Partindo da Teogonia e dos Trabalhos e dias de Hesíodo, modelos de poética fundada na verdade, e do conceito de sabedoria humana, como aparece na Apologia de Sócrates de Platão, o presente trabalho estuda a relação entre verdade e poesia nos Idílios de Teócrito fundamento de seu programa poético , e a elocução contenciosa ou competitiva que a veicula. Ao que se segue tradução em verso de todos os idílios hexamétricos autênticos do autor. / Starting from Hesiods Theogony and Works and days, models of a truth-based poetics, and from the concept of human wisdom as it stands in Platos Apology of Socrates, this work focuses on the so-called reciprocal conditioning of truth and poetry in Theocritus Idylls the very basis of his poetic program as well on the quarrelsome or competitive diction which conveys it. There follows a versetranslation of all the true Theocritean Idylls written in hexameters.

<p>Compulsory treatment is regulated by the Care of Alcoholics and Drug Abusers Act (LVM; 1988:870), and aims, among other things, at motivating addicts to treatment. Research has, up til now, mostly disregarded the client-perspective on compulsory measures. This dissertation has its starting point in the experiences of 54 alcohol- and drug addicts. The intention is to describe and analyse their view on coercive care and the possibilities to become motivated for change and/or voluntary treatment in such a context.</p><p>A central question during the interviews (which took place at five different institutions for compulsory commitments) is the addicts´ problem recognition, desire for help and willingness to participate in treatment. These dimensions are also illuminated quantitatively by use of a questionnaire. The results of this questionnaire form the basis of a division of the addicts into three groups with varying de-gree of treatment motivation. Comparisons between the groups are done with reference to the evaluation of present treatment context and of the institutions’ efforts to enhance motivation. In addition to this the groups are compared regarding how they perceive limita-tions in their freedom of action.</p><p>The results showed that the three groups had different motiva-tional structures. The “least motivated” stated that the addiction was not their major problem and wanted no help with that aspect of their lives. The “middle-group” claimed to have alcohol-/drug problems that, however, were not too serious. They were not sure that the coercive care was adequate for their situation. The “most motivated” said that they had vast problems with their addiction, were help-seeking and satisfied with having the chance to participate in any kind of treatment program at all. Less differences between the groups were noticeable when it came to a direct evaluation of com-pulsory treatment. The majority reported that they, through the co-ercion, had been exposed to violations of their autonomy. Whether motivated for treatment or not, the interviewees were also sceptical about the possibilities of the institutions to enhance motivation among the incarcerated addicts.</p><p>In the dissertation, addiction and motivation is furthermore dis-cussed from the perspective of rational choice and motivational the-ory. It is concluded that committed addicts think and act strategically in order to maximise their personal use of involuntary incarcerations. It is also asserted that their view on what happens during commit-ment, in some respects, is opposed to the “establishment’s”. For instance, the addicts claim that you don’t become motivated by way of compulsory treatment, while the opposite of their notion form the basis of the legislation.</p>

Compulsory treatment is regulated by the Care of Alcoholics and Drug Abusers Act (LVM; 1988:870), and aims, among other things, at motivating addicts to treatment. Research has, up til now, mostly disregarded the client-perspective on compulsory measures. This dissertation has its starting point in the experiences of 54 alcohol- and drug addicts. The intention is to describe and analyse their view on coercive care and the possibilities to become motivated for change and/or voluntary treatment in such a context. A central question during the interviews (which took place at five different institutions for compulsory commitments) is the addicts´ problem recognition, desire for help and willingness to participate in treatment. These dimensions are also illuminated quantitatively by use of a questionnaire. The results of this questionnaire form the basis of a division of the addicts into three groups with varying de-gree of treatment motivation. Comparisons between the groups are done with reference to the evaluation of present treatment context and of the institutions’ efforts to enhance motivation. In addition to this the groups are compared regarding how they perceive limita-tions in their freedom of action. The results showed that the three groups had different motiva-tional structures. The “least motivated” stated that the addiction was not their major problem and wanted no help with that aspect of their lives. The “middle-group” claimed to have alcohol-/drug problems that, however, were not too serious. They were not sure that the coercive care was adequate for their situation. The “most motivated” said that they had vast problems with their addiction, were help-seeking and satisfied with having the chance to participate in any kind of treatment program at all. Less differences between the groups were noticeable when it came to a direct evaluation of com-pulsory treatment. The majority reported that they, through the co-ercion, had been exposed to violations of their autonomy. Whether motivated for treatment or not, the interviewees were also sceptical about the possibilities of the institutions to enhance motivation among the incarcerated addicts. In the dissertation, addiction and motivation is furthermore dis-cussed from the perspective of rational choice and motivational the-ory. It is concluded that committed addicts think and act strategically in order to maximise their personal use of involuntary incarcerations. It is also asserted that their view on what happens during commit-ment, in some respects, is opposed to the “establishment’s”. For instance, the addicts claim that you don’t become motivated by way of compulsory treatment, while the opposite of their notion form the basis of the legislation.

