The term equivalence describes the relationship between a translation and the text from which it is translated. Translation is generally viewed as indeterminate insofar as there is no single acceptable translation - but many. Despite this, the rationalist metaphor of translation equivalence prevails. Rationalist approaches view translation as a process in which an original text is analysed to a level of abstraction, then transferred into a second representation from which a translation is generated. At the deepest level of abstraction, representations for analysis and generation are identical and transfer becomes redundant, while at the surface level it is said that surface textual features are transferred directly. Such approaches do not provide a principled explanation of how or why abstraction takes place in translation. They also fail to resolve the dilemma of specifying the depth of transfer appropriate for a given translation task. By focusing on the translator�s role as mediator of communication, equivalence can be understood as the coordination of information about situations and states of mind. A fundamental opposition is posited between the transfer of rule-like or codifiable aspects of equivalence and those non-codifiable aspects in which salient information is coordinated. The Translation Salience model proposes that Transfer and Salience constitute bipolar extremes of a continuum. The model offers a principled account of the translator�s interlingual attunement to multi-placed coordination, proposing that salient information can be accounted for with three primary notions: markedness, implicitness and localness. Chapter Two develops the Translation Salience model. The model is supported with empirical evidence from published translations of Arabic and English texts. Salience is illustrated in Chapter Three through contextualized interpretations associated with various Arabic communication resources (repetition, code switching, agreement, address in relative clauses, and the disambiguation of presentative structures). Measurability of the model is addressed in Chapter Four with reference to emerging computational techniques. Further research is suggested in connection with theme and focus, text type, cohesion and collocation relations.

Made available in DSpace on 2016-06-02T20:25:18Z (GMT). No. of bitstreams: 1 5112.pdf: 2285295 bytes, checksum: 5b127833611d40981c9b3b964f7b2962 (MD5) Previous issue date: 2013-02-26 / Financiadora de Estudos e Projetos / This work is an investigation of the features used in cohesive narratives produced by children in the third year of elementary school. To examine this issue, we chose to analyze the use of terms he (s) and she (s), since they are quite recurrent in productions presented by students of the early years, based on the Theory of Predicative and Enunciative Operations presented by linguist Antoine Culioli and also texts by scholars who base their work on that enunciative theory. We represent that any linguistic materialization and therefore those having the question we focused by cohesive, reflecting a complex linguistic-cognitive process of the subject and found that often the use of the terms he (s) and her (s) associated all other marks of the statement emphasizes the character of indeterminate and ambiguous language. This occurs especially when the chosen mark set used by the students and does not determine the meaning, which means that text cohesion is through the use of all marks of utterance and not only through the relation between specific terms. The research is justified by the need to understand the process of meaning as a result of the activity of language and thinking about the cohesive marks so that we overcome the about the polarization and the emphasis the language as a product but as a result of activity of the subject, which requires the linkage between language and language and lexicon and grammar. / Esse trabalho constitui uma investigação sobre os recursos coesivos usados em narrativas produzidas por crianças do terceiro ano do Ensino Fundamental. Para versar sobre tal temática optamos por analisar o uso dos termos ele (s) e ela(s), já que os mesmos são bastante recorrentes nas produções apresentadas pelos alunos dos anos iniciais. Tomamos por base a Teoria das Operações Predicativas e Enunciativa apresentada pelo linguista Antoine Culioli e também recorremos à leitura de textos de estudiosos que fundamentam seus trabalhos na referida teoria enunciativa. Mostramos que qualquer materialização linguística, e, portanto, as que apresentam a questão coesiva por nós focalizada, traduz um complexo processo linguístico-cognitivo do sujeito e observamos que, muitas vezes, a utilização dos termos ele(s) e ela(s) associada a todas as outras marcas do enunciado acentua o caráter indeterminado e ambíguo da linguagem. Isso ocorre, sobretudo, quando o conjunto de marcas escolhido e utilizado não se mostra suficiente para determinar o dizer, o que significa que a coesão textual se dá pelo uso de todas as marcas do enunciado e não apenas por meio da relação entre termos específicos. O trabalho que propomos justifica-se pela necessidade de se entender o processo de significação como resultado da atividade de linguagem e de se pensar a questão coesiva de modo que se supere a polarização e a ênfase dada apenas à língua enquanto produto, mas como resultante da atividade do sujeito, o que pressupõe a articulação entre linguagem e língua e léxico e gramática.

