Syftet med den här studien var att undersöka hur barnen tolkar symboler med fokus på symbolspråket Bliss. Fyra aktiviteter genomfördes med en barngrupp på en förskola. Metoden för insamlande av material var genom deltagande observation, ljudinspelning, fältanteckningar, att föra dialog och ställa frågor till barnen. Det insamlade materialet analyserades och delades in i temaområden vilka var: hur barnen tolkar symboler och vilka strategier använder barnen sig av när de tolkar symboler. Resultatet visar att barnen tolkar symboler bland annat genom tidigare erfarenheter och visuell transparens. Slutsatser som dragits är att barn uppfattar och tolkar symboler omkring sig och har lättare att läsa av symboler med hög visuell transparens.

Arthur Bliss’s Sonata for Viola and Piano stands as a significant achievement in early twentieth-century chamber music for viola and is the result of a fruitful collaboration between composer and virtuoso performer. Multiple scholars recognize the sonata as one of Bliss’s finest works. Despite these accolades, the work has failed to attract sustained scholarly investigation. This document provides performers with the necessary tools for a thorough and contextualized presentation of the work. The main body of this study details the technical aspects of performing the sonata: viola technique, expressive challenges, and ensemble concerns. Preceding this, I cover the relevant biographical details from Bliss’s life, examine the roots of his chamber music writing for viola by analyzing two early works, and investigate the collaboration between Lionel Tertis and Bliss in creating this work.

<p>Syftet med föreliggande studie var att undersöka vilka ordtyper som är lätta respektive svåraatt nå fram till med bliss standardkarta och vilka strategier som är mer respektive mindreeffektiva. Deltagarna, 24 kvinnliga studenter utan funktionshinder, delades upp i par. Den enai paret fick i uppgift att förklara 12 målord, som inte finns med på bliss standardkarta, enbartgenom att använda bliss standardkarta. Den andra i paret fick i uppgift att gissa vilkamålorden var. Eftersom tidigare studier indikerat att ordklass, frekvensnivå ochabstraktionsnivå kan påverka ords svårighetsgrad, valdes målorden i föreliggande studieutifrån dessa variabler. Resultatet visade att målordens ordklass inte påverkade derassvårighetsgrad. Målordens frekvensnivå påverkade svårighetsgraden i viss utsträckning.Abstraktionsnivå var den variabel som påverkade svårighetsgraden mest. Eftersom deabstrakta och ovanliga målorden var svårast, kan det vara klokt att inkludera de ordtyperna påblisskartan. Några strategier som gynnade kommunikationen var när blissaren använde syntaxoch syntaktiskt prompting samt när gissaren gav blissaren tid att avsluta sina fraser. Dessastrategier kan vara lämpliga att rekommendera till blissanvändare och deras samtalspartners.</p> / <p>The aim of this study was to investigate which types of words that are easy and difficult toreach with Bliss Swedish standard chart and also which strategies that is more and lessefficient. The participants, 24 female students with no functional limitations, were grouped inpairs. One in each pair was given the task to explain 12 target words that is not present onBliss standard chart, by using only Bliss standard chart. The other person in each pair wasgiven the task to guess which words that were asked for. Since former studies have indicatedthat word class, level of frequency and level of abstraction can affect words' degree ofdifficulty, the target words in this study were chosen based upon those factors. The resultsdemonstrated that the word class of the target words did not affect their degree of difficulty.The frequency of the target words affected their degree of difficulty in some ways. The levelof abstraction of the target words was the factor that affected the degree of difficulty the most.Since the abstract and infrequent target words were most difficult, it may be a good idea toinclude those types of words on the Bliss chart. Some of the strategies that were beneficial forcommunication were the blisser’s use of syntax and syntactic prompting. Another strategy thatwas beneficial for the communication was giving the blisser enough time to finish herphrases. It may be appropriate to recommend those strategies to Bliss users and theircommunication partners.</p>

