[pt] A tese apresenta o modelo poligonal, um paradigma autoral criado para a análise de canções populares centrado no peso de quatro parâmetros: melodia, contabilidade, forma e sentido. Traduções de canções podem ser avaliadas usando os mesmos quesitos, o que permite uma visualização rápida dos erros e acertos do tradutor. O modelo é colocado à prova com a análise e tradução autoral (e comentada) de três canções: Highway 61 Revisited e All Along the Watchtower, de Bob Dylan, e Idioteque, do Radiohead. Uma semelhança influenciou a escolha desses dois artistas: eles têm fases musicais muito bem definidas: Dylan começou a carreira como músico folk tocando instrumentos acústicos e acabou adotando instrumentos elétricos; já o Radiohead tinha um som rock n roll e lançou álbuns com uma influência mais eletrônica. Então, para pensar na questão da performance e nas influências artísticas de cada canção, as três traduções foram gravadas. / [en] This dissertation introduces the polygonal model, a paradigm for the analysis of translation of popular music centered around four parameters: melody, singability, form, and sense. Translations of songs can be evaluated with the same criteria, which allows for a quick way to visualize the translator s mistakes and successes. The model is tested with the analyses of commented translations of three songs: Highway 61 Revisited and All Along the Watchtower, written by Bob Dylan, and Idioteque, written by Radiohead. A similarity influenced why those two artists were chosen: Dylan started out as a folk musician playing acoustic instruments and then went electric; Radiohead had a rock n roll sound, but then released albums with a heavy electronic influence. In order to think about performance and the artistic influences from each song, the three translations were recorded.

Uppsatsen belyser delar av komplexiteten i Bob Dylans författarskap via en analys av det medvetna bruket av intertextualitet i sex låtar från tre olika album, alla från mitten av 1960-talet. Det klarläggs att Dylan inte kan förenklas till endast alluderingar till Shakespeare, utan att författarskapet innehåller en hög grad av komplexitet. Syftet är alltså att visa på låtskrivarens medvetna influenser, alluderingar, citat, omskrivningar och satir och hur det påvisar tesen. Analysexemplen, som de framstår via det litteraturvetenskapliga verktyget, påvisar olika kopplingar. Även om författaren är komplex från första texten utvecklas poeten från att referera till folktraditionen till att alludera till författare som Edgar Allen Poe, William Blake, Dylan Thomas och Allen Ginsberg i de senare exemplen. / This essay highlights parts of the complexity in Bob Dylan’s authorship via an analysis of the conscious usage of intertextuality in six songs from three different albums, all from the middle of the 1960’s. It is elucidated that Dylan’s lyrics cannot be simplified as only allusions to Shakespeare and it is shown that the lyrics contains a high level of complexity. The purpose is to display the author’s conscious use of references such as allusions, quotes, euphemisms and satire and show how those supports my thesis. The texts, as they are perceived through intertextuality, shows different connections. Even though the author is complex from the first example to the last, it is shown in this essay that he progresses from referring to the old folk music tradition to alluding to authors such as Edgar Allen Poe, William Blake, Dylan Thomas and Allen Ginsberg in the later examples.

