Dissertations / Theses on the topic 'Language intuition'

Thesis (D.A.)--Illinois State University, 1990.
Title from title page screen, viewed November 29, 2005. Dissertation Committee: Russell Rutter (chair), Douglas D. Hesse, Janice G. Neuleib, Ronald J. Fortune, Robert L. Baker. Includes bibliographical references (leaves 196-203) and abstract. Also available in print.

Investigating individual subjectivity, Ralph Waldo Emerson traveled to Europe following the death of his first wife, Ellen Tucker Emerson, and his resignation from the Unitarian ministry. His experience before and during the voyage contributed to the evolution of a self-intuitive philosophy, termed selbstgefühl by the German Romantics and altered his careful style of composition and delivery to promote the integrity of individual subjectivity as the highest authority in the deduction of truth. He would use this philosophy throughout the remainder of his life to encourage his audience to experience the same process he did.

L’objectif principal de ce travail est d’établir le sens attribué à la science de l’expression et de préciser comment elle est identifiée à la linguistique générale, dans l’Esthétique de Benedetto Croce. Adversaire de l’intellectualisme et du rationalisme, Croce a éprouvé au plus profond de lui-même les questions que l’homme se pose. C’est dans l’expérience du langage que l’homme expérimente la profondeur de son existence au monde. Il s’agit de l’essence du langage comprise comme expression dans laquelle l’intuition se réalise intégralement. D’où, le langage est le résultat de la création irremplaçable de chaque expression singulière. C’est le langage non répétitif et intraduisible de l’œuvre d’art. Le langage est un art, il prend son sens dans l’art et se comprend par rapport à l’art. Philosophie du langage et philosophie de l’art sont la même chose. C’est selon cette perspective que l’art pour Croce est expression. C’est l’expression de l’intuition comme faculté de la transposition esthétique qui occupe la première position de la vie de l’esprit. Il en sera différemment pour la place de l’oeuvre d’art. Débat qui se prolongera sur la question de l’art abstrait, contemporain de l’Esthétique de Croce
The goal of my research is to establish the meaning given to the science of expression and specialy how it is identified to general linguistic, in Benedetto Croce’s Aesthetics. Against Intelectualism and rationalism, Croce felt deep inside him, the questioning of Man. It is in the experience of language that Man experiments the depth of his being to the world. The essence of language, understood as expression, is in which intuition realises itself, totaly. Therefore, language is the result of an irreplaceable creation of each single expression. It is a non repetitive and untranslatable language of the work of art. Language is art, it takes its meaning in art and is understood in regard to art. Philosophy of language and philosophy of art are alike. It is in this perspective that art for Croce is expression. It is the intuition’s expression as the faculty of aesthetic transposition that is in first position of the mind. It will be different for the work of art. This debate will continue on the question of abstract art, contemporary to the Aesthetics of Croce