Made available in DSpace on 2014-06-11T19:23:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-20Bitstream added on 2014-06-13T20:50:07Z : No. of bitstreams: 1 stolagli_js_me_ia.pdf: 6632356 bytes, checksum: c37a676a36f64f7a6822fe446b416d7f (MD5) / Universidade Estadual Paulista (UNESP) / Buscou-se neste trabalho a recuperação histórica da pronúncia do português brasileiro cantado, tal como proposta nas normas expostas nos Anais do Primeiro Congresso da Língua Nacional Cantada, de 1938, bem como a realização de uma análise prático-comparativa destas com as normas atuais, publicadas em 2007, destacando os principais pontos que as distinguem e elementos que proporcionam modificações na interpretação de canções em idioma brasileiro. O estudo baseado em documentos históricos e na investigação das circunstâncias que favoreceram a normalização do português brasileiro cantado teve, em sua fase prática, a realização de dois recitais e a gravação de um CD demonstrativo, com a execução de peças cujas pronúncias estão fundamentadas nas normas de 1938 e 2007, buscando evidenciar os elementos de divergência entre elas / The aim of this research is to recover the historical pronunciation of Brazilian Portuguese sung as proposed in the standards set out in the Annals of the First Congress of the National Language as Sung (1° Congresso da Língua Nacional Cantada), in 1938, and the realization of a practical-comparative analysis between these and the current norms, published in 2007, highlighting the main points that distinguish them and evidences that provide changes in the interpretation of songs in Brazilian Portuguese. The study, based on historical documents and investigation of the circumstances which furthered the standardization of Brazilian Portuguese as sung, included the of two concerts and the recording of a demo CD with the execution of pieces whose pronunciations are based on norms from 1938 and 2007, seeking evidences of diverging elements between them

Submitted by SHEILA MINATTI HANNUCH null (sheilaminatti@gmail.com) on 2017-08-02T14:04:04Z No. of bitstreams: 1 Sheila Minatti Tese - Versão Final c: ficha catalografica.pdf: 3249036 bytes, checksum: 6981c676b1072a7aef1c801ad95ef597 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-03T17:38:22Z (GMT) No. of bitstreams: 1 hannuch_sm_dr_ia.pdf: 3249036 bytes, checksum: 6981c676b1072a7aef1c801ad95ef597 (MD5) / Made available in DSpace on 2017-08-03T17:38:22Z (GMT). No. of bitstreams: 1 hannuch_sm_dr_ia.pdf: 3249036 bytes, checksum: 6981c676b1072a7aef1c801ad95ef597 (MD5) Previous issue date: 2017-07-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A nasalidade do português brasileiro cantado e falado se caracteriza por uma grande variação articulatória. Com o objetivo de organizar e esclarecer essas múltiplas possibilidades de tratamento articulatório no canto, o presente trabalho investiga o comportamento e a articulação dos processos nasais na fala em português brasileiro, apresenta uma proposta de transcrição fonética para esses sons no canto e evidencia distintas possibilidades de variação articulatória pertinentes à pratica musical. Dessa maneira, estabelece um trajeto que fundamenta o processo de escolha dos símbolos a serem utilizados na representação fonética dos nasais no canto, baseado em estudos fonético-fonológicos da fala e na abordagem articulatória, até a sua aplicação prática, por meio do uso da sílaba melódica em uma proposta alternativa de representação. / The nasality of the Brazilian Portuguese language sung and spoken is characterized by a great articulatory variation. In order to organize and clarify these multiple possibilities of articulatory treatment in singing, the present work investigates the behavior and articulation of nasal processes in Brazilian Portuguese, presents a proposal of phonetic transcription for these sounds in the singing and shows different possibilities of articulatory variation pertinent to musical practice. In this way, it establishes a path that bases the process of choosing the symbols to be used in the phonetic representation of the nasals in the song, based on phonetic-phonological studies of speech and in the articulatory approach until its practical application, through the use of the melodic syllable in an alternative proposal for representation.