Made available in DSpace on 2016-03-22T17:26:50Z (GMT). No. of bitstreams: 1 andre.pdf: 2791010 bytes, checksum: ce3338d300f06cc0e98e90446eb8df0f (MD5) Previous issue date: 2012-06-26 / This research investigates how the children in the Eradication of Child Labour perceive the cartoon SpongeBob Square Pants within the extended working day. This analysis includes a comparison with the perception of a group socially adapted to a social condition "ideal", according to the values propounded by the system itself. As a theoretical reference in the field of cultural studies take based on the writings of authors such as DOUGLAS KELLNER, RAQUEL SOIFER and STUART HALL. Issues related to children were used texts of Aries, and BIASOLI, LUCIA CASTRO. The study was supported by the reception of texts and GUILLERMO OROZCO, MARTIN BARBERO. Whereas the display of cartoons is one of the activities within the PETI, this study relates the cartoon SpongeBob and behavior of children in the "Extended School Day," taking into account the profile, context, subjectivity and historicity / Este trabalho de pesquisa investiga a forma como as crianças atendidas pelo Programa de Erradicação do Trabalho Infantil percebem o desenho animado Bob Esponja Calça Quadrada dentro da jornada ampliada. Esta análise contempla um estudo comparativo das crianças do PETI com a percepção de um grupo socialmente adaptado a uma condição social ideal , segundo os valores propugnados pelo próprio sistema. Como referência teórica na área dos estudos culturais, tomamos por base os textos de autores como DOUGLAS KELLNER, RAQUEL SOIFER e STUART HALL. Às questões relacionadas à infância foram utilizados os textos de ARIÈS, BIASOLI e LÚCIA CASTRO. O estudo de recepção está embasado pelos textos de MARTIN BARBERO E GUILLERMO OROZCO. Considerando que a apreciação de desenhos animados é uma das atividades desenvolvidas dentro do PETI, esta pesquisa procura revelar a importância do desenho animado Bob Esponja Calça Quadrada na construção identidade infantil, levando em conta o perfil, o contexto, a subjetividade e a historicidade da criança alvo da política social em questão

IT-system kan delas upp i två huvudgrupper: Enterprise Resource Planning (ERP)-system och Best of Breed (BoB)-system. Ett ERP-system definieras som ett system vars funktioner använder en gemensam databas och kan därigenom binda ihop olika IT-system. Användaren kan då enkelt komma åt data inom den egna organisationen från sin egen arbetsstation utan att söka igenom flera olika system, jämfört med system som arbetar parallellt och inte samlar data i en gemensam databas. BoB-system är inriktade på en specifik tjänst, men är utvecklade för att klara av att utföra den så bra som möjligt. De är inriktade på sina specifika uppgifter och använder inte någon gemensam databas, eftersom de är byggda av olika utvecklare och leverantörer. När ett företag ska investera i ett system finns det flera aspekter att ta hänsyn till, exempelvis om värdet systemet väntas ge kommer överstiga utvecklings- samt driftkostnaden och/eller vilken systeminvestering som kommer effektivisera arbetet mest. I denna uppsats presenteras en fallstudie som genomförts på Swedbank Robur AB, Sveriges största fondförvaltningsbolag. Fallstudien utfördes med syftet att påvisa centrala aspekter och problem vad gäller systemmiljö och val av systemtyp i relation till detta. Tre personer med olika positioner och arbetsuppgifter har intervjuats på Robur, för att erhålla en helhetsbild av systemmiljön från flera perspektiv, vilket säkerhetsställs genom det faktum att de personer som intervjuats har olika roller och ansvar i samband med systemnyttjandet. En mer generell intervju utöver fallstudien, har även genomförts med Microsofts utvecklingschef för att uppnå jämförbarhet med andra system och användare. Baserat på de fakta studien redovisat har det blivit uppenbart att det är mycket svårt för företag att enbart använda sig av ERP-system då viss funktionalitet är specifik för företaget. Studien har även funnit att begreppet ERP är väldigt vagt och kan tolkas på många sätt. / IT-systems can be divided into two distinct groups, Enterprise Resource Planning (ERP) systems and Best of Breed (BoB) systems. An ERP-system is defined as a system where a number of functions are brought together and use a common database, in order to link different IT-systems. It makes it easier to access data within the organization from the users own workstation without looking through several different systems, compared to systems that work in parallel and do not collect data in a common database. BoB-systems are geared towards a specific service and are developed to be able to perform their tasks as good as possible. They are focused on their specific tasks and are not joined together through a common database, since there are different developers or vendors for the different systems. When a company is going to invest in a system there are many aspects to consider, for example whether the expected value will exceed the associated development and operating costs, and/or which system will increase the efficiency of the tasks the most. This thesis presents a case study done at Swedbank Robur AB, Sweden’s largest fund management company. The case study was carried out with the aim to find central aspects and problems with different IT-environments and the choice of systems in relation to these. Three persons with different positions and work tasks were interviewed at Robur, to give their individual opinions and a good overall picture of their system environment. A more general interview was also carried out with Microsoft’s development manager to achieve comparability with other systems and users. This thesis shows that it is not possible for large companies to only use ERP-systems, when certain functionality is specific to the company. We have also seen that the concept of ERP is very vague and can be interpreted in different ways. It is also concluded that the definition of ERP is very vauge and can thus be interpreted in several ways.