Chaque activité humaine nécessite d’avoir sa propre méthode pour obtenir un résultat concret et satisfaisant. C’est ainsi le cas pour la philosophie, une discipline qui compte 2500 d’histoire et dont la méthode est alors délimitée par les philosophes et les autres personnes. Quelle est donc cette méthode philosophique? Il existe plusieurs réponses. Cette thèse va donc tenter de répondre à cette question en introduisant un projet de méthode philosophique dénommée « Conceptual Tuning » [l’accord conceptuel]. Les boxeurs ne se préoccupent généralement pas de la question conceptuelle « Qu’est-ce que la boxe? ». De même les biologistes se posent à peine la question de savoir « Qu’est-ce que la biologie ». Pour eux, ce genre de questions sont extérieures à leur discipline. Cependant pour la philosophie, la question de la nature de la philosophie est une question bien interne à cette discipline. La conscience de soi est une condition sine quo non pour « faire de la philosophie ».Puisque la philosophie possède une si longue histoire et tant de traditions diverses et variées, on présuppose donc qu’il existe de très nombreuses méthodes pour « faire de la philosophie ». Ma thèse tentera donc de contribuer à cette discussion portant sur la méthodologie philosophique en proposant une méthode que j’appellerai « Conceptual Tuning ». Cet accord conceptuel sera principalement développé à partir de la méthode « Conceptual Engineering » déjà utilisée dans la philosophie depuis, dont les défenseurs s’efforcent d’améliorer nos concepts tels que « personne », « libéral », « science ». Cette thèse présentera ainsi six versions de « Conceptual Engineering », à savoir le « Conceptual Engineering » de Cappelen, la Méthode d’Explication de Carnap, le Révisionnisme Moral de Zagzebski, la Guerre Lexique de Ludlow, la Négociation Métalinguistique de Plunkett et l’Approche d’Amélioration de Haslanger. Ces six approches estiment déjà que nos concepts pourraient être défectueux, et c’est la tâche du philosophe de les « réparer ». Alors que la plupart des approches de « Conceptual Engineering » ne font que se concentrer étroitement sur la perspective de « réparation », cette thèse soutiendra que l’accord conceptuel exige que l’attention soit plutôt portée sur une perspective « expressive ». En d’autres termes, il faudrait employer cette méthode dans un cadre général de la pratique consistant à demander et à donner des raisons. Cette thèse soutiendra également que d’autres méthodes philosophiques importantes telles que la méthode de Brandomian, la philosophie du langage ordinaire et l’analyse conceptuelle traditionnelle peuvent être bien incorporées dans le projet d’accord conceptuel. Ainsi, au lieu d’être en opposition, ces méthodes sont en fait conformes à l’accord conceptuel ces méthodes s’intègrent parfaitement à l’accord conceptuel
Different human practices require various methods to carry them out successfully. Philosophy, an activity with 2500 years of history, must also have its own method, which demarcates a philosopher from a lay person. This thesis embarks on a project of philosophical method—conceptual tuning. How to do philosophy belongs to the category of metaphilosophy or philosophy of philosophy. Boxers usually do not care about the conceptual question ‘What is boxing?’ and biologists barely ask ‘What is Biology?’. For them, this kind of question is a higher order question which concerns the nature of the thing in itself. It is an external question for most disciplines. But for philosophy, the question concerning the nature of philosophy is an internal question. Self-awareness is a sine qua non of doing philosophy.With such a long history and so many traditions, the method of doing philosophy must be miscellaneous. My thesis attempts to contribute to the discussion of philosophical methodology by proposing a method I shall call conceptual tuning. Conceptual tuning is grounded in the philosophical method of conceptual engineering, advocates of which endeavor to improve our concepts. According to the method of conceptual engineering, philosophical problems stem from defects in our understanding of concepts, and it is the philosopher’s task to fix them. While most conceptual engineering approaches only narrowly focus on the perspective of ‘repairing’ or ‘fixing’, conceptual tuning calls for attention to the ‘expressive’ perspective. In other words, we should put this method in the broad framework of the practice of asking for and giving reasons. In this thesis, I also attempt to explain some previous conceptual methods under the title of conceptual tuning, such as Brandomian method, ordinary language philosophy, and the traditional conceptual analyses

Research in psychological type theory – especially that done by Jensen and DiTiberio on type and composition – has offered writing teachers another way to understand the different writing processes of their students. One aspect of composition that has not been researched with regard to psychological type theory is the writing style of students. This study proposes a relationship between psychological type theory (specifically the sensing and intuition continuum) and the writing styles of First Year Composition students. Seventy-two students participated in the study, taking the MBTI (Myers-Briggs Type Indicator) and submitting their diagnostic essays to be analyzed using Corbett's stylistic analysis. The results suggest a relationship between writing style and personality type that teachers can use to tailor lesson plans for students (in areas such as revision and audience awareness) to increase student growth.
Department of English