Syftet med föreliggande studie var att undersöka vilka ordtyper som är lätta respektive svåraatt nå fram till med bliss standardkarta och vilka strategier som är mer respektive mindreeffektiva. Deltagarna, 24 kvinnliga studenter utan funktionshinder, delades upp i par. Den enai paret fick i uppgift att förklara 12 målord, som inte finns med på bliss standardkarta, enbartgenom att använda bliss standardkarta. Den andra i paret fick i uppgift att gissa vilkamålorden var. Eftersom tidigare studier indikerat att ordklass, frekvensnivå ochabstraktionsnivå kan påverka ords svårighetsgrad, valdes målorden i föreliggande studieutifrån dessa variabler. Resultatet visade att målordens ordklass inte påverkade derassvårighetsgrad. Målordens frekvensnivå påverkade svårighetsgraden i viss utsträckning.Abstraktionsnivå var den variabel som påverkade svårighetsgraden mest. Eftersom deabstrakta och ovanliga målorden var svårast, kan det vara klokt att inkludera de ordtyperna påblisskartan. Några strategier som gynnade kommunikationen var när blissaren använde syntaxoch syntaktiskt prompting samt när gissaren gav blissaren tid att avsluta sina fraser. Dessastrategier kan vara lämpliga att rekommendera till blissanvändare och deras samtalspartners. / The aim of this study was to investigate which types of words that are easy and difficult toreach with Bliss Swedish standard chart and also which strategies that is more and lessefficient. The participants, 24 female students with no functional limitations, were grouped inpairs. One in each pair was given the task to explain 12 target words that is not present onBliss standard chart, by using only Bliss standard chart. The other person in each pair wasgiven the task to guess which words that were asked for. Since former studies have indicatedthat word class, level of frequency and level of abstraction can affect words' degree ofdifficulty, the target words in this study were chosen based upon those factors. The resultsdemonstrated that the word class of the target words did not affect their degree of difficulty.The frequency of the target words affected their degree of difficulty in some ways. The levelof abstraction of the target words was the factor that affected the degree of difficulty the most.Since the abstract and infrequent target words were most difficult, it may be a good idea toinclude those types of words on the Bliss chart. Some of the strategies that were beneficial forcommunication were the blisser’s use of syntax and syntactic prompting. Another strategy thatwas beneficial for the communication was giving the blisser enough time to finish herphrases. It may be appropriate to recommend those strategies to Bliss users and theircommunication partners.

The main objective of my dissertation is to research and to introduce hellenistic skepticism of postclassical Greece and methodical skepticism of modern times thinker Rene Descartes. There are differences between the ancient Pyrrhonism and the younger skepticism of Academy, which I would like to clear up. I have in view Descartes' skepticism too, which create a methodological technique of cognition in new way. Rene Descartes, contrary to hellenistic skeptics, doesn't accept the "epoche", which means a certain bliss, but he moves on in his research, when he believes in a possibility of truthful cognition. Purpose of my thesis is to critically take account of historical and philosophical context, from which both of skepticisms have been created, to put a question, what kind of meaning they had in history of philosophy and also to think about fundamental question of connection between hellenistic and Descartes doubt. I try to accent common characteristics and differences of both concepts. key words - skepticism, methodical skepticism, truthful cognition, probability, phenomena, senses, intellect, bliss

Camera movement in film history. From the technical and artistic point of view.

Orientador: Cleide Antonia Rapucci / Banca: John Milton / Banca: Antonio Roberto Esteves / Resumo: O presente trabalho pretende fazer uma análise da tradução para o português de alguns contos da obra Bliss & other stories, de Katherine Mansfield, feita pelo escritor Érico Veríssimo. Propomos uma comparação da tradução com o texto de partida a fim de avaliar as soluções tradutórias encontradas na transmissão dos efeitos de sentido propostos pela autora e, por conseguinte, abordar o caráter tradutório do escritor, já que é um ramo de sua atividade profissional não difundido amiúde, embora tenha sido de extrema relevância para seus trabalhos literários posteriores. Assim, verificamos se o tradutor em questão teve o que Ohmann denomina "intuição estilística". Em uma primeira instância, apresentamos um levantamento das principais teorias acerca da tradução e da vertente desconstrutivista, de Jacques Derrida, na qual nos baseamos para a realização da apreciação das traduções. O estudo da relação entre Katherine Mansfield e Érico Veríssimo por meio da tradução aprimora a tradutologia, já que nos permite analisar a postura de um escritor/tradutor perante uma prosa poética. E, por fim, os contos representativos do estilo da escritora neozelandesa e as traduções destes, feitas por Érico Veríssimo, foram analisados a fim de formularmos as devidas conclusões. Para tanto, tomamos como base teórica a teoria desconstrutivista, bem como considerações realizadas por estudiosos da tradução, como Francis Henrik Aubert, José Paulo Paes, Haroldo de Campos, entre outros. / Abstract: The present work intends to analyze the translation into Portuguese of some of the short stories of Bliss & other stories, by Katherine Mansfield, done by the writer Érico Veríssimo. We propose a comparison of the translation with the source text in order to evaluate the solutions of translation found in the transmission of the sense effects proposed by the author and, consequently, to approach the writer's translator character , because it is a branch of his professional activity that isn't spread frequently, although it has been of extreme relevance to his subsequent literary works. So, we verified if the translator presents what Ohmann denominates "stylistic intuition". In a first instance, we presented a survey of the main theories concerning translation and the deconstructionist theory of Jacques Derrida, on which we were based for the accomplishment of the appreciation of the translations. The study of the relationship between Katherine Mansfield and Érico Veríssimo through the translation perfects translation studies, since it allows analyzing the posture of a writer/translator before a poetic prose. And, finally, the New Zealand writer's short stories and their translations, done by Érico Veríssimo, were analyzed in order to formulate the due conclusions. We took as theoretical base the deconstructionist theory, as well as considerations from specialists in translation studies, such as Francis Henrik Aubert, José Paulo Paes, Haroldo of Campos, and others. / Mestre

