Orientador: Wilmar da Rocha D'Angelis / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T00:27:25Z (GMT). No. of bitstreams: 1 Vasconcelos_EduardoAlves_D.pdf: 8651041 bytes, checksum: 6c0ed1e31b99b7f861ffc32ce8857d44 (MD5) Previous issue date: 2013 / Resumo: As análises comparativas existentes entre os registros das línguas Cayapó do sul e Panará (família Jê) foram realizadas por Heelas (1979), Schwartzman (1988), Rodrigues & Dourado (1993), Giraldin (1997, 2000) e Dourado (2004), com o intuito de avaliar a hipótese levantada por Heelas (1979) de que os Cayapó do Sul, povo indígena brasileiro que manteve contato intermitente e conflituoso com as frentes de colonização do Brasil Central entre os séculos XVIII e XIX, considerados extintos nas primeiras décadas do século XX, são os antepassados dos Panará, povo indígena contatado na década de 1960, no norte do Mato Grosso, divisa com o Pará. Em comum, estas comparações não tratam de forma sistemática os itens Cayapó do Sul, julgando a priori a semelhança com os registros do Panará, delegando as discrepâncias encontradas à qualidade dos registros disponíveis. Uma das consequências dessa atribuição de identidade a priori entre os registros do Cayapó do Sul e o Panará é a ausência de comparações com outras línguas da família Jê. Assim, a proposta desta análise é refazer a comparação entre os registros do Cayapó do Sul e registros recentes do Panará, seguindo a seguinte metodologia: análise e sistematização das listas e vocabulários Cayapó do Sul e subsequente interpretação fonológica; revisão da análise fonêmica de Dourado (1990, 2001) feita para o Panará; comparação tanto do Cayapó do Sul quanto do Panará com línguas da família Jê; e, finalmente, propor uma análise comparativa entre os registros Cayapó do Sul e Panará. Sobre a língua falada pelos Cayapó do Sul há somente sete registros: Registro de Batismo de Vila Boa (1782); as listas de palavras coligidas por Emmanuel Pohl (1832) e Auguste de Saint-Hilaire (1848), em 1819, no aldeamento de São José de Mossâmedes; as listas de Dr. Kupfer (1870), Capitão Joaquim Lemos da Silva (1882) e Carl Nehring (1894), coligidas entre os Cayapó do Sul da aldeia próxima à Vila de Santana do Paranaíba (atual município de Paranaíba, no nordeste do Mato Grosso do Sul); e mais uma lista do Triângulo Mineiro, produzida por Alexandre de Souza Barbosa, em 1911, entre um núcleo familiar dos Cayapó do Sul da aldeia da Água Vermelha, às margens do rio Grande. Os registros do Panará são aqueles apresentados por Dourado em sua dissertação de mestrado (1990) e tese de doutorado (2001), mais o corpus obtido em Trabalho de Campo realizado em 2012. Para a análise dos registros Cayapó do Sul, foram utilizados os procedimentos listados por Grannier Rodrigues (1990) em sua análise do Guaraní Antigo e, quando necessário, procedimentos do Método Restitutivo (UMAÑA, 2000). As análises fonológicas seguem os pressupostos do Círculo Linguístico de Praga e, principalmente, seus desenvolvimentos posteriores, como a teoria de traços distintivos defendida por Jakobson, Fant & Halle (1952); também foram utilizados os traços distintivos da Fonologia Gerativa Padrão (CHOMSKY; HALLE, 1968) e, ainda, quando foi identificado