quefazer”. To live is to feel oneself fatally compelled to exercise liberty, to decide who we are going to be in this world. This is the dramatical character of the life. This view helps to explain his sharp denial of a human essence. Thus, the role of the client gets excited, as well as its expectation in relation to the psychologist.

Sentidos do drama na perspectiva de Vigotski: um diálogo no limiar entre arte e psicologia / Senses of drama in Vygotsky’s perspective: a boundary dialogue between art and psychology / Sentidos del drama en la perspectiva de Vygotski: un diálogo em el umbral entre arte y psicología

Este é um texto teórico-metodológico, na acepção russo-soviética de “metodologia”. Seu objeto central é o tratamento lacunar dado por Lev Vigotski (1896-1934) à noção de “drama” em vinte e duas obras suas a que tivemos acesso até o momento (artigos, capítulos e livros completos). Em geral, a noção de “drama” em Vigotski varia entre duas acepções principais: (1) uma mais coloquial, por exemplo: “o desenvolvimento humano como drama (peça teatral) em vários atos”; e (2) outro mais específico, destacando numa ação “dramática” dois aspectos: 2.1 um ato de decisão humana sobre a condução de seu destino histórico; 2.2 o choque entre diferentes papéis que cada pessoa vivencia [perejivaet]. Estas peculiaridades constituem o caráter (in)tenso e dialeticamente conflituoso de se decidir socialmente por um caminho vital ou outro num dado contexto histórico-cultural - desde o mais corriqueiro até aquele no qual pode estar envolvida uma situação de vida ou morte - “ser ou não ser”.

This text has a theoretical-methodological character, in a Russian-Soviet meaning for the word “methodology”. Its core subject matter is the imprecise treatment given by Lev Vygotsky (1896-1934) for the notion “drama” in 22 of his works that we could have access, until this moment (articles, chapters and entire books). Generally, the notion of “drama” in Vygotsky has two main connotations: (1) a more colloquial one: “human development as a drama in several acts”, for instance; and (2) a more specific one, outstanding two major aspects in a “dramatic action”: 2.1 an act of volition, human decision about the conduction of his/her own historical destiny; 2.2 the collision between different social roles that each person live through [perezhivaet]. This peculiarities constitutes the (in)tense, dialectically conflictive, of socially decide by a vital way or another, in a given historical-cultural context - since the commonest one, until that more decisive in a situation of life or death - “to be or not to be”.

Este texto es de carácter teórico-metodológico, en la acepción ruso-soviética para la palabra “metodología”. Su objeto de estudio principal es el impreciso tratamiento dado por Lev Vygotski (1896-1934) para la noción de “drama” en 22 de sus obras que nosotros tuvimos oportunidad da accesar hasta el presente momento (artículos, capítulos, libros). En general, la noción de “drama” en Vygotski tiene dos principales acepciones: (1) una más coloquial: “desarrollo humano como un drama en muchos actos”, por ejemplo; y (2) un acto de volición, decisión humana entre diferentes roles sociales que cada persona vivencia [perezhivaet]. Estas peculiaridades constituyen el (in)tenso, dialécticamente conflictivo, acto de socialmente decidir por un camino vital u otro, en un determinado contexto histórico-cultural. Desde lo más ordinario, hasta aquella más decisiva situación de vida o muerte - “ser o no ser”.

Representations of Cardiopulmonary Resuscitation on Korean Medical Dramas: Fiction Versus Reality

PURPOSE: We evaluated the differences between the clinical characteristics, procedure and results of real life cardiopulmonary resuscitation versus how CPR is portrayed in Korean medical dramas. METHODS: We watched 58 episodes of Korean television medical dramas including , and , broadcast during the period 2007 to 2010. We identified all occurrences of CPR in each episode and collected the fictional patients' age, sex, location, presumed cause of cardiac arrest, and return of spontaneous circulation rate for the CPR performed, and then compared these with actual, published resuscitation statistics. Whether or not the procedure employed in a fictional CPR scene adhered to current CPR guidelines was also evaluated. RESULTS: There were 39 occurrences of CPR in the 58 television episodes viewed, with the most common cause being cardiac arrest. The fictional ROSC rate after CPR (71.8%) differed significantly from published real life figures (p=0.072). The resuscitation process did not appear to follow current guidelines in 64.1% of the cases. Contrary to reality, the average age of patients was 41.3 years. CONCLUSION: The CPR provided to fictional patients in medical dramas televised in Korea is generally different than what would be provided to a patient in reality. In addition, the ROSC rate appears higher on television than what can be expected in the real world.

O teatro como estratégia para a construção da paz / El teatro como estrategia para la construcción de la paz / The theater as a strategy for peace building

Descrever a experiência na elaboração de um espetáculo teatral com participação de adolescentes para estimular a reflexão sobre a realidade e contribuir para a redução da violência. Foram selecionados 10 adolescentes, alunos de escolas públicas que participaram de processo de formação teatral e produção de um espetáculo com temas oriundos de suas vivências no meio social e familiar. Ao longo do ano de 2006, a peça foi exibida em 20 apresentações, inclusive como parte de eventos organizados pela Prefeitura do Município de Embú - SP, como a Conferência Municipal de Saúde e o calendário de apresentações que acompanhou as festas de fim de ano. No total, cerca de 3.000 pessoas assistiram ao espetáculo. Na opinião das autoras, esta é uma estratégia válida, como ferramenta de mobilização e empoderamento dos atores, professores e comunidade local, para a promoção da saúde, enfrentamento e redução da violência. Considera-se que para esta estratégia ser efetiva em situações semelhantes, deve ser construída coletivamente, respeitando a cultura, a história e o contexto social do público alvo.

Describe the experience of a theatrical piece production with the participation of adolescents to stimulate thinking about reality and contribute to the reduction of violence. Were selected 10 teenagers, public school students who participated in the training and producing processes of a theatrical show with themes that arise out of his experiences in the social and family environment. Throughout the year 2006, the piece was exhibited in 20 shows, as part of events organized by the Municipality of Embu, in Sao Paulo state, such as the Municipal Health Conference and the schedule for presentations that accompanied the end of the year festivities. In total, nearly 3,000 people attended the shows. In the opinion of the authors, this is a valid strategy as a tool for mobilization and empowerment of the actors, teachers and local community to promote health, to confront and to reduce violence. It was considered that in order to achieve the effectiveness of the strategy in similar situations, it should be built collectively respecting the culture, history and social context of the public to whom is aimed.

Describir la experiencia en la elaboración de un espectáculo teatral con participación de adolescentes para estimular la reflexión sobre la realidad y contribuir para la reducción de la violencia. Fueron seleccionados 10 adolescentes, alumnos de escuelas públicas que participaron del proceso de formación teatral y producción de un espectáculo con temas oriundos de sus vivencias en el medio social y familiar. A lo largo del año de 2006, la pieza fue exhibida en 20 presentaciones, inclusive como parte de eventos organizados por la Municipalidad de Embú, en el estado de Sao Paulo, como la Conferencia Municipal de Salud y el calendario de presentaciones que acompañó las fiestas de fin de año. En total, cerca de 3.000 personas asistieron al espectáculo. En la opinión de las autoras, esta es una estrategia válida, como herramienta de movilización y empoderamiento de los actores, profesores y comunidad local, para la promoción de la salud, enfrentamiento y reducción de la violencia. Se considera que para conseguir que la estrategia sea efectiva en situaciones semejantes, debe ser construida colectivamente respetando la cultura, la historia y el contexto social del público que se desea alcanzar.