This essay explores the choices and fates of three women in Thomas Hardy’s A Group of Noble Dames. The lives of Betty Dornell, Emmeline Oldbourne and Barbara Grebe are all influenced by chance, choice and the interference of their parents and lovers. Despite the similar circumstances of their lives as young, upper-class women, it is shown that their fates vary widely as a result of both choice and chance. Ultimately, however, this essay claims that Hardy allows chance to have the final say in each dame’s destiny.

One of the U.S. Army's requirements for reenlistment of first term soldiers is a minimum score on the General Technical composite of the Armed Services Vocational Aptitude Battery of one hundred. The score is a measure of academic ability. The primary goal of the Basic Skills Education Program is to assist the soldier in gaining basic skills, with a secondary goal of enabling him or her to retest at a sufficient level to become eligible for reenlistment. While most soldiers are able to meet this goal, a few are unable to achieve an acceptable score on the retest. It was hypothesized that some of these soldiers are learning disabled. The Army has not recognized learning disabilities or the need of the learning disabled for special teaching and testing methods. This study was designed to identify students enrolled in the Basic Skills Education Program who are learning disabled. Two instruments were involved: the Revised BETA II, which yields a measure of aptitude, and the Tests of Adult Basic Education, which produce achievement scores in the areas of reading, mathematics, language, and spelling. The instruments were correlated on 112 soldiers from the Training Brigade at Fort Bliss, Texas. They were then administered to 100 first term soldiers enrolled in the Basic Skills Education Program at Fort Bliss. Two formulae acceptable in the field of learning disabilities were applied to the results. The Frequency of Regression Prediction Discrepancy model identified nine soldiers as learning disabled in ten academic areas. The Standard Score Difference model, which does not account for regression, identified sixteen soldiers in twenty four areas. With evidence that learning disabled soldiers exist in the Basic Skills Education Program, recommendations were made that the U. S. Army recognize and address learning disabilities and incorporate appropriate testing and teaching methods to accommodate those soldiers.

Members of the second generation of the English Musical Renaissance have long been associated with a break from the Teutonic influence of their predecessors to create a musical idiom that is quintessentially English. Scholarship has long looked at these composers, who include those born between Vaughan Williams and Moeran, in isolation from the artistic movements and political and social issues of Europe, when in fact they were part of them. This thesis places these composers within these currents by discussing them as part of England’s Lost Generation and within the historical contexts of Europe in the early twentieth century. Though the Lost Generation is often associated with the post-war period, I propose that the phenomenon existed prior to World War I by focussing on England’s aesthetic lostness in the late Victorian and Edwardian eras. The Lost Generation of composers inherited a musical culture that had been aesthetically lost for two hundred years and rebelled against it to define a musical idiom that was quintessentially English. After placing the second generation of the English Musical Renaissance within its historical contexts, I call into question previous discussions on English music that define it according to single definitions largely associated with the Pastoral School or the Folk School. Instead, I propose that the music of this generation was stylistically diverse while simultaneously a manifestation of common cultural influences, ultimately rooted in the goal of creating a sense of community. To support this claim, I discuss the various stylistic techniques of individual composers within their collective cultural influences, including the music of England’s past, the landscape, and English literature. Furthermore, I explore the role of musical community, both as a central goal in the creation of a national idiom and as a source of compositional inspiration. By examining the influences and compositional styles of these composers, I conclude that the music of this generation broke from Continental influences by developing a national idiom that was both stylistically unique to the individual composer and tied to common cultural influences that were rooted in the goal of creating a musical community within England. . / Graduate