Orientador: Giséle Manganelli Fernandes / Banca: Maria Elisa Cevasco / Banca: Álvaro Luiz Hattnher / Resumo: O escritor norte-americano Raymond Carver (1938-1988) é considerado uma das principais vozes responsáveis pelo boom do conto na década de 1980 nos Estados Unidos e pelo desenvolvimento de técnicas narrativas do minimalismo literário. Suas histórias condensadas, desprovidas de ornamentação e caracterizadas por uma sintaxe despojada, paratática colaboram para a composição de um retrato límpido do cotidiano de suas personagens, que, em geral, representam os trabalhadores menos favorecidas das classes operárias. A presente dissertação estuda a maneira pela qual os textos de Carver criticam o mito do Sonho Americano e, a partir da publicação do volume Cathedral (1983), como a ficção do autor sofre uma transformação de estilo, culminando com os jogos pós-modernos da indeterminação na fase final de sua carreira. / Abstract: The American writer Raymond Carver (1938-1988) is regarded as one of the major voices responsible for the short story boom in the 1980s in the United States of America as well as for the development of narrative techniques of literary Minimalism. Carver’s condensed, unadorned stories, which are also characterized by a paratactic, and not complex syntax, contributes to the composition of a limpid portrayal of everyday life experienced by his characters that generally represent the poorest people of working class. The present thesis analyses the way Carver’s texts criticize the myth of the American Dream and, after the publication of the volume Cathedral (1983), how his fiction undergoes a change of style, culminating with the post-modern games of indeterminacy in the last phase of his career. / Mestre

