京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第19350号 / 文博第691号 / 新制||文||623(附属図書館) / 32364 / 新制||文||623 / 京都大学大学院文学研究科文献文化学専攻 / (主査)准教授 廣田 篤彦, 教授 佐々木 徹, 准教授 森 慎一郎 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

No description available.

There has long been interest in the effect of repetition on memory amongst cognitive psychologists. A major area of research has examined how repetition at study improves encoding and subsequent memory performance. Another focus in the literature has been on manipulating fluency at retrieval to influence feelings of familiarity, with item repetition at test inducing a classic false recognition effect. Examination of these disparate areas of research hints that similar mechanisms may be operational in producing effects of repetition at study and repetition at test. Work from the false recognition literature suggests that items are more likely to be classified as “old” if they are made to be fluent at test. In other words, fluency may be used as a cue to indicate that information is already known. This fluency attribution process may also influence encoding: if increased fluency signals that information is known, then there may be no need to encode that information. The empirical goal of this thesis was first to better understand the impact of repetition on encoding, and then to better understand the role of fluency when both learning and retrieving information. This thesis documents some of the first examples of a counter-intuitive repetition decrement effect, in which items seen a single time are better remembered than items seen twice in succession. Evidence connecting this repetition decrement effect to effects of false recognition is presented, with the suggestion of a common process leading to these two memory effects. More important, this thesis demonstrates the impact of fluency at both encoding and retrieval, and can allow for better understanding of how human cognition operates on a daily basis. / Dissertation / Doctor of Philosophy (PhD)

This study proposes temporal referentiality—roughly defined as the orientation of substance in its temporal medium—as a theoretical and analytical framework for musical form. Operating on the principle of music as a temporally extended entity, this thesis explores the connections that occur between substance across its medium, suggests an additional interpretation of medium connections (temporality) in terms of language tense, and examines substance connections (referentiality) through different types of filtering. I also propose a means for visual and literary interpretation of temporal referentiality, depicting a network of substance relationships established over a piece’s timespace. Analysis of this type assumes a listener’s complete familiarity with the substance in its temporal boundaries. Visual representations portray the amount and strength of future- and past-oriented musical substance at a given point in time, including which sections are connected to one another (medium connection) and which variables or features of sameness are responsible for this connection (substance connection). Employing an analogy between orientation and tense, it also becomes feasible to construct a “model prose composition” with the same temporal referentiality as a piece of music. Finally, a system of filtering serves to isolate portions of medium and substance and to clarify what elements are responsible for the elusive concept of “sameness.” The possibilities for temporal reference analysis are applied to the first movements of Bartók’s Fourth String Quartet and Brahms’s Violin Concerto, as well as Bach’s Contrapunctus #9 from The Art of Fugue and the Variations movement of Webern’s Symphony op. 21.

No description available.

No description available.

