O propósito desta dissertação é apresentar uma leitura de duas narrativas de Sagarana, São Marcos e A hora e vez de Augusto Matraga, como alegorias do fazer literário em G. Rosa. Na primeira, os elementos de feitiçaria, de reza brava e de experiências com a palavra são tomados como alegorias das concepções de linguagem e dos modos como se produzem os fazeres literários. Estas concepções e estes procedimentos passam por vários ensaios de avaliação de sua força produtora de efeitos poéticos e ficcionais, o que faz de São Marcos um laboratório da língua e de seus personagens verdadeiros artífices da palavra. Na segunda, a experiência do homem frente ao seu destino e sua luta contra a dominação e em favor da permanência de sua fama são consideradas como experiências semelhantes às do trabalho com a linguagem contra a domesticação normativa da escrita, o desgaste pelo uso excessivo ou o esquecimento pelo desuso. Assim, neste conto, a ficção encena, como seu efeito alegórico, a recaptura da condição selvagem, primitiva da linguagem. Em ambas, esta leitura tenta colher os elementos de uma poética rosiana, profundamente meditada e pensada no interior de sua própria produção literária. / This dissertation aims at presenting a reading of the Sagaranas two narratives, São Marcos and A hora e vez de Augusto Matraga, as literary composing alegories in G. Rosa. In the first narrative, the elements of sorcery, praying and experience with the word are taking as alegories of the language conceptions and the manners by wich the literary composings are created. These conceptions and proceedings are essayed to evaluate their producing force of poetics and fictional effects, in such a way that São Marcos turns a language laboratory and theirs characters true word artisans. In the further, The mans experience in front of his destiny and his fight both against the domination and for the permanency of his fame are taking as experiences like that of the labor with a language against writing normative domestication, the waste of excessive usage and the oblivion of the disuse. Therefore, in this story, the fiction shows, like alegoric effect, the recapture of the wild, primitive language condition. In both, this reading attempts to collect the elements of a Rosas poetic, deeply meditated and wellconsidered inside of their owns literary production.

This study explored the many layers involved in young children’s meaning-making as they digitally compose. Utilizing a multimodal, social semiotics theoretical framework to analyze children’s digital compositions using a composing app, this study was designed around one research question: What is the nature of three and four-year-old children’s multimodal meaning making while using a composing app? The qualitative study involved four focal participants from a three- and four-year-old classroom, who attended an inquiry-based lab school in the southeastern United States. The data were collected over a period of eight weeks, where the children were invited to tell their stories using a digital composing app on an iPad. Utilizing a naturalistic observational approach, the composing events were video-recorded and transcribed, capturing both what happened on and off the screen. Utilizing a multimodal analysis, the findings revealed multiple layers in young children’s compositional expression and exposed the importance of how compositions evolve. The affordances of digital tools offered opportunity for children to build layers of meaning and for those layers to be captured in ways not necessarily available before.

Master of Music / The use of error by composers as a means of adding colour to a musical text has a long history, but the device is ultimately ineffective. Material whose significance is its incongruity is incorporated by recontextualization, and in time, becomes familiar and unremarkable. ‘Glitch’ is a stylistic mannerism within electroacoustic composition that emerged in the late 1990s. Glitch, or ‘microsound’, as it is known in an academic context, observes the conventions of music concrète, drawing on material sampled from the real world, and fashioning this into sonic narratives. Its signature is the ‘sound of failure’, sonorities characteristic of electronic devices malfunctioning or mis-used: clicks, crackles, distortions, fractured digital files. Glitch/microsound has already diminished from a movement to a mannerism, but its legacy is a refreshment of our palette of sonorities, and an interrogation of the very act of listening. This essay is short examination of the use (and nature) of noise a musical ingredient and the significance of glitch/microsound for electroacoustic composers. It concludes that this ‘style’ is little more than a nuance, and that its advent and advocacy were less to do with a new musical movement, than with a new generation of electronic composers attempting to distinguish itself.

Components are widely seen by software engineers as an important technology to address the "software crisis''. An important aspect of components in other areas of engineering is that system reliability can be estimated from the reliability of the components. We show how commonly proposed methods of reliability estimation and composition for software are inadequate because of differences between the models and the actual software systems, and we show where the assumptions from system reliability theory cause difficulty when applied to software. This thesis provides an approach to reliability that makes it possible, if not currently plausible, to compose component reliabilities so as to accurately and safely determine system reliability. Firstly, we extend previous work on input sub-domains, or partitions, such that our sub-domains can be sampled in a statistically sound way. We provide an algorithm to generate the most important partitions first, which is particularly important when there are an infinite number of input sub-domains. We combine analysis and testing to provide useful reliabilities for the various input sub-domains of a system, or component. This provides a methodology for calculating true reliability for a software system for any accurate statistical distribution of input values. Secondly, we present a calculus for probability density functions that permits accurately modeling the input distribution seen by each component in the system - a critically important issue in dealing with reliability of software components. Finally, we provide the system structuring calculus that allows a system designer to take components from component suppliers that have been built according to our rules and to determine the resulting system reliability. This can be done without access to the actual components. This work raises many issues, particularly about scalability of the proposed techniques and about the ability of the system designer to know the input profile to the level and kind of accuracy required. There are also large classes of components where the techniques are currently intractable, but we see this work as an important first step.

