Denna studie syftar till att få fram parametrar som medvetet kan användas i ljusdesignprocessen, för att skapa miljöer där människor emotionellt trivs och mår bra. Det har i tidigare forskning huvudsakligen fokuserats på funktionellt ljus, vilket har resulterat i rekommendationer vad gäller belysningsstyrka på arbetsområde. Men något som ännu inte är lika utforskat är hur ljus påverkar oss emotionellt och hur vi upplever miljöer beroende på hur estetiskt utformad miljön är. Studiens syfte är att klargöra förhållanden mellan kontrasters karaktärer och ljusfärg, förhållandet mellan kontrasters karaktärer och känslor, och förhållandet mellan ljusfärg och känslor. Studien var upplagd som en hypotesprövande laborationsundersökning, där tre olika begrepp användes för att arbeta fram kontraster. De begrepp det gällde var ljusets avstånd till yta, ljusflöde och ljuskäglans uppfattade avslut. Dessa begrepp nyttjades i fyra olika ljusscener som fick utvärderas och där huvudhypotesen var att mjuka kontraster påverkar en upplevelse av varm ljusfärg och hårda kontraster inverkar på upplevelse av kall ljusfärg. Vidare fick respondenter svara på vilka känslor som förknippades med mjuka/hårda kontraster respektive varm/kall ljusfärg. Resultaten visar att det kan finnas en koppling mellan mjuka kontraster och varm ljusfärg respektive hårda kontraster och kall ljusfärg. I denna undersökning finns dock en osäkerhetsfaktor, i och med ett något högt SDCM-värde. Det kan ha påverkat färgkvaliteten, vilket kan ha inverkat på slutresultatet. Resultaten visar också att hårda kontraster och kall ljusfärg upplevs stelt, offentligt, exklusivt och kallt. Vidare skapar mjuka kontraster och varm ljusfärg gemensamma känslor som mysigt, varmt, trivsamt, tryggt och inbjudande. Dessa resultat kan ligga som grund vid utformning av miljöer som ska utstråla en viss atmosfär, där kontraster och ljusfärg är en del i att inverka. / The aim of this study is to obtaining parameters that can be consciously used in the lighting design process, to create environments where people feel good and comfortable. Previously research has focused on functional light, which has resulted in recommendations regarding illumination in the work area. But there are not equally explored how light affects us emotionally and how we experience environments depending on how aesthetically designed the environment is. The purpose of the study is to clarify the relationships between the characters of the contrasts and the color of light, the relationship between the characters of the contrasts and emotions, and the relationship between color of light and emotions. The study was disposed as a hypothesis-testing laboratory examination, where three different concepts were used to influence contrasts. The concepts in question were the distance of light to the surface , luminous flux and the perceived end of the light beam. These concepts were used in four different light scenes to be evaluated, and the main hypothesis was that soft contrasts affect the experience of warm color of light and hard contrasts affect the experience of cold color of light. Furthermore, respondents were able to respond to the feelings associated with soft / hard contrasts and warm / cold color of light. The results show that there may be a link between soft contrasts and warm color of light and hard contrasts and cold color of light. However, in this survey, there is an uncertainty factor, with a somewhat high SDCM value. This may have affected color quality, which may have an impact on the end result. The results also show that hard contrasts and cold colors of light are experienced stiff, public, exclusive and cold. Furthermore, soft contrasts and warm color of light create common feelings as cozy, warm, pleasant, safe and inviting. These results can form the basis for designing environments that radiate a certain atmosphere, where contrasts and colors of light are a part of influencing.

This study aims to investigate the developmental ability of beginning and advance L1 English learners of Arabic to pronounce standard Arabic geminate consonants when enrolled in a full time L2 program. The results showed that English learners produced shorter closure duration when pronouncing geminates. In particular, the beginners lengthened singletons more than the advanced learners did, while both groups of learners shortened geminates much more so than native speakers of Arabic. The advanced L1 English learners of Arabic produced longer geminate duration than beginners. The ultimate result was a smaller ratio between singleton and geminate consonants in comparison to native speakers of Arabic.

