Thesis (Ph.D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains viii, 185 p. Includes abstract and vita. Advisor: Charles E. Gribble , Dept. of Slavic and East European Languages and Literatures. Includes bibliographical references (p. 177-185).

This paper is about the sound iconicity of the Late Middle Chinese entering tone in two of Du Fu's long narrative poems, "The Journey to the North" and "Singing my Heart out in Five Hundred Characters on the Way from the Capital to Fongxian County", as well as Du Fu's grammar of poetry in these two poems. In poetry, rhyme is an arbitrary and 'visible' figure reiterated with regulation which forms an axis of sequence, and this axis will work jointly with all the other poetic elements—semantics, images, and grammar to form the whole of a poem. In these two poems, all the rhyme characters carry a voiceless —t ending, which is classified with —k and —p endings as the entering tone in Late Middle Chinese reconstructed by Edwin Pulleyblank. These voiceless stops are short, tense, and uncomfortable to utter; when they are repeated fifty and seventy times at the end of each couplet, it naturally brings about a strong, rough, and uncomfortable feeling which correlates with the feeling of suffering in both poems. It is sound iconicity, because an icon resembles the object it stands for in an immediate and concrete manner, and the —t ending rhyme characters do have the characteristics to make the reader grasp the feeling of suffering when she reads the poems. In terms of Du Fu's grammar of poetry, I used Jakobsonian methodology and found how Du Fu's poeticity was created with lexical meaning and grammar. Although Classical Chinese does not have a huge grammatical repertoire (e.g., person, case, gender, finite, non-finite . . .) which can figure in a poem, this language still has its own obligatory categories that will provide for the 'grammar of poetry'. Classical Chinese is already known for its grammatical parallelism in poetry, because this language is extremely isolating and analytical. However, grammatical parallelism is little in these two poems, but there are different kinds of grammatical tropes. They are mainly anti-syntactic inversions interacting with semantics. I found Du Fu a fascinating artist of grammar; he may be anti-grammatical but never agrammatical.

This paper is about the sound iconicity of the Late Middle Chinese entering tone in two of Du Fu's long narrative poems, "The Journey to the North" and "Singing my Heart out in Five Hundred Characters on the Way from the Capital to Fongxian County", as well as Du Fu's grammar of poetry in these two poems. In poetry, rhyme is an arbitrary and 'visible' figure reiterated with regulation which forms an axis of sequence, and this axis will work jointly with all the other poetic elements—semantics, images, and grammar to form the whole of a poem. In these two poems, all the rhyme characters carry a voiceless —t ending, which is classified with —k and —p endings as the entering tone in Late Middle Chinese reconstructed by Edwin Pulleyblank. These voiceless stops are short, tense, and uncomfortable to utter; when they are repeated fifty and seventy times at the end of each couplet, it naturally brings about a strong, rough, and uncomfortable feeling which correlates with the feeling of suffering in both poems. It is sound iconicity, because an icon resembles the object it stands for in an immediate and concrete manner, and the —t ending rhyme characters do have the characteristics to make the reader grasp the feeling of suffering when she reads the poems. In terms of Du Fu's grammar of poetry, I used Jakobsonian methodology and found how Du Fu's poeticity was created with lexical meaning and grammar. Although Classical Chinese does not have a huge grammatical repertoire (e.g., person, case, gender, finite, non-finite . . .) which can figure in a poem, this language still has its own obligatory categories that will provide for the 'grammar of poetry'. Classical Chinese is already known for its grammatical parallelism in poetry, because this language is extremely isolating and analytical. However, grammatical parallelism is little in these two poems, but there are different kinds of grammatical tropes. They are mainly anti-syntactic inversions interacting with semantics. I found Du Fu a fascinating artist of grammar; he may be anti-grammatical but never agrammatical.

Thesis (Ph. D.)--University of Sydney, 2003. / Title from title screen (viewed Apr. 28, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Linguistics, Faculty of Arts. Includes bibliography. Also available in print form.

