Cultural Aspects of Cartographic Creation: Use of Mental Maps in Cross-cultural Research Abstract: Diploma thesis deals with study of interdisciplinary issue of cultural aspects of cartographic creation. The first part of the work consists of theoretical introduction dealing with the map con- tent, map stylistics and map language, in which maps show the greatest cultural differences. The map figures here in a role of the image of reality and visual manifestation of culture. The analogy between a map and a classical language (linguistic anthropology) and the analogy between early maps and primitive cultures' maps are described. Beside the language, as determinants of the human spatial perception and other categories related to the map creation could be mentioned the environment, the experiences and the society, in which man lives. Several examples of so- called cultural map styles, especially from Australia and Oceania, are introduced as well. In the methodical part of the work in connection with cultural-anthropological research a method of cognitive maps, respectively mental maps of map users and map makers is discussed in detail. Just these maps are suitable to explore the cultural particularities of cartographic creation. The application part of the work presents the results of field research of mental...

O Carste de Lagoa Santa e a Serra do Cipó, que compõem a área da pesquisa, abrangem parte da Região Metropolitana de Belo Horizonte-RMBH, centro do estado de Minas Gerais. Possuem inúmeros sítios arqueológicos em abrigos sob rocha calcária e de quartzito, com diversos tipos de grafismos rupestres; pintados, picoteados e incisos. Boa parte desses grafismos é atribuída à Tradição Planalto, elaborada nessa região, pelo menos, a partir do Holoceno Médio. Inúmeros conjuntos estilísticos sucessórios e temáticos atribuídos a essa tradição foram identificados e reorganizados, buscando, sempre que possível, realizar analogias e correspondências entre as duas regiões componentes. Foram ainda identificadas outras unidades ou expressões gráficas não-Planalto em níveis picturais, intermediários e recentes, que, em alguns casos, indicam possíveis influências de outras regiões do país. Também foram propostas para os conjuntos de figuras picoteadas, variações estilísticas que congregam repertórios temáticos peculiares. As incisões rasas, por sua vez, apresentam dimensões e visibilidades variadas, inclusive miniaturas que não haviam sido consideradas em estudos anteriores. A observação de padrões de exploração de utilização do espaço internos dos abrigos para a execução das figuras, levando em consideração os diferentes suportes rochosos, a interação das figurações com as preexistentes, além da distribuição das expressões gráficas de alta e baixa visibilidade nos sítios e na paisagem, foram fundamentais para a proposição de panorama crono-estilístico mais detalhado, levando em consideração as alterações, diferenças e similaridades estilísticas ao longo do tempo. / The Lagoa Santa Carste and the Serra do Cipó, comprises the research area, covering part of the metropolitan region of Belo Horizonte-RMBH, center of Minas Gerais state. Numerous archaeological sites have shelters in limestone and quartzite, with various types of rock art, painted perforated and incised. Much of this artwork is attributed to the Tradição Planalto, stablished in this region, at least from the Middle Holocene. Several sets stylistic and thematic succession assigned to this tradition have been identified and rearranged, seeking, where possible make analogies and correspondences between the two regions components. Other units or non-Planalto Intermediate and recent pictorial expressions levels were identified which, in some cases, indicated possible influences of traditions from other regions of the country. Combinations of dotted figures, stylistic variations that bring unique themed repertoires have also been proposed. The shallow incisions in turn, have varying sizes and visibility, including miniatures that had not been considered in previous studies. The observation of pattern of use of the internal space of shelters for the execution of the figures, taking into account the different rock media, the interaction of figurations with the background, beyond the distribution of graphic expressions of high and low visibility sites and landscapes, were fundamental to the proposed landscape of chrono-stylistic more detailed, taking into account the changes, stylistic differences and similarities over time.