Grounded in computers and composition scholarship, this mixed-methods dissertation project investigates how digital literacy is being represented and instantiated across U.S. writing programs. Using critical theories of technology as my theoretical framework, I draw on three large data sets, including a national survey of 70 Writing Program Administrators (WPAs) concerning programmatic commitments to digital literacy, a multimodal critical discourse analysis of these programs' websites, and follow-up interviews with survey respondents. Based on my analysis of these data sets, I argue that the focus of most programmatic discourses and practices tends to construct digital literacy in terms of how technological tools can be employed to meet rhetorical outcomes. I maintain, however, that with writing programs as a central force in the renegotiation of digital literacies, WPAs are in a unique position, through discourses and practices, to rearticulate digital literacy as not just a skill or means to improving rhetorical awareness for print composing but also an analytic to examine the social, political, and educational forces undergirding electronic texts and technologies—making visible the social relations involved in technology implementation and encouraging examinations of how technologies affect composing processes. This critical approach positions students as not just consumers but producers of new media who are able to become active agents of change in technological environments. Discussing the challenges that come along with taking a critical approach to technology integration at the programmatic level, I suggest a framework for addressing these challenges—including localizing technologies, mapping local practices to national goals, employing a multiliteracies training model, foregrounding assessment, and fostering communities of practice around digital literacy.

Master of Music / The use of error by composers as a means of adding colour to a musical text has a long history, but the device is ultimately ineffective. Material whose significance is its incongruity is incorporated by recontextualization, and in time, becomes familiar and unremarkable. ‘Glitch’ is a stylistic mannerism within electroacoustic composition that emerged in the late 1990s. Glitch, or ‘microsound’, as it is known in an academic context, observes the conventions of music concrète, drawing on material sampled from the real world, and fashioning this into sonic narratives. Its signature is the ‘sound of failure’, sonorities characteristic of electronic devices malfunctioning or mis-used: clicks, crackles, distortions, fractured digital files. Glitch/microsound has already diminished from a movement to a mannerism, but its legacy is a refreshment of our palette of sonorities, and an interrogation of the very act of listening. This essay is short examination of the use (and nature) of noise a musical ingredient and the significance of glitch/microsound for electroacoustic composers. It concludes that this ‘style’ is little more than a nuance, and that its advent and advocacy were less to do with a new musical movement, than with a new generation of electronic composers attempting to distinguish itself.

abstract: This study articulates a framework of writing strategies and validates the framework by using it to examine the writing process of researchers as they write journal articles for publication. The framework advances a definition of writing strategies and a classification system for categorizing strategies that is based on strategic goals. In order to develop the framework, I first synthesize existing literature on writing strategies found in second language writing studies, composition studies, and second language acquisition. I then observe the writing process of four researchers as they write journal articles for publication and use the framework to analyze participants’ goals, their strategies for accomplishing goals, the resources they use to carry out strategies, and the variables that influence their goals and strategies. Data for the study was collected using qualitative methods, including video recordings of writing activities, stimulated-recall interviews, questionnaires, and semi-structured interviews. The study shows that the framework introduced in the study is useful for analyzing writers’ strategies in a comprehensive way. An operationalizable definition of ‘writing strategies’ is the conscious and internalized agentive ideas of a writer about the best way to act, often with the use of resources, in order to reach specific writing goals embedded in a context. Writing strategies can be categorized into seven types of strategic goals: composing, coping, learning, communicating, self-representation, meta-strategies, and publishing. The framework provides a way to understand writing strategies holistically—as a unit of goal, action, and resource—and highlights variability in writers’ actions and use of resources. Some of this variability in writers’ strategies can be explained by the influence of various contextual factors, which are identified in the analysis. The dissertation concludes with a discussion of how the framework can be used to inform future research and classroom teaching on writing strategies. / Dissertation/Thesis / Doctoral Dissertation Applied Linguistics 2016