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-02-16Bitstream added on 2014-06-13T19:59:47Z : No. of bitstreams: 1 sobreira_rs_me_sjrp.pdf: 1038632 bytes, checksum: 30397b2542f6feaac73a9e10f4263b69 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O escritor norte-americano Raymond Carver (1938-1988) é considerado uma das principais vozes responsáveis pelo boom do conto na década de 1980 nos Estados Unidos e pelo desenvolvimento de técnicas narrativas do minimalismo literário. Suas histórias condensadas, desprovidas de ornamentação e caracterizadas por uma sintaxe despojada, paratática colaboram para a composição de um retrato límpido do cotidiano de suas personagens, que, em geral, representam os trabalhadores menos favorecidas das classes operárias. A presente dissertação estuda a maneira pela qual os textos de Carver criticam o mito do Sonho Americano e, a partir da publicação do volume Cathedral (1983), como a ficção do autor sofre uma transformação de estilo, culminando com os jogos pós-modernos da indeterminação na fase final de sua carreira. / The American writer Raymond Carver (1938-1988) is regarded as one of the major voices responsible for the short story boom in the 1980s in the United States of America as well as for the development of narrative techniques of literary Minimalism. Carver s condensed, unadorned stories, which are also characterized by a paratactic, and not complex syntax, contributes to the composition of a limpid portrayal of everyday life experienced by his characters that generally represent the poorest people of working class. The present thesis analyses the way Carver s texts criticize the myth of the American Dream and, after the publication of the volume Cathedral (1983), how his fiction undergoes a change of style, culminating with the post-modern games of indeterminacy in the last phase of his career.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The indeterminacy of the subject is a phenomenon linked to notions of person, generalisation and specificity of the reference. In addition to such syntactic-semantic aspects also may be related with the pragmatic notion of politeness, because the speaker can use the strategies of indeterminacy of the subject of the first person plural: as a way of demonstrating the proximity/distance from the information given, including generic reference groups of greater or lesser scope, as negotiations necessary for the balance of communication while preserving the faces of the interlocutors. To investigate the correlation between indetermination of the subject, politeness and the variation in the first person singular, we use the sample speech Data of students of Atheneu Sergipense, which takes as its starting point the concept of community of practice, whereby a group of people share a common social enterprise; considering two pickup lines: the speech community (homogenized stratification) and of community of practice (socio-personal relations). Occurrences of the first person plural: with generic reference have been encoded according to linguistic, social and pragmatic variables, in order to establish correlations between linguistic forms and their social values and pragmatists within the community studied. After encoding, the data were subjected to statistical treatment of GoldVarb X program, in order to identify the variables that influence on the variation in the expression of the first person singular with generic reference. Control of variables specifier deictic characteristics, definiteness and referential group give evidence that the way the us presents greater frequency of use in contexts [+ defined], with probability of 0.61; in contexts with deictic specifiers (personal deictics - 0.71, spatial – 0.64 and temporal - 054), as well as in less comprehensive reference contexts, with a greater degree of inclusion of the speaker (students - 88.2%; Family - 86.7%; 81.8%; class students of Atheneu (78.1%). These results suggest that the use of pronominal form us as a resource of indeterminacy of the subject occurs in contexts with a lesser degree of generalization, reference denoting greater inclusion of the speaker in the generic reference group. In relation to social variables, sex/gender female factors, as well as the type of sociolinguistic interview collection favored the use of the pronoun us. The results on the basis of the pragmatic variables suggest that the us has increased frequency of use in interactions with distant degree of familiarity between the interlocutors, in situations where the speaker is without the domain of the topic and in international contexts with a greater degree of imposition of the communicative act, confirming our general hypothesis concerning the probability of use of us in contexts more polished. By examining structural, social and pragmatic factors, whereas two methodological models, our research shows significant by itself to the study of the forms of the first person plural: with generic reference, since the inclusion of the speaker in generic referent acts as politeness strategy, in which the speaker approaches or if distance from the propositional content, as negotiations necessary for the balance of communication preserving the faces of the interlocutors. / A indeterminação do sujeito é um fenômeno atrelado às noções de pessoa, generalização e especificidade da referência. Além de tais aspectos sintático-semânticos, também pode estar relacionado com a noção pragmática de polidez, visto que o falante pode utilizar as estratégias de indeterminação do sujeito de 1ª pessoa do plural como forma de demonstrar sua proximidade/distância da informação dada, incluindo-se em grupos referenciais genéricos de maior ou menor abrangência, conforme negociações necessárias para o equilíbrio da comunicação, preservando as faces dos interlocutores. Para investigar a correlação entre indeterminação do sujeito, polidez e a variação na 1ª pessoa do plural, utilizamos a amostra Dados de fala de estudantes do Atheneu Sergipense, que toma como ponto de partida o conceito de comunidade de prática, segundo o qual um grupo de pessoas compartilham um empreendimento social comum; considerando duas linhas de coleta: a de comunidade de fala (estratificação homogeneizada) e a de comunidade de prática (relações sociopessoais). As ocorrências de 1ª pessoa do plural com referência genérica foram codificadas de acordo com variáveis linguísticas, sociais e pragmáticas, a fim de estabelecer correlações entre as formas linguísticas e seus valores sociais e pragmáticos dentro da comunidade estudada. Após a codificação, os dados foram submetidos ao tratamento estatístico do programa GoldVarb X, a fim de identificarmos as variáveis que influenciam na variação na expressão da primeira pessoa do plural com referência genérica. O controle das variáveis deiticidade do especificador, definitude e grupo referencial dão indícios de que a forma a gente apresenta maior frequência de uso em contextos [+ definidos], com probabilidade de 0,61; em contextos com especificadores dêiticos (dêitico pessoal – 0,71, espacial – 0,64 e temporal – 0,54), bem como em contextos referenciais menos abrangentes, com maior grau de inclusão do falante (alunos – 88,2%; família – 86,7%; turma – 81,8%; alunos do Atheneu (78,1%). Esses resultados sugerem que o uso da forma pronominal a gente como recurso de indeterminação do sujeito ocorre em contextos com menor grau de generalização da referência, denotando maior inclusão do falante no grupo referencial genérico. Em relação às variáveis sociais, os fatores sexo/gênero feminino, bem como o tipo de coleta entrevista sociolinguística favoreceram o uso do pronome a gente. Os resultados em função das variáveis pragmáticas sugerem que a variante a gente apresenta maior frequência de uso em interações com grau distante de familiaridade entre os interlocutores, em situações em que o falante se encontra sem o domínio do tópico interacional e em contextos com maior grau de imposição do ato comunicativo, confirmando nossa hipótese geral a respeito da maior probabilidade de uso de a gente em contextos mais polidos. Por analisar fatores estruturais, sociais e pragmáticos, considerando dois modelos metodológicos de coleta, nossa pesquisa se mostra significativa para o estudo das formas de 1ª pessoa do plural com referência genérica, haja vista que a inclusão do falante em referente genéricos funciona como estratégia de polidez, em que o falante se aproxima ou se distancia do conteúdo proposicional, conforme negociações necessárias para o equilíbrio da comunicação, preservando as faces dos interlocutores.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-02-02T10:58:51Z No. of bitstreams: 2 Dissertacao -Pablo de Regino Araújo Pinto - 2014.pdf: 11386149 bytes, checksum: 5a1337b3308de740454776dd2c2f1112 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-02-04T14:46:35Z (GMT) No. of bitstreams: 2 Dissertacao -Pablo de Regino Araújo Pinto - 2014.pdf: 11386149 bytes, checksum: 5a1337b3308de740454776dd2c2f1112 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-02-04T14:46:35Z (GMT). No. of bitstreams: 2 Dissertacao -Pablo de Regino Araújo Pinto - 2014.pdf: 11386149 bytes, checksum: 5a1337b3308de740454776dd2c2f1112 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research addresses the poetic production in interactive media. The research touch some productions in art and technology, as well some features in artistic works, such as interactivity, immersion, agency, indeterminacy and emergency, concepts that form the basis for discussion of SobreVoos installation, created from technologies available that provides the interactor the vision from the point of view of a remotely controlled flying device. Using a phenomenological hermeneutic, this research discusses the concepts and explores them, in artwork attached to the object of visual production, the use of drones. The poetic discourse is privileged, revealing the strategies that route interactor for sensitive experience. Finally technical information production are presented, as well as the relationship between technical and poetic aspect concerned. / Esta pesquisa sobre a produção poética em mídia interativa percorre algumas produções em arte e tecnologia, abordando características presentes em obras artísticas, como interatividade, imersão, agência, indeterminação e emergência, conceitos que formam a base para discussão da instalação SobreVoos, criada a partir de tecnologias disponíveis, que proporcionam ao interator a visão do ponto de vista de um aparelho voador controlado remotamente. Utilizando a hermenêutica fenomenológica, a pesquisa discute esses conceitos e os explora em trabalhos artísticos, vinculados ao objeto da produção visual de mestrado, o uso de drones. O discurso poético é privilegiado, desvelando as estratégias que encaminham o interator para a experiência sensível. Por fim são apresentadas informações técnicas da produção, bem como a relação entre o aspecto técnico e poético em causa.