Le but de cette thèse est de mieux comprendre le phénomène de renforcement initial pour les voyelles du français : ses mécanismes de réalisations et sa fonction linguistique. Pour cela, cette thèse compare la réalisation acoustique et articulatoire (lèvres et menton) des voyelles orales du français /i, e, ɛ, a, y, ø, œ, u, o, ɔ/ en position strictement initiale de Groupe Intonatif et en position médiane de Groupe Intonatif. Le corpus a été enregistré par quatre locutrices avec deux appareils en simultané : une caméra pour l’analyse de l’aperture et l’étirement des lèvres et un appareil de capture mouvements (Qualisys) pour l’analyse articulatoire de la protrusion des lèvres et de l’abaissement du menton. Une étude acoustique a également été menée (formants, intensité, durée). Cette thèse montre que, d’une part, le renforcement initial modifie des caractéristiques phonétiques des voyelles qui peuvent contribuer, à renforcer les contrastes syntagmatiques en augmentant la sonorité de la voyelle: augmentation de l’aperture et l’étirement aux lèvres pour l’ensemble des voyelles et augmentation d’intensité acoustique pour la plupart. D’autre part, le renforcement initial renforce des caractéristiques acoustiques et articulatoires propres à chaque voyelle. Ces variations contribuent à maximiser les contrastes paradigmatiques entre voyelles : soit par une maximisation de chacune des valeurs du contraste ([+F] et [-F]), soit par une maximisation d’une des deux valeurs du contraste ([+F] ou [-F]). / The goal of this thesis is to better understand the phenomenon of domain-initial strengthening on French vowels: how it is realized and its linguistic function. We compare the acoustic and articulatory variations (on the lips and chin) of the French oral vowels /i, e, ɛ, a, y, ø, œ, u, o, ɔ/ in initial position of Intonational Phrase and in medial position of Intonational Phrase. The corpus was recorded by four female speakers with two different systems simultaneously. Lip aperture and lip width were analyzed from the video data and lip protrusion and lowering of the chin were captured by an optical motion capture system (Qualisys). An acoustic study was also conducted (formants, intensity, duration). Results show that initial strengthening affects phonetic properties of vowels which may contribute to enhance syntagmatic contrasts by increasing their sonority: increased lip aperture and width for all vowels, and increased acoustic intensity for most. Moreover, initial strengthening enhances vowel-specific acoustic and articulatory properties. Consequently, initial strengthening contributes to maximize paradigmatic contrasts between vowels, either by maximizing contrast of each of the values ([+F] and [-F]), either, or by maximizing the value of a single contrast ([+F] or [-F]).

No description available.

Ce mémoire explore deux aspects importants de ma musique : la polymodalité et le contraste. Nous verrons donc les différents modes utilisés dans mon œuvre ainsi que les façons de les superposer. Les contrastes se retrouvent aussi en abondance dans ma musique : je proposerai plusieurs manières de créer des contrastes ainsi que l’effet désiré. Les aspects formel, rythmique, harmonique et mélodique vont nourrir l’analyse de ses deux facettes dans quatre compositions : Fantasia Armonica, pour quatre violons, mon premier Quatuor à cordes, Jeux d’Ombres pour le Nouvel Ensemble Moderne et Poudrerie pour orchestre. Ces pièces présentent ainsi des gestes contrastants ayant un but dramatique, humoristique ou jouant avec l’anticipation de l’auditeur. La polymodalité peut s’exprimer en de multiples configurations, allant de la polyphonie à la stratification. / This dissertation expounds on two important aspects of my music: polymodality and contrasts. Moreover, I describe various modes used in my pieces and how they can be superimposed. In addition, it is demonstrated that the listener can find a range of contrasts profusely used in my music. Four aspects, formal, rhythmical, harmonical and melodical will help analyse those two facets in four of my compositions: Fantasia Armonica for four violins; my first string quartet; Jeux d’Ombres for the Nouvel Ensemble Moderne; and Poudrerie for orchestra. Those pieces pose contrasting gestures that have dramatic or humorous goals or play with the listener's anticipation. Polymodality can be expressed in various manners, polyphonically or in musical layers.