Esta dissertação parte do preto, da escuridão e do vazio como lugar onde, na ausência de referências do outro, não sobra outra opção além de olhar para dentro. Ou melhor, olhar para o que escapole de dentro de si frente à experiência da ausência. O processo apresentado aqui pensa sobre a origem da imagem, sobre quanto dela é descritiva e limitada ao registro do olhar no mundo e quanto dela tem origem na imaginação, na experiência particular de cada um. Pensa também na relação entre imagem e linguagem, por meio de fragmentos de fotografias e textos. Navega entre possibilidades de lugar, de estar, de ser, transitando pela possibilidade de transbordar cenas mais imagináveis do que propriamente visíveis. O resultado da pesquisa é um livro que chamei de Preto, composto de textos e fotografias realizadas entre 2009 e 2013, durante residências artísticas em Torres Vedras (Portugal), Pune e Bangalore (Índia), Copenhague (Dinamarca), Rio de Janeiro, São Paulo e Recife (Brasil). Proponho \"Janeiro 2009\" como uma introdução ao que estou chamando de livro-experiência, ao livro aberto a leituras diversas. Essa narrativa, em que conto a experiência de estar no breu absoluto durante 5 ou 10 minutos, é o ponto de partida tanto para as imagens (fotografias, luz branca no preto do escuro) quanto para os textos (palavras, tinta preta no papel branco). Preto tem a intenção de ser mole; de alguma forma, moldável ao manuseio, ao leitor. Um caderno de imagens, ou memórias, que surgem entre fade in e fade outs, entre luzes e sombras. Clarões na escuridão e formas breves / This dissertation sets out from the black, the darkness and from the void as a place where, in the absence of references to the other, there remains no choice but to look within. Or rather, to look at what slips out from within, faced by the experience of absence. The process presented here contemplates the origin of the image, about how much of it is descriptive and limited to the registering of the view in the world and how much of it has its origin in the imagination, the private experience of each individual. It also contemplates the relationship between image and language, through fragments of photographs and texts. It navegates between possibilities of place, of living, of being, transiting through the possibility of overflowing scenes more imaginable than actually visible. The result of this research is a book wich I named Black, composed of texts and photographs taken between 2009 and 2013, during artistic residencies in Torres Vedras (Portugal), Pune and Bangalore (India), Copenhagen (Denmark), Rio de Janeiro, São Paulo and Recife (Brazil). I propose \"January 2009\" as an introduction to what I am calling a bookexperience, a book that is open to various readings. This narrative, in wich I tell of the experience of being in absolute pitch-blackness for 5 or 10 minutes, is the starting point for the images (photographs, white light in the black of darkness) as well as the texts (words, black ink on white paper). Black has the intent of being soft; in some way moldable by handling, moldable to the reader. A notebook of images, or memories that arise between fade ins and fade outs, between light and shadow. Flashes in the darkness and brief forms.

Esta dissertação parte do preto, da escuridão e do vazio como lugar onde, na ausência de referências do outro, não sobra outra opção além de olhar para dentro. Ou melhor, olhar para o que escapole de dentro de si frente à experiência da ausência. O processo apresentado aqui pensa sobre a origem da imagem, sobre quanto dela é descritiva e limitada ao registro do olhar no mundo e quanto dela tem origem na imaginação, na experiência particular de cada um. Pensa também na relação entre imagem e linguagem, por meio de fragmentos de fotografias e textos. Navega entre possibilidades de lugar, de estar, de ser, transitando pela possibilidade de transbordar cenas mais imagináveis do que propriamente visíveis. O resultado da pesquisa é um livro que chamei de Preto, composto de textos e fotografias realizadas entre 2009 e 2013, durante residências artísticas em Torres Vedras (Portugal), Pune e Bangalore (Índia), Copenhague (Dinamarca), Rio de Janeiro, São Paulo e Recife (Brasil). Proponho \"Janeiro 2009\" como uma introdução ao que estou chamando de livro-experiência, ao livro aberto a leituras diversas. Essa narrativa, em que conto a experiência de estar no breu absoluto durante 5 ou 10 minutos, é o ponto de partida tanto para as imagens (fotografias, luz branca no preto do escuro) quanto para os textos (palavras, tinta preta no papel branco). Preto tem a intenção de ser mole; de alguma forma, moldável ao manuseio, ao leitor. Um caderno de imagens, ou memórias, que surgem entre fade in e fade outs, entre luzes e sombras. Clarões na escuridão e formas breves / This dissertation sets out from the black, the darkness and from the void as a place where, in the absence of references to the other, there remains no choice but to look within. Or rather, to look at what slips out from within, faced by the experience of absence. The process presented here contemplates the origin of the image, about how much of it is descriptive and limited to the registering of the view in the world and how much of it has its origin in the imagination, the private experience of each individual. It also contemplates the relationship between image and language, through fragments of photographs and texts. It navegates between possibilities of place, of living, of being, transiting through the possibility of overflowing scenes more imaginable than actually visible. The result of this research is a book wich I named Black, composed of texts and photographs taken between 2009 and 2013, during artistic residencies in Torres Vedras (Portugal), Pune and Bangalore (India), Copenhagen (Denmark), Rio de Janeiro, São Paulo and Recife (Brazil). I propose \"January 2009\" as an introduction to what I am calling a bookexperience, a book that is open to various readings. This narrative, in wich I tell of the experience of being in absolute pitch-blackness for 5 or 10 minutes, is the starting point for the images (photographs, white light in the black of darkness) as well as the texts (words, black ink on white paper). Black has the intent of being soft; in some way moldable by handling, moldable to the reader. A notebook of images, or memories that arise between fade ins and fade outs, between light and shadow. Flashes in the darkness and brief forms.

