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Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-09-15T18:42:01Z No. of bitstreams: 1 DissBDPC.pdf: 2442044 bytes, checksum: b083dd35db63f5a7d0e73b0a735fa4a4 (MD5) / Approved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2018-02-01T18:26:14Z (GMT) No. of bitstreams: 1 DissBDPC.pdf: 2442044 bytes, checksum: b083dd35db63f5a7d0e73b0a735fa4a4 (MD5) / Approved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2018-02-01T18:26:22Z (GMT) No. of bitstreams: 1 DissBDPC.pdf: 2442044 bytes, checksum: b083dd35db63f5a7d0e73b0a735fa4a4 (MD5) / Made available in DSpace on 2018-02-01T18:32:47Z (GMT). No. of bitstreams: 1 DissBDPC.pdf: 2442044 bytes, checksum: b083dd35db63f5a7d0e73b0a735fa4a4 (MD5) Previous issue date: 2017-06-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / No summary / O presente trabalho tem como tema as influências das línguas bantu no português falado em Moçambique, levando em conta um estudo descritivo do Cindau, uma das principais línguas bantu falada nas províncias de Sofala e Manica (localizadas no centro do país), que são as regiões foco do nosso estudo. Num país em que há várias línguas bantu, constatamos que esse fenômeno tem acontecido como muita naturalidade e é muito comum, fazendo assim com que nos deparássemos com algumas questões, como, por exemplo: por que este fenômeno acontece? Como deve ser entendido? Quais são os seus impactos no ensino de português? Como lidar com ele no complexo quadro linguístico de Moçambique? Em Moçambique, é fato que (i) a primeira língua com que o indivíduo tem contato, majoritariamente, é uma Língua Bantu (i.e., algum membro dessa família de línguas), e elas funcionam de forma diferente da Língua Portuguesa, porque têm uma estrutura diferente e porque são utilizadas em nichos sociais diferentes daqueles tipicamente reservados à língua portuguesa; (ii) dentre as línguas encontradas em Moçambique, as línguas da família Bantu são as que têm maior influência e por isso os falantes carregam traços dessas para a língua alvo, neste caso o Português; (iii) os falantes não têm contato regular com falantes modelos do Português Europeu (considerado a variedade de português de prestígio) o que faz com que não tenham meios óbvios e de fácil acesso para diferenciar a língua por eles falada (Português com influência das línguas bantu) da língua alvo (Português Europeu padrão). Tal situação merece ser mais bem descrita para podermos entender melhor o caso linguístico de Moçambique e a relação do Português com as línguas bantu. Para tanto, desenvolveremos um estudo de caso com base na língua Cindau (Sofala e Manica), que será composto por entrevistas realizadas a falantes que tenham o cindau como L1 e o português como L2. Nosso objetivo último é descrever o que acontece no discurso desses falantes, quais influências das línguas bantu são frequentes e quais a teoria traz, mas não são frequentes em falantes do Cindau.

M.A. (Psychology) / Despite well over two millennia of philosophical speculation and just under a century of objective, standardized measurement, students of intelligence are far from unanimous in their agreement on a formal definition of the concept. Biological, psychological and operational definitions have each been advanced' and criticized in their turn. The majority of definitions, particularly of the psychological variety, have been variously rejected as circular, question begging, over-inclusive or value-laden. Such definitions have included the capacity for learning; the capacity to act purposefully, think rationally and deal effectively with one's environment; the ability to perceive or educe relations; and the ability for abstract thinking, to mention but a few...