Made available in DSpace on 2016-04-28T19:34:08Z (GMT). No. of bitstreams: 1 Dissertacao CELSO ANTONIO BACHESCHI.pdf: 574186 bytes, checksum: b59a088b5e69df616377f4a12b810044 (MD5) Previous issue date: 2006-08-02 / Secretaria do Estado e Educação / The corpus of this work are recordings made by the NURC/SP Project, contained in three volumes of A Linguagem Falada Culta na Cidade de São Paulo. The expressive values of the affixes are analyzed in it. Most of the work is dedicated to the -inho suffix, because this is the most common expressive element of the recordings. In addition to the diminutive sense, -inho has acquired specially expressive others, among them values of intensification, attenuation, exactness, lack of doubt, depreciation, similarity, euphemism, exiguity and irony are identified. Initially, occurring as a form linked to nouns, the -inho suffix begins to bind itself to other class words like adjectives, adverbs, numbers, pronouns, verbs, interjections. In the analysis of the corpus, it is observed that the value that the suffix gives to the word can change according to the context. It is observed too that the -inho suffix occurs more often when the speakers are talking about matters as animals, children and food. It is noticed too that the suffix values change according to the type of inquiry. Other suffixes analyzed are -ento, -eco, -ice, -eiro, -ado, -ão, -aço, -esco, -imo and -eria (-aria). Among them, we observe mainly pejorative, intensifying and collective values. The expressive prefixes have intensifying value. The presence of those expressive elements is used to measure the degree of formality of the inquiries. As theoretical referential, concepts of Stylistics, Sociolinguistics and Conversation Analysis were utilized / Este trabalho tem como corpus as gravações realizadas pelo Projeto NURC/SP, contidas nos três volumes da série A Linguagem Falada Culta na Cidade de São Paulo. Nele, analisam-se os valores expressivos dos afixos. Grande parte do trabalho é dedicada ao sufixo -inho, uma vez que é o elemento expressivo mais comum nas gravações. Ao lado do sentido de diminutivo, -inho foi adquirindo outros especialmente expressivos, entre os quais se identificam os de afetividade, intensificação, atenuação, exatidão, ausência de dúvida, pejoração, semelhança, eufemismo, exigüidade e ironia. Inicialmente ocorrendo como forma presa a substantivos, o sufixo -inho passa a ligar-se a palavras de outras classes como os adjetivos, advérbios, numerais, pronomes, verbos e interjeições. Na análise do corpus, observa-se que o valor que o sufixo confere à palavra pode variar de acordo com o contexto. Observa-se também que o sufixo -inho é mais freqüente quando os falantes tratam de temas como animais, crianças e alimentos. Nota-se também que os valores do sufixo variam em conformidade com o tipo de inquérito. Outros sufixos analisados são -ento, -eco, -ice, -eiro, -ado, -ão, -aço, -esco, -imo e -eria (-aria). Entre eles, observamos, principalmente, valores pejorativos, intensificadores e coletivos. Os prefixos expressivos são de valor intensificador. A presença desses elementos expressivos é utilizada para se medir o grau de formalidade dos inquéritos. Como referencial teórico, foram utilizados conceitos de Estilística, Sociolingüística e Análise da Conversação

In 2018, most news articles are consumed online from a digitally native news outlet and it is therefore appropriate to examine the presence of linguistic sexism in the digitally native news site Buzzfeed News. The material is made up of 159 articles collected from Buzzfeed News. Selected features at the lexical and discourse levels are analysed using a quantitative method with qualitative elements. The selected features at the lexical level include generic pronouns and nouns, focused on the affix -man- and naming practices for females and males. At the discourse level, the selected features include how females and males are described in terms of their relationships, appearance and age-related words. Linguistic sexism is found to be expressed at both the lexical and discourse levels in the material. It is mainly expressed in naming practices, the use of relationship words and age-related words. / Dagens nyhetskonsument får, enligt studier, de flesta av sina nyheter från källor online och då främst från digitalt inhemska nyhetskällor, också känt som digitally native news outlets. Detta innebär att det därför är lämpligt att undersöka närvaron av språklig sexism i den digitally native news outlet Buzzfeed News. Materialet i studien består av 159 artiklar insamlade från Buzzfeed News. Utvalda språkliga markörer på ord- och diskursnivå är analyserade med hjälp av en kvantitativ metod med kvalitativa element. De utvalda markörerna på ordnivå inkluderar generiska pronomen och substantiv med fokus på affixet -man- och hur kvinnor och män namnges. De utvalda markörerna på diskursnivå som studeras inkluderarar hur kvinnor och män beskrivs vad gäller deras relationer till andra, utseende och åldersrelaterade ord. Språklig sexism finns uttryckt både på ord- och diskursnivå i materialet och det är huvudsakligen uttryckt i hur kvinnor och män namnges, användandet av relationsord och åldersrelaterade ord.

Cette thèse propose une réflexion théorique et esthétique sur la traduction du théâtre, à partir d’un corpus de scènes à deux personnages (duos et duels) tirées du répertoire britannique, de l’époque élisabéthaine à nos jours. Selon la démarche traductologique recommandée par Antoine Berman, un parcours historique des théories fait d’abord ressortir la nécessité croissante, dans la pensée de la traduction, de prendre en compte les exigences spécifiques posées par le genre du texte — par sa forme et par son usage. S’impose alors un travail de définition du langage dramatique comme matière vivante et sonore, qui concentre les effets et prépare l’incarnation. Ceci conduit à l’analyse détaillée de sa traduction, depuis l’expressivité des phonèmes jusqu’aux grandes articulations de toute la scène et aux rapports qui s’établissent entre la voix de personnages venus d’ailleurs et l’écoute du public. La traduction participe ainsi à la recréation de l’œuvre théâtrale, tout en permettant d’explorer sa nature paradoxale, entre le dit et l’écrit. / The aim of this thesis is to provide a theoretical and aesthetic background for the translation of theatre, basing the analysis on a corpus of two-character scenes (love scenes, duels or witty dialogues), from the Elisabethan age to contemporary British authors. Following the method for translation analysis recommended by Antoine Berman, the thesis begins with a historical overview of translation theories which highlights the growing need to take into account the demands of each genre in terms of form as well as use. It is then necessary to define the language of theatre as acting matter—words which are efficient, resonant, and alive. This leads to a detailed analysis of their translation, from the expressivity of phonemes to the mechanics of a whole scene and to the relationship between the voices of foreign characters and the audience’s perception. Thus, translation becomes a way of participating in the recreation of a dramatic work of art, while providing a way to explore its paradoxical nature, halfway between the spoken word and the written word.