Poetry, as a special form of literature, is crucial for computational linguistics. It has a high density of emotions, figures of speech, vividness, creativity, and ambiguity. Poetry poses a much greater challenge for the application of Natural Language Processing algorithms than any other literary genre. Our system establishes a computational model that classifies poems based on similarity features like rhyme, diction, and metaphor. For rhyme analysis, we investigate the methods used to classify poems based on rhyme patterns. First, the overview of different types of rhymes is given along with the detailed description of detecting rhyme type and sub-types by the application of a pronunciation dictionary on our poetry dataset. We achieve an accuracy of 96.51% in identifying rhymes in poetry by applying a phonetic similarity model. Then we achieve a rhyme quantification metric RhymeScore based on the matching phonetic transcription of each poem. We also develop an application for the visualization of this quantified RhymeScore as a scatter plot in 2 or 3 dimensions. For diction analysis, we investigate the methods used to classify poems based on diction. First the linguistic quantitative and semantic features that constitute diction are enumerated. Then we investigate the methodology used to compute these features from our poetry dataset. We also build a word embeddings model on our poetry dataset with 1.5 million words in 100 dimensions and do a comparative analysis with GloVe embeddings. Metaphor is a part of diction, but as it is a very complex topic in its own right, we address it as a stand-alone issue and develop several methods for it. Previous work on metaphor detection relies on either rule-based or statistical models, none of them applied to poetry. Our methods focus on metaphor detection in a poetry corpus, but we test on non-poetry data as well. We combine rule-based and statistical models (word embeddings) to develop a new classification system. Our first metaphor detection method achieves a precision of 0.759 and a recall of 0.804 in identifying one type of metaphor in poetry, by using a Support Vector Machine classifier with various types of features. Furthermore, our deep learning model based on a Convolutional Neural Network achieves a precision of 0.831 and a recall of 0.836 for the same task. We also develop an application for generic metaphor detection in any type of natural text.

No description available.

Le nombre d’auteurs contemporains qui écrit pour les adultes et pour les enfants va croissant, à tel point que la critique anglophone a forgé le terme de crosswriters pour les désigner. Ce travail se propose d’observer ces va-et-vient entre L’école des loisirs et les Éditions de l’Olivier de 1991 à 2011. Ces circulations répondent à d’importants enjeux éditoriaux et témoignent du rôle crucial des éditeurs dans l’accompagnement des écrivains. Cette thèse s’intéresse plus particulièrement à Christophe Honoré et Manuela Draeger (un des hétéronymes d’Antoine Volodine). Tous deux usent singulièrement du crosswriting puisque certains de leurs textes pour enfants et de leurs textes pour adultes se répondent au point qu’un inter-dit peut siéger dans le blanc qui sépare ces deux corpus. Ce phénomène d’intratextualité, adossé à un geste de polyadresse, remet en cause l’intransitivité supposée de la littérature car pour être décrypté, ce dit en suspens appelle un lecteur transgénérationnel. Cet inter-dit est le lieu où se jouent des transitions d’un âge vers un autre, des transmissions d’une génération à une autre... Mais c’est aussi le lieu de ce qui ne passe pas et vient trouer l’œuvre pour faire écho au trauma individuel ou collectif. Et si c’est toujours le texte pour adultes qui délègue au texte pour enfants ce qui ne peut être articulé dans une langue adultocentrée, ces transferts ne viennent jamais suturer la béance du dispositif intratextuel mais explorent en littérature jeunesse d’autres rapports à la langue et disent quelque chose de l’être de langage que nous sommes. / The number of contemporary authors who write both for adults and children keeps rising, so much so that anglophone criticism has coined the term crosswriters to label the phenomenon. This work proposes to observe back-and-forth crossings between L’école des loisirs and Éditions de l’Olivier between 1991 and 2011. What motivate these crossings are important editorial stakes that attest to the crucial role played by publishers in guiding their authors. This dissertation will look more specifically to Christophe Honoré and Manuela Draeger (one of Antoine Volodine’s heteronyms). Both writers resort to crosswriting in singular ways as some of their children’s books and books for adults respond to one another to such an extent that what I call an “inter-diction” lodges itself in the interstice that divides their respective corpuses. This phenomenon of intratextuality, supported by a gesture of polyaddress, calls into question literature’s supposed intransitivity given that, in order to be decrypted, this suspended diction calls for a transgenerational reader. This inter-diction is the stage where are performed transitions from one age to another and where occur transmissions from one generation to the next. But it is also the site of what does not pass, of what punctures the work in an echo to individual or collective trauma. And if it is always the texts written for an adult readership that devolve to those for children what cannot be articulated in an adultocentered language, these transfers never seek to suture the abyss opened by intratextuality but rather explore through children’s literature alternative relations to language, thereby teaching us something about the linguistic beings that we are.