ganho explicativo, a proposta de Geometria de Traços de D'Angelis (1998) / Absctract: The comparative analysis between the records of the South Cayapó and Panará languages (Jê languages) were performed by Heelas (1979), Schwartzman (1988), Rodrigues & Dourado (1993), Giraldin (1997, 2000), and Dourado (2004), aiming to evaluate the hypothesis raised by Heelas (1979) that Brazilian South Cayapó indigenous people, who maintained intermittent and conflictuous contact with the colonization fronts of central Brazil between the 18th and 19th centuries, and who were considered extinct in the early decades of the 20th century, are the ancestors of the Panará indigenous people contacted in the 1960s, in Northern Mato Grosso, near the border with the state of Pará. In common, these comparisons do not address systematically the South Cayapó items, judging a priori its similarity with the records of Panará, delegating the found discrepancies due to the quality available data. One consequence of this a priori assignment of identity between South Cayapó records and Panará is the absence of comparisons with other languages of the Ge family. Thus, the purpose of this analysis is to re-assess the comparison between South Cayapó records and Panará recent records by adopting the following methodology: analysis and systematization of South Cayapó lists and vocabularies, and subsequent phonological interpretation; revision of Dourado¿s (1990, 2001) phonemic analysis of Panará, comparing both South Cayapó and Panará with other languages of Ge family; and finally, the proposition of a comparative analysis between South Cayapó and Panará records. There are only seven records of the language spoken by the South Cayapós: the Baptismal Records of the town of Vila Boa (1782); the word lists compiled by Emmanuel Pohl (1832) and Auguste de Saint-Hilaire (1848), in 1819, in the village of São José de Mossâmedes; the word lists compiled by Dr. Kupfer (1870), by Captain Joaquim Lemos da Silva (1882), and by Carl Nehring (1894), collected among the South Cayapó village, near the town of Santana do Paranaíba (current Paranaíba, in Northeastern Mato Grosso do Sul); and another list from the Triângulo Mineiro, produced by Alexandre de Souza Barbosa, in 1911, among a group of South Cayapó families from the village of Água Vermelha, on the banks of the Rio Grande. The Panará records are those presented by Dourado in her MSc. dissertation (1990), and PhD thesis (2001), along with the corpus gathered during fieldwork conducted in 2012. The analysis of the records were performed in accordance with the procedures listed by Grannier Rodrigues (1990) during her Guarani Antigo analysis and, where appropriate, with the procedures of the Restitution Method (UMAÑA, 2000). The phonological analysis followed the assumptions of the Linguistic Circle of Prague, mainly its later developments, such as the theory of distinctive features advocated by Jakobson, Fant & Halle (1952). The distinctive features of Standard Generative Phonology (Chomsky & Halle, 1968) were also used, as well as the geometry of features proposed by D'Angelis (1998) when an explanatory benefit was identified / Doutorado / Linguistica / Doutor em Linguística

Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

The aim of this diploma thesis is to elucidate the ambiguous relation between the concepts of absolute alterity (tout Autre), there is (il y a) and the element (L'élément) in the work of Emmanuel Levinas. The investigation starts with a presupposition, that the above-mentioned concepts can all be considered a form of alterity. First part of the thesis thematises il y a against the backdrop of two seminal texts - From Existence to Existents and Time and the Other - and also in relation to Martin Heidegger's philosophy. Second part is structured around the analysis of the element, as it is presented in Totality and infinity. Part three deals with the concept of absolute alterity, which is contrasted to the conception of the totalizing subject. In the last part of the thesis, these three distinct kinds of alterity are brought into relation and qualitatively differentiated from one another. Key words: Levinas, Heidegger, alterity, radical alterity, totality, il y a, there is, element, From Existence to Existents, Totality and Infinity, Time and the Other

俗稱「大巨蛋」的臺北文化體育園區，自1990年代起出現於媒體報導中，市府於2000年定案落址松山菸廠，並在2006年與遠雄簽約以BOT興建大巨蛋。2014年11月市長選舉，柯文哲以無黨籍的身份踏入政壇，打破國民黨十六年的臺北市政府執政，上任後開始清查包括大巨蛋等「五大案」。不同政權對於大巨蛋的論述有不同策略，本研究透過都市政治的概念，剖析國民黨市府時代與柯文哲市府時代兩個政權，如何透過傳統媒體以及社群媒體形塑各自的大巨蛋形象。根據Stone（1993）以美國都市政權分析所提出的四種類型為基礎，本研究者聚焦在兩個政權的主要治理任務、選擇性誘因、所需資源等之論述。透過對於新聞報導、社群媒體貼文、官方新聞稿與官方網站的質化論述分析與量化內容分析，探討國民黨市府與柯文哲市府之都市治理聯盟的論述特徵與差異。 　　研究結果發現，國民黨市府治理聯盟偏向發展型政權，其論述特徵圍繞著體育發展為核心，包括將大巨蛋與國際大型運動賽事與國力象徵等概念連結，政治與商業合作開發，以及多功能用途場館來召喚市民支持。柯文哲市府治理聯盟的論述則偏向中產階級進步型、也具備臺灣在地特色的「程序主義型政權」，其論述圍繞著程序的重要性，強調都市計劃中法律程序及透明的重要性。兩者相較，國民黨市府論述著力於國家與體育發展，與資本關係較為緊密，柯文哲市府論述則連結中產階級價值以及市政的公民參與。但兩者皆忽略社會中環境保護的聲音，以及大型運動場館帶給城市的潛在負擔。本研究試圖在兩股政治勢力消長的動態演變中，分析此一期間都市政權對大巨蛋開發案的媒體論述轉變，藉由大型運動場館的再現建構，來反映出臺北的都市政治的意識形態爭霸過程，並重新反思大型運動場館建設之於城市與公民的意義。 / The project of Taipei Dome Complex (known as ‘’Taipei Dome’’) has been revealed in the media since 1990s. It settled in Song Shan Tobacco Factory in 2000 and later signed with a BOT (Build–operate–transfer) contract between Taipei City Government and Farglory Group. In November 2014, the mayor-elect Wen-je Ko, a non-party politician, ended 16 years of KMT rule in Taipei and committed to investigate so-called "Five Scandals”—the Taipei Dome, the Taipei Twin Tower, the Song Shan Cultural and Creative Park, the Syntrend Digital Park, and MeHas City. As the discursive strategies in the issue of Taipei Dome were different among regimes, this study is aimed to understand the use of mass media and social media in construting particular images of this large-scale sport stadium in the constructing process by Taipei City Government under different mayors. This study focues on the main governance tasks—the selective incentives, the resources needed as the analysis structure of the two regimes—which based on the analysis about four types of America urban politics in Stone (1993). Through qualitative discourse analysis and quantitative content analysis on various sources—including news reports, posts in social media, documents on official websites—this study study explores the differences of discursive strategies and struggles between the KMT and the Ko municipal governments. 　　The research results show the differences between the two regimes. The KMT government favored the ideology of “development regimes” to mobilize the supports from citizens, which usually linked the Taipei Dome with the concepts about the development of sports, such as the importance of large-scale international sporting events, the symbolic national power, the close cooporation between government and business, and the multifunctions of the Dome. Compared with the precedent regime, the Ko government has been inclined to the ideology of “middle class progressive regimes,” while also demonstrated a certain degree of “procedualism” under the particular political and economic contexts in Taiwan. The discursive strategy of Ko government emphasizes the importance of legal procedure and transparacy in the urban plan and policy. In sum, the KMT government had a strong connection with corporations and highlighted the significance of national and sporting development, while the Ko government has shown a connection with the middle class and attempted to involve civic participation in the process of policy making. However, both city governments ignored the voice of environmental movement and the potential harm of large-scale sport stadium to the society. This study attempts to analyze the changes of discursive struggle of Taipei Dome in the media represeantions between the two regimes and therefore contribute to understand the influences of large-scale sport stadium on the urban development and citizens.