SUmmaries in Afrikaans and English / Text in Afrikaans / Die oogmerk van hierdie verhandeling is om te wys op die tekstuele en visuele kontraste in Georgi con 11.1 - 108. Ten aanvang word 'n bree vergelyking getreftussen Georgicon I en II om sodoende die funksie asook die effek van Boek 2 in die viertal gedigte te bepaal. Vir 'n meer indringende ontleding word Boek 2, asook die relevante verse, skematies verdeel en alhoewel die panoramiese effek versteur word, kan die problematiek van hierdie gedig alleenlik s0 noukeuriger opgelos word. Daar word getoon dat Boek 2 in drie afdelings verdeel is met 'n laus-tema wat telkens as hoogtepunt dien vir elk van die dele. Ook die oorkoepelende tema van variatio-labor en die wisselwerking daarvan kan duideliker waargeneem word. Verse I - I 08 is didakties van aard en eenvoudige patrone word saamgestel uit alledaagse objekte en idees. Vergilius slaag daarin om vergelykings af te dwing en om kontras te bewerkstellig deur die skep van imagines. Hierdie beelde kom duideliker na vore deur 'n baie noukeurige analise van die teks en s6 word vorm, lyn, kleur en tekstuur beklemtoon en gekontrasteer. W anneer die fokus verskuif vanaf die natuur na die mens, word daar gewys op die kontras in verse 3 5 - 46 tussen die landbouers en die politieke magsfiguur van Maecenas. Die onderliggende felix I fortuna/us tema word s6 beklemtoon. Die problematiek van didaktisisme word aangespreek deur die effek van die kontrastering van parallelle passasies aan te toon. As Leitmotiv word telkens gewys op die tekstuele en visuele kontraste in die digter se keuse en rangskikking van 'n ryke verskeidenheid van borne - met spesifieke verwysing na hulle aard, voorkoms, herkoms en funksie. / The aim of this dissertation is to indicate the textual and visual contrasts in Georgi con TI.l - 108. In a broad comparison between Georgica I and II the function and the effect ofBook 2 within the framework of the four poems is determined. With a view to a more penetrating analysis, Book 2 as a whole and specifically lines 1 - 108 will be dealt with schematically. Although this puts the panoramic effect at risk, it is the only way in which the complexities of this poem can be successfully resolved. Book 2 is shown to have a tripartite structure, with a taustheme as the climax of each of the three divisions. The over-arching theme of reciprocating variatio- labor also comes to light more clearly. Lines I - I 08 are of a didactic nature, and simple patterns are shaped out of everyday objects and ideas. By creating imagines Vergil manages to enforce comparisons and to bring about contrasts. A meticulous analysis of the text highlights these images more clearly and in this manner the poet accentuates colour, form, line and texture. When the focus shifts from nature to man, the contrast between the farmers and the politically powerful Maecenas in lines 3 5 - 46 is brought to the fore to emphasize the underlying theme of felix I fortunatus. The problem of didacticism is addressed by focusing on the effect of the contrasts between parallel passages. The textual and visual contrasts in the poet's choice and marshalling of a rich variety of trees, with a particular reference to their nature, occurrence, provenance and function, serve as Leitmotif for the dissertation as a whole. / Classics and Modern European Languages / M.A. (Latyn)

SUmmaries in Afrikaans and English / Text in Afrikaans / Die oogmerk van hierdie verhandeling is om te wys op die tekstuele en visuele kontraste in Georgi con 11.1 - 108. Ten aanvang word 'n bree vergelyking getreftussen Georgicon I en II om sodoende die funksie asook die effek van Boek 2 in die viertal gedigte te bepaal. Vir 'n meer indringende ontleding word Boek 2, asook die relevante verse, skematies verdeel en alhoewel die panoramiese effek versteur word, kan die problematiek van hierdie gedig alleenlik s0 noukeuriger opgelos word. Daar word getoon dat Boek 2 in drie afdelings verdeel is met 'n laus-tema wat telkens as hoogtepunt dien vir elk van die dele. Ook die oorkoepelende tema van variatio-labor en die wisselwerking daarvan kan duideliker waargeneem word. Verse I - I 08 is didakties van aard en eenvoudige patrone word saamgestel uit alledaagse objekte en idees. Vergilius slaag daarin om vergelykings af te dwing en om kontras te bewerkstellig deur die skep van imagines. Hierdie beelde kom duideliker na vore deur 'n baie noukeurige analise van die teks en s6 word vorm, lyn, kleur en tekstuur beklemtoon en gekontrasteer. W anneer die fokus verskuif vanaf die natuur na die mens, word daar gewys op die kontras in verse 3 5 - 46 tussen die landbouers en die politieke magsfiguur van Maecenas. Die onderliggende felix I fortuna/us tema word s6 beklemtoon. Die problematiek van didaktisisme word aangespreek deur die effek van die kontrastering van parallelle passasies aan te toon. As Leitmotiv word telkens gewys op die tekstuele en visuele kontraste in die digter se keuse en rangskikking van 'n ryke verskeidenheid van borne - met spesifieke verwysing na hulle aard, voorkoms, herkoms en funksie. / The aim of this dissertation is to indicate the textual and visual contrasts in Georgi con TI.l - 108. In a broad comparison between Georgica I and II the function and the effect ofBook 2 within the framework of the four poems is determined. With a view to a more penetrating analysis, Book 2 as a whole and specifically lines 1 - 108 will be dealt with schematically. Although this puts the panoramic effect at risk, it is the only way in which the complexities of this poem can be successfully resolved. Book 2 is shown to have a tripartite structure, with a taustheme as the climax of each of the three divisions. The over-arching theme of reciprocating variatio- labor also comes to light more clearly. Lines I - I 08 are of a didactic nature, and simple patterns are shaped out of everyday objects and ideas. By creating imagines Vergil manages to enforce comparisons and to bring about contrasts. A meticulous analysis of the text highlights these images more clearly and in this manner the poet accentuates colour, form, line and texture. When the focus shifts from nature to man, the contrast between the farmers and the politically powerful Maecenas in lines 3 5 - 46 is brought to the fore to emphasize the underlying theme of felix I fortunatus. The problem of didacticism is addressed by focusing on the effect of the contrasts between parallel passages. The textual and visual contrasts in the poet's choice and marshalling of a rich variety of trees, with a particular reference to their nature, occurrence, provenance and function, serve as Leitmotif for the dissertation as a whole. / Classics and Modern European Languages / M.A. (Latyn)