Factor score regression has recently received growing interest as an alternative for structural equation modelling. Two issues causing uncertainty for researchers are addressed in this thesis. Firstly, more knowledge is needed on how different approaches to calculating factor score estimates compare when estimating factor score regression models. Secondly, many applications are left without guidance because of the focus on normally distributed outcomes in the literature. This thesis examines how factor scoring methods compare when estimating regression coefficients in generalised linear factor score regression. An evaluation is made of the regression, correlation-preserving, total sum, and weighted sum method in ordinary, logistic, and Poisson factor score regression. In contrast to previous studies, both the mean and variance of loading coefficients and the degree of inter-factor correlation are varied in the simulations. A meta-analysis demonstrates that the choice of factor scoring method can substantially influence research conclusions. The regression and correlation-preserving method outperform the other two methods in terms of coefficient and standard error bias, accuracy, and empirical Type I error rates. Moreover, the regression method generally has the best performance. It is also noticed that performance can differ notably across the considered regression models.

The diploma work "The differences between perception of metonymy in photography and in movies from the perspective of reception aesthetics" deals with different uses of the figure of speech - metonymy - in visual communication. The metonymy is primarily used as an ornamental device of language expression. It is also distinguishable in purely visual information that is provided in photography and certain film shots. In visual communication, metonymy is also used for embellishing of the visual content or, at least, its correction. This work is focused especially on these examples of the use of metonymy that employ the method of reception aesthetics, which was up to now applied only to literary works. The subjects of interest of the reception aesthetics are so- called places of indeterminacy and the horizon of expectation which is also the focus of this work in addition to its main focus on metonymic expression in movies and photography. The first part of this work deals with the theory of the reception aesthetics and its main exponents. The second part deals with the relationship between the recipients and the media, specifically photography and movie. The last part of this work deals with the theory of rhetorical figures, particularly metonymy and its special form - synecdoche, and it's application...

Cette thèse porte un regard sur les musiques improvisées et leur rapport à la scène à travers mon expérience et celle de treize personnalités du milieu des arts avec qui j’ai eu des entretiens privilégiés. L’essence de cette démarche est d’observer comment les créateurs utilisent l’improvisation en situation de concert ou simplement comme méthode de recherche grâce aux outils numériques ou analogiques. Ce panorama me permet de mettre en perspective mon travail de composition et de recherche à une époque où, comme créateur, j’ai bifurqué vers les musiques numériques après de longues années d’écriture et de performance scénique dans le milieu du jazz et des musiques d’improvisation. Au passage se problématise la causalité du geste lors de la performance avec des outils numériques. La thèse retrace tout d’abord un parcours sommaire de la musique improvisée – plus particulièrement celle que l’on appelle la musique actuelle au Québec ou encore lafree improvisation. À travers ce survol seront soulevées quelques questions de nomenclature et d’esthétique afin de mieux cerner les enjeux propres à cette pratique. La réflexion se poursuit avec des entretiens à travers lesquels j’explore la comprovisation, le DJing, les instruments de musique numérique, la danse et la composition. La réflexion culmine autour de cinq de mes œuvres écrites en collaboration avec les milieux de la musique improvisée et de la danse. / This thesis looks at improvised music and its relationship to the stage through my experience and that of thirteen personalities from the arts world with whom I have had privileged interviews. The essence of this approach is to observe how creators use improvisation in concert situations or simply as a research method using digital or analog tools. This panorama allows me to put my composition and research work in perspective at a time when, as a creator, I have turned towards digital music after many years of writing and stage performance in the field of jazz and improvisational music. In passing, the causality of the gesture during performance with digital tools is problematic. The thesis first retraces a brief journey through improvised music - more particularly what is called musique actuelle or free improvisation. Through this overview, a few questions of nomenclature and aesthetics will be raised in order to better understand the issues specific to this music. The reflection continues with interviews through which I explore comprovisation, DJing, digital musical instruments, dance and composition. The reflection culminates around five of my works written in collaboration with the improvised music and dance communities.

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