Jean-Luc Godard's Two or Three Things I Know about Her/Deux ou trois chases que je sais d'elle (1966) clearly equates the Her/elle in the title with both the city of Paris and a young housewife living in a modern apartment on the outskirts of the city. Godard has insisted that this 'elle' is only Paris and not Juliette—the housewife whose daily activities the film documents. Yet the movements of Juliette within the film are inseparable from the knowledge imparted by the filming of the city's public and domestic spaces. Further, her quotidian route through these sites must constantly negotiate an almost excessive overabundance of consumer images. This film, and much of the work of the so-called French New Wave, attempts to articulate the problems posed by the 'Modern City' and the conditions of post-war capitalism. Weekend (1967) and Fahrenheit 451 (1966) envision a city in which the status quo delineated by consumer culture sets the pattern for all forms of urban life. Fahrenheit 451, a dystopic science fiction film directed by Francois Truffaut, describes a world in which the very structure of the home is conflated with technologies of mass culture and consumerism. Technology enters the domestic sphere in this film as a 'screen interface' that 'spectacularly' produces gendered and sexualized modes of identification almost exclusively for the suburban housewife. This thesis explores the gendered spaces of the cinematic city, particularly how architecture, technology, and consumerism are spatialized. In chapter one I address how the spaces of consumerism and the domestic are conflated, leaving it up to the suburban housewife to bear the burden. In chapter two I turn to the formation of female desire as it is reconfigured in the exchanges between the spaces of technology and the domestic. How are these intersecting spheres represented as potential sites of communal transformation? How do they serve to reveal the limits of transformation? The possibility for social change within this cinematic space is ultimately relocated outside of the urban. All three films offer a significant re-appraisal of the 'Modern City,' and in the process reveal its profound links to women's bodies and female desire. I conclude with a discussion of the failures of the post-war 'Modern City' which, in these films, is rejected in favour of a move 'into nature,' a going 'back to zero,' as a possible site for reimagining new patterns of social and sexual relations. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Pulsed laser ablation, calcium, absorption spectrum, spectral line

The present Master's thesis handles the reception of the works of Karel Čapek in the Soviet Union and Russian Federation from the 1920s to present day. The focus of the thesis involves two existing Russian translations of Karel Čapek's fantastic novel War with the Newts, published nearly 80 years apart. The paper attempts to demonstrate how Čapek's works were received by the Russian speaking community and in what context they were understood. It shows a picture of the author created by Soviet and Russian journalism and commentaries accompanying his works published in the Russian language. Through the analysis of these texts the thesis demonstrates the influence of ideology on the interpretation of the author's literary work in general, and the novel in particular, and also on the interpretation of his political involvement and his life. Further focus is given to the translation of Czech cultural facts in a selected representative sample of the novel War with the Newts and a comparative analysis of both Russian translations of the sample are made. The Annex contains the interview with A. E. Bobrakov-Timoshkin who was the last translator of the novel. Key words: Karel Čapek, War with the Newts, A. S. Gurovich, A. E. Bobrakov- Timoshkin, the picture of the author, translatological analysis,...

This Master's thesis dealt with securitization attempts related to the planned construction of a new reactor at the Dukovany NPP. Therefore, its aim was to find, analyse and explain securitization speech acts associated with the planned reactor, in the period from summer 2015 to December 2020 using the critical discourse analysis approach. The results show that securitization speech acts of this kind do appear in the Czech public sphere and are articulated mainly by four groups of actors: representatives of Austria, Czech environmental NGOs, Czech governmental representatives, and Czech political opposition. These actors have different goals: to stop the construction of the reactor, to implement the construction of the reactor, or to influence the way in which the construction will be implemented. One case of successful securitization was found in the outcome: The Czech government was able to enforce extraordinary measures that deviated from standard democratic processes using security-based arguments. Their goal was to implement the construction of the reactor. It remains to add that the research also revealed three important functional actors who co-created the discourse: the BIS secret service, the SÚJB nuclear safety office and the company ČEZ.

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Cette étude de la narration hétérodiégétique contemporaine se penche avant tout sur une figure narrative particulière : le narrateur-constructeur. Ce dernier révèle certaines caractéristiques qui ressemblent aux stratégies du narrateur omniscient mais sans lui correspondre complètement. Surprésent dans son discours, usant d’ironie envers ses personnages ainsi qu’envers le narrataire, le narrateur-constructeur propose un rapport nouveau aux règles de la vraisemblance et révèle par là une manière particulière de faire valoir son autorité narrative. Afin d’éclairer cette figure, l’étude intègre des concepts issus de l’analyse des discours ; l’ethos sert ainsi à structurer la représentation discursive du narrateur-constructeur et à l’amener au plus près d’une conception interactionnelle de la narration. Dans le but d’asseoir cette étude sur des bases concrètes, les œuvres de Jean Echenoz (Un an et Je m’en vais) et de José Saramago (L’année de la mort de Ricardo Reis) servent à montrer la structure discursive de ces narrations.