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Background: Speech production in Bantu languages places great demands on neuromotor control, because unique speech motor behaviours such as syllabic tone variation and the aspiration of speech sounds require an additional level of vocal fold control compared to speech production in Germanic languages. As these motor behaviours play an important role in differentiating the meaning of words (Van der Merwe & Le Roux, 2014a), neuromotor speech disorders such as dysarthria may have a greater impact on communication in Bantu languages than in Germanic languages. The focus of this study was on syllabic tone variation in Bantu language speakers with dysarthria compared to typical speakers. Sepedi was the Bantu language investigated. Syllabic tone variation refers to pitch level changes for every syllable of words in a tone language (Zerbian & Barnard, 2008a) and requires manipulation of vocal fold length and mass over and above the voicing or devoicing of sounds within words. These pitch changes convey the lexical and grammatical meaning of words and may differentiate between the meanings of two orthographically identical words (Zerbian & Barnard, 2008a). Studies on lexical tone variation in speakers with dysarthria to date have focused mostly on the tone languages of Asia and Scandinavia (Kadyamusuma, De Blesser, & Mayer, 2011). No studies of tone variation in Bantu language speakers with dysarthria were found. Furthermore, past research only regarded tone variation in monosyllabic words, with no reference to how tone would be affected across bisyllabic words and within each of the two syllables of these words. No inquiries were made into the tone variation ability of speakers with dysarthria when producing short utterances compared to longer utterances and mostly speakers with congenital dysarthria were used as research participants. These shortcomings needed to be addressed to gain a more holistic and accurate view of the extent to which tone variation is a challenge for Bantu language speakers with dysarthria. Aims: The first aim of the study was to determine whether a difference exists between typical Sepedi speakers and Sepedi speakers with dysarthria, in their ability to vary tone across CVCV words with a HL tone pattern. The second aim of the study was to determine whether a difference in tone variation exists between short and longer utterances in typical Sepedi speakers and Sepedi speakers with dysarthria. Method: A quasi-experimental, between-group comparison was used in the study. Speech samples were obtained from a control group of five typical Sepedi speakers and from an experimental group of four Sepedi speakers with dysarthria. These speech samples consisted of 20 consonant-vowel-consonant-vowel (CVCV) words with high-low (HL) tone variation produced in three- and also in six- /seven-syllable utterances (resulting in a total of 40 words). The speech samples were analysed acoustically using Praat software. To achieve the first aim, the following acoustic measures were obtained from the 40 words produced by participants: (1) Mean fundamental frequency (F0) of syllable 1 (S1) and syllable 2 (S2), (2) Change in F0 across words from the highest F0 point of S1 to the lowest F0 point of S2, (3) Intrasyllabic change in F0 within S1 and S2. To achieve the second aim of the study, the change in F0 across words in short utterances was compared to the change in F0 across words in longer utterances for the typical speakers and speakers with dysarthria. Results: Wilcoxon rank tests were used for statistical analyses. Descriptive statistics were performed and median values were used to achieve research aims. All of the control participants and participants with dysarthria produced S1 with a higher mean F0 than S2, as was appropriate for the HL tone pattern ascribed to the target words. For most of the individuals from both groups, the mean F0 of S1 was significantly higher than the mean F0 of S2. However, one participant from each group produced an insignificant difference between the mean F0 values of the two syllables. The control group produced slightly greater median F0 changes across the words and within S1 than the dysarthria group, but the differences between the speaker groups for the change in F0 across words and the change in F0 within S1 were insignificant. In contrast to this, the control group produced a significantly smaller median change in F0 within S2 than the dysarthria group. Individual speakers from both groups produced unique patterns of F0 changes for all aspects of tone variation (change in F0 across words and changes in F0 within S1 and S2). Both speaker groups produced a significantly greater median change in F0 across words in short utterances compared to long utterances. The difference in the change in F0 across words between short and long utterances was significantly greater for the control group than for the dysarthria group. Conclusions: The speakers with dysarthria in the study maintained the ability to vary tone across bisyllabic words with an HL tone pattern. The dysarthria group only differed significantly from the control group with regard to the extent of tone reduction in the second syllable. This finding may point to possible difficulties in the required graded relaxation of the vocal folds. Individual differences in F0 changes were found for both typical speakers and speakers with dysarthria, indicating that unique tone variation patterns may normally exist for all speakers. For both control and dysarthria groups, greater tone variation was observed in short compared to longer utterances. The role of increased utterance length in decreased F0 variation was greater for the typical speakers than for the individuals with dysarthria. / Dissertation (M Communication Pathology)--University of Pretoria, 2016. / Speech-Language Pathology and Audiology / M Communication Pathology / Unrestricted