Employer monitoring of communications is prevalent and on the rise due in part to the Sarbanes-Oxley Act, the Health Insurance Privacy Protection Act, and other legislation in the U.S. and other countries. However, the critical effect of this new activity on what is communicated in companies has not been assessed. This dissertation examines the impacts of computer mediated communication systems monitoring on neutral, incriminating and exculpatory content, as well as the overall volume of communications issued on monitored and non-monitored computer mediated communication systems. Incriminating communication is cataloged in a hazard communications taxonomy for this investigation. A controlled laboratory experiment has subjects participate in an instant messaging discussion on a topic for which they are likely to be aware of information that is incriminating to their organization, or its members, or both. Consistent with self awareness theory, monitored subjects engage in significantly less overall and neutral communication. They volunteer fewer high intensity hazard communications, but are less likely to curtail low intensity hazard communications. They issue denials about more incriminating topics. Contributions to research include theory development, especially in the area of standard selection; application of self-awareness theory to the new domain of computer mediated communications monitoring; a research framework; a taxonomy and coding scheme for the new hazard communications constructs; and a relative standards influence instrument and methodology for use in studying competing standards. Implications for corporate monitoring and communications policies are discussed, and a research agenda is outlined.

In many languages, antipassive morphology is comprised of aspectual morphology (Polinsky 2008). This thesis presents an analysis of the syntax and semantics of antipassives in Inuktitut by exploring the link between aspectual morphology and antipassive morphology. It resolves the longstanding question as to the factors governing the distribution of the antipassive morpheme, showing that the presence of the antipassive morpheme is determined by the meaning of the construction, i.e. it does not merely change the grammatical function. It is proposed that the antipassive construction has imperfective viewpoint in contrast to the ergative construction. Antipassive morphology is obligatory with punctual telic verbs, i.e. achievements, which are verbs that have perfective viewpoint by default. Antipassive morphology is thus necessary to convey imperfective viewpoint for verbs that are by default perfective. Using a modified Reichenbachian (Reichenbach 1947) framework, it is shown that imperfective viewpoint does not allow for telic interpretations. Instead, punctuality determines the types of viewpoint, which coincide with the aspectual meaning of the antipassive marker. Viewpoint contrasts in Inuktitut are encoded not only in morphology but in changes of case and agreement configurations. They are derived using a version of the Minimalist Program (Chomsky 2008). Imperfective viewpoint can either be default, in which case there is inherent case on the internal argument, or derived through the addition of antipassive morphology, in which case the construction closely parallels a nominative-accusative structure. Perfective viewpoint is encoded through absolutive case on the internal argument, either in an ergative construction or in a canonical intransitive construction with unaccusative verbs. The thesis provides insight into the relation between case-agreement configurations and aspectual contrasts in language and the nature of those aspectual contrasts. It also provides a new approach to the relation between lexical aspect and viewpoint by considering the role of punctuality.

In many languages, antipassive morphology is comprised of aspectual morphology (Polinsky 2008). This thesis presents an analysis of the syntax and semantics of antipassives in Inuktitut by exploring the link between aspectual morphology and antipassive morphology. It resolves the longstanding question as to the factors governing the distribution of the antipassive morpheme, showing that the presence of the antipassive morpheme is determined by the meaning of the construction, i.e. it does not merely change the grammatical function. It is proposed that the antipassive construction has imperfective viewpoint in contrast to the ergative construction. Antipassive morphology is obligatory with punctual telic verbs, i.e. achievements, which are verbs that have perfective viewpoint by default. Antipassive morphology is thus necessary to convey imperfective viewpoint for verbs that are by default perfective. Using a modified Reichenbachian (Reichenbach 1947) framework, it is shown that imperfective viewpoint does not allow for telic interpretations. Instead, punctuality determines the types of viewpoint, which coincide with the aspectual meaning of the antipassive marker. Viewpoint contrasts in Inuktitut are encoded not only in morphology but in changes of case and agreement configurations. They are derived using a version of the Minimalist Program (Chomsky 2008). Imperfective viewpoint can either be default, in which case there is inherent case on the internal argument, or derived through the addition of antipassive morphology, in which case the construction closely parallels a nominative-accusative structure. Perfective viewpoint is encoded through absolutive case on the internal argument, either in an ergative construction or in a canonical intransitive construction with unaccusative verbs. The thesis provides insight into the relation between case-agreement configurations and aspectual contrasts in language and the nature of those aspectual contrasts. It also provides a new approach to the relation between lexical aspect and viewpoint by considering the role of punctuality.