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Universidade Federal de Minas Gerais
After a short resumption of Bergson s thesis about the inadequacy of language s expression of reality, which permeates all his works, this dissertation intends to discuss how Matter and Memory contemplates a deeper reflection on this subject as it presents the notion of motor mechanism , allowing to foresee the bodily grounds of practical habits and pointing out the problem of their transposition to speculative thought without criticism. In general, we intend to comprehend how Bergson s language conception based on a definition of word as an entity of motor order or more specifically as motor mechanism announces an extralinguistic access to reality when it directs the philosophical study to the notion of image and to the five figures which permeates the last chapters of Matter and Memory.
Após uma breve retomada da tese bergsoniana da inadequabilidade da linguagem para exprimir o real, a qual está presente ao longo de toda sua obra, esta dissertação procura mostrar de que modo Matéria e Memória contempla uma reflexão mais profunda sobre esta temática ao apresentar a noção de aparelho motor , que permite vislumbrar o fundamento corporal dos hábitos da prática e aponta para o problema de transpô-los sem crítica ao âmbito do pensamento especulativo. Em linhas gerais, procuramos entender de que modo a concepção de linguagem de Bergson com base na definição da palavra como entidade da ordem da organização motora ou mais explicitamente como aparelho motor , anuncia um acesso extralingüístico ao real ao direcionar o estudo filosófico para a noção de imagem e para as cinco figuras presentes ao longo dos últimos capítulos de Matéria e Memória.

Ontologies have been proposed and studied in the last couple of decades as a way to capture and share people's knowledge about the world in a way that is processable by computer systems. Ontologies have the potential to serve as a bridge between the human conceptual understanding of the world and the data produced, processed and stored in computer systems. However, ontologies so far have failed to gather widespread adoption, failing to realise the original vision of the semantic web as a next generation of the world wide web: where everyone would be able to contribute and interlink their data and knowledge as easily as they can contribute and interlink their websites. One of the main reasons for this lack of widespread adoption of ontologies is the steep learning curve for authoring them: most people find it too dfficult to learn the syntax and formal semantics of ontology languages. Most research has tried to alleviate this problem by finding ways to help people to collaborate with knowledge engineers when building ontologies; this approach however, requires the wide availability of knowledge engineers, who in practice are scarce. In the context of the semantic web, recent research has started looking at ways to directly capture knowledge from domain experts as ontologies. One such approach advocates the use of Controlled Natural Languages (CNL) as a promising way to alleviate the syntactical impediment to writing ontological constructs. However, not much is yet known about the capabilities and limitations of CNL-based ontology authoring by domain experts. It is also unknown what type of automatic tool support can and should be provided to novice ontology authors, although such intelligent tool support is becoming possible due to advances in reasoning with existing ontologies and other related areas such as natural language processing. This PhD investigates how CNL-based ontology authoring systems can make ontology authoring more accessible to domain experts by providing intelligent tool support. In particular, this thesis iteratively investigates the impact of providing various types of intelligent tool support for authoring ontologies using the Web Ontology Language (OWL) and a controlled natural language called Rabbit. After each iteration of added tool support, we evaluate how it impacts the ontology authoring process and what are the main limitations of the resulting ontology authoring system. Based on the found limitations, we decide which further tool support would be most beneficial to novice ontology authors. This methodology resulted in iteratively providing support for (i) understanding the syntactic capabilities and limitations of the chosen controlled natural language; (ii) following appropriate ontology engineering methodologies; (iii) fostering awareness about the logical consequences of adding new knowledge to an ontology and (iv) interacting with the ontology authoring system via dialogues. The main contributions of this PhD are (i) showing that domain experts benefit from guidance about the ontology authoring process and understandable syntax error messages for finding the correct CNL syntax; (ii) the definition of a framework to integrate the syntactical and semantic analyses of ontology authors' inputs; (iii) showing that intuitive feedback about the integration of ontology authors' inputs into an existing ontology benefits ontology authors as they become aware of potential ontology defects; (iv) the definition of a framework to analyse and describe ontology authoring in terms of dialogue moves and their discourse structure.