Den här uppsatsen handlar om hur musik kan påverka upplevelsen av rörlig bild, samt processen kring att skriva musik till. En scen ur filmen Jurassic Park från 1993, har använts för att skriva ny filmmusik till, med syftet att undersöka om den nyskrivna musiken kunde framkalla andra känslor än vad originalmusiken gjort. Efter förberedelser, instudering och komponerande uppkom ett nyskrivet orkesterstycke kallat The Dinosaur, som spelades in med både digitala ljud och riktiga stråkinstrument. Det genomfördes sedan en undersökning där testpersoner fick titta på både klippet med originalmusiken och klippet med den nya musiken, samt beskriva sina känslor i detta genom att svara på en enkät. Enkätundersökningen visade att testpersonerna verkade uppleva mer olika känslor när de såg klippet med den nyskrivna musiken, än när de såg klippet med originalmusiken då de svarade mer likartat. Detta arbete har resulterat i att författaren fått en fördjupad förståelse rörande komponerande av filmmusik, samt sett att filmmusik kan påverka en publiks känslor. / This thesis focuses on how music can affect the experience you get from motion picture, and the process of writing music to it. A scene from the movie Jurassic Park from 1993, was used to write new movie music to, with the purpose of investigating whether the new music could induce other feelings than the original music. After preparations, studying and composing the new written orchestra piece The Dinosaur emerged, which was recorded with both digital sounds and real string instruments. A survey was made where test persons got to see both scenes with the two different music components and describe their feelings by answering a questionnaire. Questionnaire showed that the test persons felt more different feelings to the scene with the new music, and showed more the same emotions when the scene with the original music was shown. This work has resulted in the author gaining a deeper understanding of the composing of film music, as well as how movie music can affect an audience’s feelings.

O propósito desta dissertação é apresentar uma leitura de duas narrativas de Sagarana, São Marcos e A hora e vez de Augusto Matraga, como alegorias do fazer literário em G. Rosa. Na primeira, os elementos de feitiçaria, de reza brava e de experiências com a palavra são tomados como alegorias das concepções de linguagem e dos modos como se produzem os fazeres literários. Estas concepções e estes procedimentos passam por vários ensaios de avaliação de sua força produtora de efeitos poéticos e ficcionais, o que faz de São Marcos um laboratório da língua e de seus personagens verdadeiros artífices da palavra. Na segunda, a experiência do homem frente ao seu destino e sua luta contra a dominação e em favor da permanência de sua fama são consideradas como experiências semelhantes às do trabalho com a linguagem contra a domesticação normativa da escrita, o desgaste pelo uso excessivo ou o esquecimento pelo desuso. Assim, neste conto, a ficção encena, como seu efeito alegórico, a recaptura da condição selvagem, primitiva da linguagem. Em ambas, esta leitura tenta colher os elementos de uma poética rosiana, profundamente meditada e pensada no interior de sua própria produção literária. / This dissertation aims at presenting a reading of the Sagaranas two narratives, São Marcos and A hora e vez de Augusto Matraga, as literary composing alegories in G. Rosa. In the first narrative, the elements of sorcery, praying and experience with the word are taking as alegories of the language conceptions and the manners by wich the literary composings are created. These conceptions and proceedings are essayed to evaluate their producing force of poetics and fictional effects, in such a way that São Marcos turns a language laboratory and theirs characters true word artisans. In the further, The mans experience in front of his destiny and his fight both against the domination and for the permanency of his fame are taking as experiences like that of the labor with a language against writing normative domestication, the waste of excessive usage and the oblivion of the disuse. Therefore, in this story, the fiction shows, like alegoric effect, the recapture of the wild, primitive language condition. In both, this reading attempts to collect the elements of a Rosas poetic, deeply meditated and wellconsidered inside of their owns literary production.

Over the last decade digital technologies have brought significant changes to classroom music, promising support for the realisation of a musical education for all students. National curricula and exam specifications continue to embed technology more deeply. While these changes increasingly impact on music classrooms, there is a growing awareness that the presence of digital technologies may not always promote meaningful compositional development, particularly at GCSE level. A ‘musical’ curriculum seeks to promote meaningful compositional development by building upon a student’s previous musical experience and by providing practical, integrated and collaborative composing experiences. Existing empirical research demonstrates that a wide range of digital technologies are used in secondary classrooms to support students’ compositional processes. When used successfully, such technologies give rise to computer- mediated environments which promote musical composing experiences. At the same time, current models of compositional development do not adequately account for the ways in which such contextual factors mediate students’ compositional development. In response to this, the current research employs a multiple case study approach to explore the ways in which two secondary music students’ compositional development proceeds when working with digital technologies. Drawing from both symbolic interactionism and activity theory as complementary theoretical lenses, students’ own views of their developing composing process are positioned in a critical and reflexive dialogue with the researcher’s own constant analysis. Tools for data collection include a novel synchronous multiple video capture technique (SMV) developed to meet the demands of the project. The methodology draws on ethnographic techniques and the framework for analysis is based on an adapted constant comparative procedure. Set in the context of a UK secondary school the thesis explores several themes which emerge from the stories of Sam and Emily, our two student cases, and which add to current understanding of compositional development with computer-mediated environments. A theoretical model is proposed which presents the process of compositional development in terms of four connections that emerge from Sam’s and Emily’s ways of working. They are: connecting in institutional space, connecting in personalised space, connecting in emancipated space and connecting in shared space. Four developmental points are offered within these spaces: a point of enabling, a point of discovery, a point of transformation and a point of connection. Each point of development is linked to a type of development which, drawing on the literature, have been given the following titles: scaffolded development, serendipitous development, computer-mediated development and creative development. Finally, the study suggests several implications for teachers and avenues for further research relating to the nature of personalised spaces, providing varied contextual opportunities, understanding computer- mediated composing and promoting student ownership.