梁靜雯. / "2010年8月". / "2010 nian 8 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 48-49). / Abstracts in Chinese and English. / Liang Jingwen. / Chapter 第一章: --- 有關繪畫中的時間性研究 / Chapter 1.1 --- 前言 --- p.5 / Chapter 1.2 --- 研究範圍 --- p.5 / Chapter 1.3 --- 藝術與社會的關係 --- p.6 / Chapter 1.4 --- 重複的定義 --- p.9 / Chapter 1.5 --- 重複與時間的關係 --- p.11 / Chapter 第二章： --- 線性的時間觀 / Chapter 2.1 --- 重複影像中的故事 --- p.12 / Chapter 2.2 --- 經歷英雄的事蹟 --- p.17 / Chapter 第三章： --- 由刹那到刹那與刹那之間 / Chapter 3.1 --- 刹那 --- p.19 / Chapter 3.2 --- 刹那與刹那之間 --- p.23 / Chapter 第四章： --- 由線性的時間觀到環狀的時間觀 / Chapter 4.1 --- 環狀的時間觀 --- p.28 / Chapter 4.2 --- 由英雄意識的破滅到個人的抽離 --- p.31 / Chapter 第五章： --- 抵抗習以為常的重複 / Chapter 5.1 --- 從彰顯到進入 --- p.34 / Chapter 5.2 --- 對於本人作品的思考 --- p.37 / Chapter 5.3 --- 總結 --- p.43 / 附錄：本人作品 --- p.45 / 參考書目 --- p.48

Orientador: Paulo César Rodrigues / Banca: Fernando Meireles Monegalha Henriques / Banca: Rodrigo Pelloso Gelamo / Resumo: A presente dissertação tem por objetivo abordar a influência de Henri Bergson na filosofia da diferença de Gilles Deleuze. Para isso, partiremos dos estudos de Bergson sobre o tempo, assim como da elaboração do método intuitivo como método específico da filosofia para a formulação de problemas positivos. Tanto a concepção de tempo quanto o método intuitivo, elaborados por Bergson, são importantes para elucidar a influência desse pensador na filosofia autoral de Gilles Deleuze, principalmente a partir da obra Diferença e Repetição. O tempo, compreendido por Bergson como duração, e sua crítica ao discurso representacional, que visa conhecer o objeto a partir de imagens exteriores e fragmentárias, terá forte influência na concepção de diferença em Gilles Deleuze. Nesse sentido, a diferença não é um simples conceito que estabelece distinções externas entre as coisas, pois Deleuze visa compreender a diferença em si mesma e a repetição como repetição da diferença. / Abstract: The present dissertation aims to address the influence of Henri Bergson on the philosophy of difference Gilles Deleuze. For this, we will start from Bergson's studies on time, as well as from the elaboration of the intuitive method as a specific method of philosophy for formulation of positive problems. Both the conception of time and the intuitive method elaborated by Bergson are important to elucidate the influence of this thinker in the philosophy of Gilles Deleuze, mainly from Difference and Repetition. Time, understood by Bergson as duration, and his critique of representational discourse, which seeks to know the object from external and fragmentary images, will have a strong influence on the conception of difference in Gilles Deleuze, in the sense that difference is not a simple concept that establishes external distintions between things, because Deleuze to aims at understanding difference in itself and repetition as repetition of difference. / Mestre