Die beginpunt van die nuwe Bantoekuns in Suid-Afrika was die Pollystraatsentrum wat in 1948 in Johannesburg gestig is. Skotnes was van 1952-1965 hoof van die Sentrum en het o. m. Kumalo, Ngatane, Sithole, Maqhubela en Legae onderrig. Klem is gele op kontak met die tradisionele kunsverlede van die Bantoes en 'n grondige tegniese opleiding. Kumalo en ander leerlinge van die Pollystraatsentrum het in 1957-8 die belangrike kerkopdragte van Kroonstad en Orlando uitgevoer. Die plafonpanele en kruiswegstasies van die Kroonstad- en Orlandokerke vorm die beginpunt van Kumalo se kunstenaarsloopbaan. Naas leiding van Skotnes het hy ook onderrig van Villa ontvang. Kumalo het ten spyte van Westerse invloede 'n besonder persoonlike en individuele beeldhoustyl ontwikkel, waarin die invloed van klassieke Afrika-kuns gesien kan word. Kumalo het reeds internasionale bekendheid verwerf en is die meester van Suid-Afrikaanse Bantoekunstenaars. Ook Legae is 'n beeldhouer. Sy werk is meer westers as die van Kumalo en van 'n meer liriese kwaliteit as die fors beeldhouwerk van Kumalo. Lucas Sithole het bekendheid verwerf met houtbeeldhouwerk in slank figure en dieruitbeeldings. Sy werk is van 'n meer populere aard en hy toon 'n neiging om na die publiek se smaak te werk. Dumile het hom toegele op groot houtskooltekeninge van 'n illustratiewe en ietwat makabere aard. Hy het baie navolgers onder die Bantoekunstenaars. Maqhubela het aanvanklik veral mosai"ekpanele uitgevoer. Sy meer belangrike kunswerke begin met die houtskooltekeninge waarby later die gebruik van pastel gevoeg is. Sy onderwerpe is nie beperk tot die lokasietema nie maar is afkomstig van 'n wyere verbeeldingswereld. Na kontak met Portway het hy baie op kleurgebruik in sy skilderye begin konsentreer. Naas Transvaal is daar ook in Natal 'n groep Bantoekunstenaars werksaam met Zondi as vernaamste verteenwoordiger. In Rhodesië word die seepsteenbeeldhouwerk van sg."werkswinkel"-kunstenaars algemeen aangetref. In Sentraal- en Wes-Afrika word 'n groot verskeidenheid kunsvorme beoefen. Die nuwe Bantoekuns in Suid-Afrika het gegroei vanuit die Pollystraatsentrum. Hier het Skotnes sy Bantoeleerlinge bekend gestel met die klassieke en tradisionele kuns van Afrika. Hierdie uitdrukkingsvorme is op 'n besondere wyse verwerk en assimileer soos veral blyk in die kuns van Kumalo. Kontak met blanke kunstenaars sal steeds vir die Bantoekunstenaars 'n verryking bly in die skepping van hierdie nuwe kuns wat eie is aan die gees van Afrika. / The Polly Street Centre, which was established in Johannesburg in 1948, gave rise to the development of a new Bantu art in South Africa. Skotnes headed the Centre from 1952-1965 and taught, amongst others, Kumalo, Ngatane, Sithole, Maqhubela and Legae. Contact with traditional art forms was stressed, as was a solid technical training. In 1957-8 Kumalo and other pupils of the Centre completed the important church commissions of Kroonstad and Orlando. Kumalo's artistic career began with the ceiling panels and Stations of the Cross of the Kroonstad and Orlando churches. In addition to the Polly Street classes, Kumalo was also instructed by Villa. Despite strong european influences Kumalo developed a distinctly personal style which also reflects the influence of African art. Kumalo has an international reputation and the maturity of his workmakes him the doyen of South African Bantu artists. Legae also, is a sculptor but shows a more lyrical and gentle quality in his work compared to the bold, strong forms of Kumalo's sculpture. Sithole is known especially for his wood carvings of animals and tall, slim human figures. He does, however, tend to follow the dictates of popular demand. Dumile mainly produced large charcoal drawings of an illustrative and rather macabre nature. He has since built up a considerable following amongst Bantu artists. Maqhubela initially worked in mosaics. His more important artistic production started with charcoal drawings which later included the use of pastels. He does not depict the township life but excercises a free imagination in the choice of subjects. Contact with Portway influenced Maqhubela to concentrate mainly on the use of colour in his paintings. The main group of Bantu artists work in the Transvaal. Natal also has a group of whom Zondi is the most important representative. In Rhodesia the soapstone carvings of the "workshop" artists have become increasingly popular. A great diversity of styles is to be found in contemporary western and central African art. The new Bantu art in South Africa started at the Polly Street Centre in Johannesburg. Skotnes introduced his pupils to traditional forms of African art. These forms of artistic expression were assimilated into the work of the Bantu artists and resulted in a distinctly personal style, as can be seen in the sculpture of Kumalo. The work of our Bantu artists will be enriched by a continued contact with european artists in the developing of this new and vital art of Africa. / Dissertation (MA)--University of Pretoria, 1970. / Visual Arts / Unrestricted

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