On est consciemment ou inconsciemment influencé par le scientisme et le positivisme logique. Nous posons donc une question : Peut-on parler de Dieu aujourd’hui ? Pour répondre à cette question, nous choisissons deux philosophes : Wittgenstein et Simone Weil. Selon Wittgenstein, « sur ce dont on ne peut parler, il faut garder le silence ». Ce qu’il veut dire par là, ce n’est pas que Dieu n’existe pas ou que Dieu n’est pas intelligible comme le disent le scientisme et le positivisme logique. Ce qu’il veut dire par là, c’est que Dieu existe effectivement, mais que l’on ne peut parler de lui en raison de la limite de notre langage. Or, la faute de Wittgenstein consiste à détourner les yeux de l’intelligibilité religieuse ou métaphysique. En ce qui concerne Simone Weil, elle parle de Dieu dans ses écrits et ses lettres. Qu’est-ce qui lui permet de parler de Dieu ? C’est le premier intérêt de ce projet. Et le deuxième intérêt consiste à déterminer l’expérience mystique de Simone Weil, car l’utilisation du mot « mystique » dans les études sur elle est assez arbitraire. Le troisième intérêt est de mettre en relief la relation entre la non-lecture et l’intuition chez elle. Enfin, le cinquième intérêt est de traiter la relation entre le bouddhisme zen et la pensée de Simone Weil. A travers nos études sur le concept d’intuition chez Simone Weil, nous proposerons une autre vision du monde que le scientisme et le positivisme logique
We are consciously or unconsciously influenced by scientism and logical positivism. So we asked a question: Can we speak of God today? To answer the question, we focus on two philosophers, Wittgenstein and Simone Weil. According to Wittgenstein, “Whereof one cannot speak, thereof one must be silent.” What he means by that is not that God doesn’t exist or that God is not intelligible as say scientism and logical positivism. What he means by that is that God does exist, but we can’t talk about him because of the limits of our language. But the lack of Wittgenstein is to look away from religious or metaphysical intelligibility. As for Simone Weil, she speaks of God in her writings and letters. What allows her to speak of God? This is our first point of interest. And our second point of interest is to define the mystical experience of Simone Weil, because the use of the word “mystical” in studies of Weil is rather arbitrary. Our third point of interest is to highlight the relationship between “non-reading” and intuition in Simone Weil. Our fourth point of interest is to explore the relationship between Zen Buddhism and the thought of Simone Weil. Through studying them, we will answer this question and, through Weil’s concept of intuition, we propose a worldview that is different from scientism and from logical positivism

The Spanish subjunctive has been the focus of much SLA research, largely because it poses difficulties for learners of Spanish whose L1 is English (e.g., Collentine, 1993; Stokes & Krashen, 1990; Terrell et al., 1987). Investigating the same feature in heritage learners of Spanish can provide more information about their linguistic development and also has the potential to inform our knowledge of the acquisition of the subjunctive in traditional FL learners. The present study investigates whether heritage learners recognize grammatical and ungrammatical modal choice in volitional constructions. These constructions have been selected because this use of the subjunctive does not vary by a speaker's dialect or by belief about the idea being expressed. Furthermore, given that theories of language attrition posit that the structures that are acquired earliest are the last to be lost (e.g., De Bot & Weltens, 1991) and that Spanish monolingual children acquire the subjunctive in volitional constructions first (Blake, 1980; 1983), heritage learners who have experienced some language attrition may still have knowledge of this feature. To investigate the effect that language attrition or incomplete acquisition may have on this knowledge, I also compared the SHL learners in the sample who were early bilinguals in English (those born in the United States or who immigrated before age 6) with those who were late bilingual (those who immigrated between ages 6 and 13). Students enrolled in Spanish for Heritage Learners (SHL) and Spanish as a Foreign Language (SFL) courses at three universities in the Northeast completed grammaticality judgment (GJ) and editing tasks, which contained examples of correct and incorrect mood choices, as well as distracter items. The GJ task also required participants to explain their judgments. The results indicate that SHL learners outperform their SFL peers on recognizing correct mood selection. No significant differences were found between early and late bilinguals. SHL and SFL learners tended to correct utterances that they had rejected of judged neutrally but gave different types of reasons for accepting utterances. There were several similarities between early and late bilinguals in terms of their reasons for their judgments of utterances.