This thesis examines concrete poetry in England and Scotland from 1962 to 1975. Through the 1950s-70s, international concrete poetry evolved away from constructivist influenced, “classical” ideals of minimalism and iconic visual effect towards principles owing more to Dadaism and Futurism: spontaneity, maximalism, sonority and an emphasis on intermedial expression. Against this backdrop, using close textual analysis supported by primary research, I engage with four poets whose work collectively exemplifies the wide range of values which concrete poetry represented in England and Scotland during the period in question. A movement away from classical ideals can be tracked across the oeuvres of Finlay, Morgan, Houédard and Cobbing; but many aspects of their work cannot be accounted for by this general rubric. Finlay saw concrete poetry as a means of casting off Scottish literary tradition, but also of embodying an immutable vision of aesthetic and ethical order, using a marriage of the visual and linguistic to emphasise links between disparate ideas and things. However, his restless reconfiguration of poetry’s visual-physical aspects ultimately resulted in a re-separation of word and image which, together with an increasing historical-mindedness, ended his attachment to the style. Morgan, by contrast, used concrete poetry to redefine rather than repel Scottish literary culture, and was a more context-focused poet, using concrete grammar – whose sonic possibilities he exploited more than Finlay – to depict specific communicative scenarios, and thus to register ethical and political imperatives, often reflecting Scottish nationalist ideals. The emphasis on semantics common to Morgan and Finlay’s work, reflecting relative fidelity to classical principles, is overridden in Houédard’s concrete poetry, which came to employ a grammar of abstract visual motifs in which linguistic meaning was subsumed, related as much to apophatic theology as to classical concrete. For Cobbing too, concrete became a means of evading language, in his case to access a transcendent realm of “intermedial” poetry equally related to language’s sonic and visual dimensions, and influenced by various contemporary artforms, and by counter-cultural ideals. However, Cobbing’s emphasis on performing poems, and the reintegration of semantics into his work throughout this period, led by the early 1970s to an alternative poetic ideal of relativity.

Excerpt: In 1975, Bob Dylan invited Sam Shepard, the young playwright who had ignited the Off-Broadway and London theatre scene, to go on tour with him in order to write scenes and dialogue for a film of the Rolling Thunder Revue.

With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles. / https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg

Katherine Weiss’s chapter addresses the ways both Dylan and Sam Shepard work to destabilize American myths while insisting upon the very necessity of such myths—in the form of masks, or always mutating performances. By focusing specifically on Shepard’s relationship with and effort to understand him, Weiss reveals the significance of Dylan’s protean nature (as it relates to America’s tendency to get trapped in, or to reify, its necessary myths). At the same time, she shows how Dylan and Shepard collaborated to break down outmoded myths by resurrecting, necessarily, new, albeit more temporary, unstable, performative ones—especially in their interrogation of the concept of American identity. Weiss draws particular attention to Shepard and Dylan’s collaboration on the song “Brownsville Girl” (1986).

<p>Detta arbete är skapat av Andreas Bartziokas, som examensarbete för VT 2009. I denna uppsats beskrivs hur spelet B.O.B. har skapats. Vilken litteratur som varit användbar för skapandet av spelet, samt en övergripande beskrivning av själva spelet.</p>

An oral history of television comedy from the early 1950s through the mid 1970s as told by the writers Sydney Zelinka, Larry Rhine, Milt Josefsberg, and the team of Seaman Jacobs and Fred S. Fox. The shows they wrote for included "The Honeymooners," "The Phil Silvers Show," "The Red Skelton Hour," Bob Hope specials, "Here's Lucy," "All in the Family," and "Maude." These five writers were working in the earliest days of the medium and spent years writing for the personalities--from performers to producers--who pioneered and defined it. Most of them also wrote scripts during one of broadcast television's greatest periods of transformation, when comedy took a decidedly topical turn that continued to have a significant impact on television comedy in the decades that followed. / text