This paper is about the sound iconicity of the Late Middle Chinese entering tone in two of Du Fu's long narrative poems, "The Journey to the North" and "Singing my Heart out in Five Hundred Characters on the Way from the Capital to Fongxian County", as well as Du Fu's grammar of poetry in these two poems. In poetry, rhyme is an arbitrary and 'visible' figure reiterated with regulation which forms an axis of sequence, and this axis will work jointly with all the other poetic elements—semantics, images, and grammar to form the whole of a poem. In these two poems, all the rhyme characters carry a voiceless —t ending, which is classified with —k and —p endings as the entering tone in Late Middle Chinese reconstructed by Edwin Pulleyblank. These voiceless stops are short, tense, and uncomfortable to utter; when they are repeated fifty and seventy times at the end of each couplet, it naturally brings about a strong, rough, and uncomfortable feeling which correlates with the feeling of suffering in both poems. It is sound iconicity, because an icon resembles the object it stands for in an immediate and concrete manner, and the —t ending rhyme characters do have the characteristics to make the reader grasp the feeling of suffering when she reads the poems. In terms of Du Fu's grammar of poetry, I used Jakobsonian methodology and found how Du Fu's poeticity was created with lexical meaning and grammar. Although Classical Chinese does not have a huge grammatical repertoire (e.g., person, case, gender, finite, non-finite . . .) which can figure in a poem, this language still has its own obligatory categories that will provide for the 'grammar of poetry'. Classical Chinese is already known for its grammatical parallelism in poetry, because this language is extremely isolating and analytical. However, grammatical parallelism is little in these two poems, but there are different kinds of grammatical tropes. They are mainly anti-syntactic inversions interacting with semantics. I found Du Fu a fascinating artist of grammar; he may be anti-grammatical but never agrammatical. / Arts, Faculty of / Asian Studies, Department of / Graduate

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Cette thèse convoque dans un premier temps la notion d’intericonicité afin de pouvoir, ensuite, analyser avec précision les créations de l’Équipe et l’évolution du recours à différentes opérations au fil des années. Il s’agit de définir des concepts tels que la “parodie”, le “travestissement”, “l’allusion”, la “citation”, la « mise en abyme », entre autres, à partir de leur acception littéraire, afin d’en proposer une adaptation au domaine pictural. Ces considérations sont complétées par une réflexion sur les différents degrés de métaiconicité. Cette thèse s’attache ensuite à mettre en avant les points communs et les différences des deux peintres avec d’autres courants artistiques tels que le Pop Art ou la Figuration narrative. Ces analyses ouvrent alors une étude sur les questions de « chronique » et de « narration » à travers les six premières séries créées par l’Équipe, qui sont mises en perspective avec leur contexte de création. Enfin, à travers l´étude des neuf séries suivantes (créés jusqu’en 1977), ces recherches s’attachent à mettre en évidence la présence des concepts de Mémoire, d’Histoire et d’histoire de l’art à travers des créations qui s’inscrivent dans une époque politiquement intense pour l’Espagne. Il s’agit, finalement, de démontrer que les peintres valenciens s’inscrivent non seulement dans l’histoire de l’art, qu’ils l’utilisent comme matériau, mais qu’ils deviennent des historiens de l’art à travers les réflexions métaiconiques proposées dans leur peinture. La conclusion revient largement sur le concept de métaiconicité, puis évoque les séries créées entre 1977 et 1981 afin de mettre en avant leur particularité face au corpus de cette thèse. / This thesis first tackles the notion of "inter-iconicity" so as to then scrutinize the creations made by Equipo Crónica and the way their use of technique evolved throughout the years. The aim is to try and define concepts such as "parody", "transvestement", "allusion", "quotation" and "mise en abyme" - among others -, and, starting from their literary meaning, to suggest an adaptation of such terms to the pictorial domain. Such considerations are further detailed through the exploration of the various stages of meta-iconicity. This dissertation considers the points of convergence and divergence between the two painters at stake and the other artistic trends such as Pop Art or narrative Figuration. These analyses pave the way to a study of the concepts of "chronicle" and "narration" through the first six series created by the Equipe, that are then put into the context of their creation. Finally, through the study of the nine following series (created up to 1977), this research tries to shed light on the presence of the concepts of "Memory", "History" and the history of art through works of art that were created in a politically-charged context for Spain. Eventually, the aim is to show how Valencian painters inscribed themselves in the history of art which they used as a material, and at the same time how they turn into historians of art themselves, through meta-iconic reflections suggested in their paintings. The conclusion dwells on the concept of meta-iconicity and alludes to the series of paintings created between 1977 and 1981 so as to emphasize their particularities when compared with the rest of the corpus.