Ce travail soutient la thèse selon laquelle l'intuition entre en jeu dans l'acquisition de savoirs et, plus particulièrement, dans l'appropriation d'une langue naturelle comme le français, langue étrangère. Il traite en premier lieu de l'aspect épistémologique de l'intuition en s'attachant à montrer l'importance de cette notion dans différents domaines scientifiques tels que la psychologie, les mathématiques et la philosophie, et ce, dans le but de relever les caractéristiques intrinsèques de l'intuition – immédiateté, inexplicabilité, assurance, jugement perceptif, modèles répertoriés, etc. En second lieu, sont sollicitées les sciences du langage et, plus précisément, la linguistique et la didactique, l’objectif étant d'observer le rôle essentiel que l'intuition y joue. Les caractéristiques dégagées en première partie permettent de les confronter aux concepts linguistiques et didactiques, et d'aboutir à la conclusion que l'intuition participe à la faculté de langage et facilite l'appropriation de toute langue naturelle en se manifestant, notamment, à tous les niveaux linguistiques. Multiforme et variable en degré, elle apparaît alors comme la capacité de juger de la grammaticalité et/ou de l'acceptabilité d'un élément langagier sans recours conscient à des connaissances en langue. Ainsi, l'intuition est un mécanisme cognitif qui permet de reconnaître et de (re)construire les schèmes langagiers de façon inconsciente en s’appuyant sur l'observation et sur l'expérience, ce, afin d'enrichir un répertoire de modèles langagiers. C'est grâce à ce mécanisme qu'elle participe pleinement à l'acquisition d'un savoir et notamment à l'appropriation d'une langue naturelle
This work claims that intuition takes part in the acquisition of knowledge and, in particular, in the appropriation of a natural language such as French as a foreign language. First, it deals with the epistemological aspect of intuition, by attempting to show the importance of this notion in various scientific fields such as psychology, mathematics and philosophy. The aim is to determine the intrinsic characteristics of intuition, such as immediacy, inexplicability, insurance, perceptual judgment, listed patterns, etc. Secondly, language sciences are holistically examined and, more specifically, linguistics and didactics, aiming to observe the essential role intuition plays within it. The distinctive features established in the first part enable to test their relevance to the linguistic and didactic concepts. This leads to the conclusion that intuition takes part in the faculty of language and facilitates the appropriation of any natural language while appearing on all linguistic levels. Being multiform and variable in scale and scope, intuition appears as the capacity to judge the grammaticality and/or the acceptability of a linguistic particle without any conscious use of language knowledge. Therefore, intuition is an unconscious cognitive mechanism that serves to recognise and to (re)build the language patterns, relying on observation and experience, in order to enrich a repertoire of language patterns. It is through this cognitive mechanism that intuition fully participates in the acquisition of knowledge, including the appropriation of a natural language

This examination paper looks into the role of phonetics today in teaching French language to Swedish learners and analyzes the content of upper secondary schoolbooks with regards to phonetic elements. Starting from the statements that French is perceived by Swedish learners as a difficult language and that oral expression has grown in importance in modern language courses’ syllabus, it is believed here that phonetics should be of utmost importance when learning French. As far as language didactics is concerned, it is a fact that research on the subject is almost inexistent. Very little seems to be done to develop and use tools to address phonetics aspects of the language in teaching, especially in learning manuals, that is a hypothesis. The objective here was, therefore, to see whether this could be confirmed. The results show that it is partly the case. Finally, a discussion is raised about ineffectiveness of intuitive learning and all that phonetics has to offer in the teaching of French to Swedish learners.