The diploma thesis deals with culture of spoken language among pupils at second stage of elementary school. The theoretical part is focused on rhetoric, phonetics, syntax or stylistics. The thesis also includes a part about division of vocabulary. The last two chapters of the theoretical part deals with nonverbal communication and it also includes some specific features of spoken language. The research part contains analyses of speeches that were done by six pupils of ninth grade of elementary school. Prepared an unprepared speeches were analysed from phonetic, morphological, lexical and syntactic point of view. Nonverbal communication was also evaluated.

Ce travail se propose d’étudier, sous un angle grammatical, le phénomène romanesque connu sous le nom de "monologue intérieur", qu’il convient d’emblée de distinguer du "stream of consciousness", auquel il est souvent ramené. Afin de mieux cerner et de définir ce qu’est le monologue intérieur, nous confrontons les définitions qui en sont généralement données à des textes de fiction anglophones, et nous analysons les techniques linguistiques utilisées pour représenter ce discours particulier. Il apparaît donc que le monologue intérieur n’est pas une technique linguistique mais doit plutôt se concevoir comme une catégorie narratologique. Ce discours s’incarne grâce à diverses techniques linguistiques : le discours immédiat mais aussi certaines des techniques du discours rapporté, avec en son centre le discours direct (libre) et à sa périphérie le discours indirect classique. Le discours indirect libre, quant à lui, navigue entre les deux. Ces différentes techniques reposent donc sur une conception particulière du discours intérieur qu’elles véhiculent, et leur étude permet d’étudier la possibilité offerte à l’auteur ou au narrateur de détourner leur forme afin de servir une stratégie narrative, avec parfois pour but de faire passer pour verbal ce qui ne peut l’être. / This thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal.

The dominant part of the research on the “Yûgao” (The Twilight Beauty) story of the Japanese eleventh-century classic the Genji Monogatari (The Tale of Genji) is philological and often excludes a general literary analysis. This story has also been related to Japanese and Chinese literary influences, thereby placing the text in its literary context. The present study is an attempt to relate it more to theories to which it has hitherto been unrelated and thereby formulate a descriptive stylistics in a decontextual perspective. This aim also includes a look at how the theories confronted with the “Yûgao” story may be affected. First I introduce the problematics of context versus decontext by means of a survey of metapoetical texts about the monogatari (tale, narrative) genre with special regard to the Genji Monogatari. Next I analyze the characters and the setting, primarily using a narratological method. This is followed by an analysis of the story’s themes and motives. Chapter 5 looks at compositional elements, while the starting-point for the succeeding chapter is the interpretation of the “Yûgao” story as more or less a fairytale, and thus not as advanced  a narrative as the latter part of the work. I shall, in contrast, argue that there are quite a few aspects of this story that do not fit into the model of the folktale. In Chapter 7 decontextualization as a concept turns from the story as such to address another concept, namely metaphor. Here the meaning of metaphor is expanded in order to include concepts that are not necessarily seen as such. Subsequently, I investigate the symbolic system surrounding the moonflower (yûgao) image. Lastly, the concept of decontext is taken a step further to survey how the genre of the Genji Monogatari has been transformed in the process of translation into the Tale of Genji. The main conclusion is that the “Yûgao” story combines tragic themes with comic motifs to build a symbolic narrative with characters hovering between roles.

Sue Monk Kidd’s The Secret Life of Bees (2002) tells the story of a motherless fourteen-year-old Lily Owens, raised by a cruel father, who desperately searches for clues to unlock her mother’s past. Kidd’s bildungsroman reveals the incredible power of black women, particularly a group of beekeeping sisters and a black Mary, to create a safe haven where Lily can examine her fragmented life and develop psychologically, finally becoming a self-actualized young lady. Lily’s matriarchal world of influence both compares and contrasts with the patriarchal world represented in Mark Twain’s Adventures of Huckleberry Finn, exposing the matriarchy’s aptly structured ways of providing a more healing environment than is Huck Finn’s. Kidd’s novel also showcases the stylistic strategies of first person narrative point of view, language, dialect, and the motif of place in order to contextualize the social awareness and psychological development Lily gains through her journey.

Sue Monk Kidd’s The Secret Life of Bees (2002) tells the story of a motherless fourteen-year-old Lily Owens, raised by a cruel father, who desperately searches for clues to unlock her mother’s past. Kidd’s bildungsroman reveals the incredible power of black women, particularly a group of beekeeping sisters and a black Mary, to create a safe haven where Lily can examine her fragmented life and develop psychologically, finally becoming a self-actualized young lady. Lily’s matriarchal world of influence both compares and contrasts with the patriarchal world represented in Mark Twain’s Adventures of Huckleberry Finn, exposing the matriarchy’s aptly structured ways of providing a more healing environment than is Huck Finn’s. Kidd’s novel also showcases the stylistic strategies of first person narrative point of view, language, dialect, and the motif of place in order to contextualize the social awareness and psychological development Lily gains through her journey.