Thesis ( Ph. D.) -- University of Texas at Arlington, 2008.

O trabalho em questão investiga o conceito de estrutura enquanto representação icônica de idéias simples e complexas (na forma dos elementos das histórias em quadrinhos) e sua ocorrência em cartilhas de treinamento vertidas nessa linguagem gráfica. A pesquisa busca elucidar se haveria na linguagem dos quadrinhos um conjunto de unidades visuais mínimas de significação cujo caráter universal permitiria uma decifração intuitiva dos seus códigos, tornando a comunicação das cartilhas de treinamento mais eficaz. O referencial teórico se baseia nas perspectivas das ciências da linguagem (lingüística, Semiótica e Semiologia visual), das teorias da comunicação, da teoria do design e das ciências humanas aplicadas. O objeto deste estudo é uma cartilha de treinamento sobre coleta seletiva e consciência ambiental, elaborada no formato de histórias em quadrinhos e destinada principalmente a trabalhadores operacionais, mas também às suas famílias e sociedade em geral. O estudo concluiu que apesar da existência de um conjunto de signos icônicos elementares e universais, às vezes a operação desses signos depende da sua articulação com outros signos mais complexos e do auxílio do texto verbal para maior precisão, além da posse de certo repertório prévio. / The present work refers to the study of the concept of structure while the iconic representation of ideas, simple and complex, (by the visual elements of comics) and their presence in training manuals turned into this graphic language. The research seeks to confirm if there is such kind of thing as a set of minimal units of signification in comics which universal features would allow intuitive interpretation of its codes, making communication via manuals more efficacious. The theorical reference is based upon the perspectives of sciences of language (linguistics, semiotics and visual semiology), the theories of communication, design theory and on applied human sciences. The object of this study is a training manual about environmental education and recycling published as a comic book and planned for the use of operational employees but also for their families and community. The study has concluded that, although the existence of a collection of elementary and universal iconic signs, sometimes handling this signs depends on the articulation with more complex signs and on the help of verbal text for means of higher precision, besides the possession of a certain previous background.

<p>The aim of this essay is to examine whether language is iconic or arbitrary in the issue of onomatopoeia, i.e. whether animal sounds are represented in the same way in different languages. In addition, I will also look at onomatopoeical words which have been conventionalised, when the meaning broadened and they finally became part of ordinary language.</p><p>It can be stated that arbitrary signs have slowly taken over as different languages have developed, but the reason why is a topic for discussion – is there a scientific cause, based on the theory of evolution, or an explanation found in religious myths? Whatever the reason is, it is not likely that iconicity will vanish totally. It is connected to human neurophysiology and an ancient part of language, a natural resemblance between an object and a sign which can exist in different forms. Onomatopoeia is one example of iconic signs, an object named after the sound it produces, and according to one theory conventionalised imitations is actually the origin of language. Nevertheless, there are two main categories – language being either iconic or arbitrary. Regarding onomatopoeia, my results suggest that language is only iconic to a limited extent. English and Swedish have some common representations of animal sounds, but the languages also differ in many ways. Conventionalising seems common in both languages and many of the words in my survey have been incorporated in dictionaries, representing more than only the sound of a certain animal.</p>