In this study I have met three authors in a dialogue seminar on their literary work. The discussion, starting from texts by Lacan and Socrates, revolved around the dichotomy of personal and private, and how to benefit from personal material in one’s literary work. The three authors reflected on the writer Karl Ove Knausgård and the photographer Sally Mann, who both are working with their own immediate family as a motif. In Knausgård, you can find a strong and self-dissecting writer persona as a medium of creating recognition in the readers mind. In Sally Mann the metaphorical dimensions of this family motifs transforms them to images of much more general relevance than their private settings. On the subject of truth and story I also reflect on the different approaches that the authors Primo Levi, Viktor Frankl and Imre Kertész have on their experiences of the Holocaust. Finally the importance and relevance of metaphors as a way of getting a touch of one’s own private material is starting to be investigated.
I det här arbetet har jag samlat tre författare i olika genrer till ett dialogseminarium om sin arbetsprocess. Samtalet, som utgick från texter av Lacan och Sokrates, kretsade mycket kring författarens arbetsvillkor och de olika metoder som författarna använder sig av för att hitta sin frihet i förhållande till dem. I samtalet blev det uppenbart hur beroende alla författarna är av en förstående medarbetare. Okunskap och felläsning från en dramaturg eller redaktör kan bokstavligt talat bli förödande.    Dialogmötet kom att kretsa kring frågeställningar om hur man skiljer privat och personligt. Vi diskuterade författaren Karl Ove Knausgård och fotografen Sally Mann, som båda jobbar med sin egen familj som motiv. Genom att Knausgård använder sig själv som en roll visar han på en möjlighet att närma sig ett eget material. Hos Sally Mann är det istället de metaforiska dimensionerna i de vardagliga motiven som gör sig tydliga.    Också i Imre Kertész skildring av förintelsen förvandlas den till något större: en metafor för hur ödet och slumpen kan påverka våra liv. Hans berättelse blir på det sättet mindre beroende av vad som är sant, än skildringarna av två andra överlevare från Auschwitz: Primo Levi och Viktor Frankl. Vilket inte betyder att de andras texter saknar metaforisk styrka.    Avslutningsvis går uppsatsen in på författarnas sätt att använda metaforen som ett verktyg för att berätta. Metaforen är alltid en bild av någonting annat, den skapar en fördjupning och oförväntad igenkänning hos läsaren. Den ger också möjligheter för konstnären/författaren att berätta saker som hen inte kan säga på andra sätt.  Metaforen uppstår genom igenkänning i skapandet. Man kan välja att gå med den, eller aktivt gå emot den för att fördjupa textens eller filmens metaforiska dimension.    En viktig aspekt för yrkeskunnande inom konsten och författarskap är att aldrig ligga före i sitt arbete genom att oroa sig för vad omgivningen ska tycka och tänka. Då finns det en risk att man blir en feg konstnär, vilket är förödande för ens skapande.

Tese de Mestrado em Arquitectura
Memória justificativa para a concepção espacial e expressão formal de um equipamento cultural. Estudo da correspondência entre forma e significado de signos seleccionados do vocabulário arquitectónico clássico. Abordagem do tema da expressão arquitectónica clássica e a sua correspondência com a organização espacial e programa de um edifício. A visão de vários autores sobre o tema da expressão da linguagem clássica. A importância da citação na memória do desenho.
A cultural centre’s report on its spatial conceptualization and formal expression. Correlation between form and meaning of a number of selected signs of the classic architectural vocabulary. Synthetic approach on the thematics of classic expression and its correspondence with the spatial organisation and program of a building as an institution. The view of various authors on the subject of the expression of the classical formal language. The importance of quotating in design’s memory.