Orientador: Martha Herr / Coorientador: Silvia Maria Rebelo Pinho / Banca: Luiz Ricardo Basso Ballestero / Banca: Ângelo José Fernandes / Resumo: Este trabalho investiga algumas características referentes à nasalidade no canto em português brasileiro, através de um estudo sobre a articulação e representação fonética das vogais nasais neste idioma. O estudo busca auxiliar o intérprete e o professor de canto no reconhecimento e administração destas características de forma a contribuir para uma maior liberdade vocálica e definição do gesto articulatório da nasalidade no canto em português brasileiro. O trabalho consiste na organização de informações coletadas através de referências da área da voz cantada e da linguística, que evidenciam ferramentas para a reflexão sobre uma nova possibilidade de transcrição fonética das vogais nasais para o canto em português brasileiro / Abstract: This research aims to investigate the nasality in brazilian portuguese as sung, through a study about the articulation and phonetic representations of nasal vowels in this language. The study aims to assist the performer and singing teacher in the recognition and management of these features in order to contribute to greater freedom and definition of the nasality articulatory gesture in Brazilian Portuguese. This work organize information collected through referrals from the area of singing voice and linguistic, showing tools for thinking about a new possibility of phonetic transcription of nasal vowels for singing in Brazilian Portuguese / Mestre

O presente trabalho tem por objetivo a análise dos processos fonológicos em fronteiras de palavras que ocorrem na língua alemã cantada. Como corpus, recolhemos gravações de uma ária para voz feminina da ópera Der Freischütz, de Carl Maria Von Weber, interpretada por cantoras alemãs seguindo determinados critérios, e também gravações do texto da ária apenas lido por mulheres cuja língua mãe é o alemão a fim de comparar com o que ocorre na língua falada. Como embasamento teórico, recorremos a estudos de Fonética e Fonologia, Morfologia, interferência lingüística e Dicção. Para realização das análises, mapeamos a partitura da ária escolhida selecionando as fronteiras de palavras que mais geravam dúvidas e elaboramos algumas tabelas para organizar e sintetizar as informações recolhidas. Primeiramente, realizamos a análise das gravações cantadas e, em seguida, das gravações faladas. Essas últimas necessitaram de auxílio de instrumentos (programa de análise acústica) para que pudéssemos confirmar as análises realizadas de forma subjetiva. Como resultado, pudemos concluir que é próprio da língua alemã falada a junção de consoantes iguais e do mesmo grupo articulatório, ao passo que na voz cantada, alguns elementos musicais, como andamento e fraseado interferem nesses processos, algumas vezes bloqueando-os. / This work aims to analyze the phonological processes in word boundaries that happen in the sung German language. As corpus, we gathered recordings of an aria to feminine voices from Der Freischütz opera, by Carl Maria von Weber interpreted by German feminine singers, following certain criteria and also recordings of the aria text, only read by women whose mother tongue is German, in order to compare to what happens in spoken language. As theoretical basis we turned to studies on Phonetics and Phonology, linguistic interference and Diction. In order to fulfill the analyses, we mapped the chosen aria score, selecting the word boundaries that generated more doubts and we elaborated some tables to organize and summarize the collected data. First, we analyzed the sung recordings and then the spoken recordings. The latter needed the help of instruments (acoustic analysis software), so that we could confirm the analyses achieved in a subjective form. As a result, we were able to conclude that it is typical of the spoken German language to join identical consonants from the same articulatory group, while in the sung voice some musical elements, as timing and phrasing, intervene in these processes, sometimes blocking them.