The submitted thesis deals with the relation of intuition to meaning in Edmund Husserl's early work. The structure of the thesis is given by Husserl's triadic structure of epistemic acts, which is formed by the realm of subjectivity, ideality and objectiveness. In this framework, we treat the meaning in its proper sense of meaning-intention, which is but also related to the objectiveness. This relation is made possible by meaning-fulfilment, which is intuitive. At the end, we also emphasize the role of intuition not only in the Logical Investigations, which are to our thesis the central work of Husserl, but also in the whole of Husserl's philosophy.

The general topic of the thesis is the history of the Ordinary Language Philosophy. To be more precise, it deals with the critical arguments, which were raised against is. The thesis offers a short historical and sociological review of the Ordinary Language Philosophy. Critical analysis shows two things: 1) the main reason for the rejection was a different understanding of meaning (and consequences of such a understanding); 2) critics begged the question and already assumed the justification of these rejections in their arguments. The area of this criticism was: the paradigm case argument, the empirical nature of the statements of meaning produced by the Ordinary Language Philosophy, the structural elements of meaning and the political implications of the theory of meaning. The thesis criticizes the Ordinary Language Philosophy in those parts (and in such interpretations), where its understanding of meaning does not differ from the understanding of the critics and where they share common assumptions. On the other hand, the thesis argues for an interpretation, which avoids classical understanding of meaning in all its consequences. Finally, the thesis asks how the Ordinary Language Philosophy can be useful for contemporary debates.

This thesis concentrates on contexts and view-points, that should determinate the character of activities designed for gifted children in foreign languages classes. This work proposes some methods and ways that are convenient for gifted learners. It deals also with the characteristics of the teacher, who is able to conduct the gifted and the characteristics of the gifted in order to devise such activities that satisfy their special cognitive, emotional and social needs.

O projeto de investigação “Criatividade, filosofia e emaravilhamento” foi desenvolvido com um grupo de crianças do ensino pré-primário e duas turmas do 1º ciclo de escolaridade. A investigação decorreu em Comunidades de Investigação Filosófica, através da aplicação da metodologia de Filosofia Para Crianças, de Mathew Lipman. Sendo a matriz deste projeto holística, a dimensão cognitiva integrou a corporalidade e fê-la dialogar dialeticamente com os conceitos de sensibilidade estética (aisthésis) e razão prática (phronésis), através de uma poiésis orientada para o desenvolvimento cognitivo, ético e estético. O recurso às técnicas de criatividade de David Prado Diez, nomeadamente a Analogia Inusual, o Torvelinho de Ideias e o Relaxamento Criativo, permitiu estabelecer o diálogo entre a imaginação, a cinestesia, a criatividade e o discurso argumentativo. A cooperação, a intersubjetividade, a comunicação autêntica, a vivência imagética da beleza, da harmonia e da paz, visaram a formação de um ethos comum e de uma consciência em simbiosinergia com as comunidades bióticas e com o cosmos.
The research project "Creativity, philosophy and Amazement" was developed with a group of preschool children and two classes of the 1st cycle: from the 1st and the 2nd year, respectively. The research took place in communities of Philosophical Research, through the application of the methodology laid out in Philosophy for Children, by Matthew Lipman. The matrix of this project was holistic, and thus the cognitive dimension included corporeality aspects, in conjunction with the concepts of aesthetic sensitivity (aisthésis) and practical reason (phronésis) through a poiésis oriented towards a cognitive, ethical and aesthetic development. The use of the creative techniques of David Prado Diez, notably the Unusual Analogy, the Whirlwind of Ideas and Creative Relaxation, allowed for a dialogue between imagination, kinesthesia, creativity and argumentative discourse. Cooperation, intersubjectivity, authentic communication, the visual experience of beauty, harmony and peace, aimed at the formation of a common ethos and a conscience in symbiosynergy with the biotic communities and with the cosmos.