O objetivo deste estudo é apresentar uma proposta de tradução, do francês para o português, de partes selecionadas da obra Festin Joyeux, ou, la Cuisine en Musique, de autoria do officier de bouche do rei Luís XV, J. Lebas (1738). Essa obra constitui objeto inusitado de tradução e se distingue de outros livros de cozinha por envolver uma singular justaposição de gêneros, uma vez que se trata de receitas culinárias versificadas que podem ser entoadas segundo melodias populares da época, os airs de cour e os vaudevilles. No primeiro capítulo, é feita uma breve contextualização sócio-histórica e apresentação da obra original. O segundo capítulo consiste em discussão da natureza da obra e levantamento de possíveis dificuldades decorrentes do hibridismo de gêneros, acompanhado de uma delimitação de estratégia para a tradução pretendida. Por fim, o terceiro capítulo contém a tradução em si de composições de Festin Joyeux, acompanhadas de comentários que justificam as decisões pessoais tomadas na empreitada. Como apoio teórico, recorreu-se às abordagens funcionalistas da tradução, que enfatizam a questão da função como guia no processo de transposição de conteúdo e de forma da língua-fonte para a língua-meta. À luz de conceitos elaborados por teóricos funcionalistas como Katharina Reiss e Hans Vermeer, e em especial do modelo proposto por Christiane Nord, procurou-se traçar um plano de ação voltado para uma função pré-estabelecida para o textometa, tendo por base a análise textual e o receptor final da tradução. Em razão da perspectiva adotada, o corpus se compõe exclusivamente de composições que recebem a indicação de melodias cujas partituras estão incluídas na obra, de maneira que a função estabelecida possa ser cumprida integralmente. Todos os termos específicos ao campo semântico da gastronomia foram pesquisados em livros de cozinha contemporâneos a Festin Joyeux e em dicionários históricos, com o intuito de minimizar as possíveis distorções sofridas nesse espaço de quase três séculos entre a publicação de Festin Joyeux, no século XVIII, e sua tradução, no século XXI. / The aim of this study is to present a translation proposal, from French to Portuguese, of selected parts from the book Festin Joyeux, ou, la Cuisine en Musique, written by Louis XVs officier de bouche, J. Lebas (1738). This book appears as an unusual subject for a translation and distinguishes itself from other culinary books due to its text type juxtaposition, in as much as its a compilation of recipes in verse, intended for singing according to popular tunes at the time, the airs de cours and vaudevilles. In the first chapter, we make a brief social-historical contextualisation and an introduction of the original book. In the second chapter we discuss the nature of the text and survey the possible difficulties derived from the text type juxtaposition, determining a strategy for the intended translation. Finally, the third chapter includes the translation itself of Festin Joyeuxs compositions, accompanied by commentaries that justify the personal decisions made in the task. As a theoretical support, we have drawn from the functional approaches of translation which emphasize the question of the function as a guide in the process of transposing the content and form from the source-text to the target-text. In the light of concepts elaborated by funcionalist theorists like Katharina Reiss and Hans Vermeer, and in particular of the model proposed by Christiane Nord, we have strived to set an action plan towards a pre-established function for the target-text, based on text analysis and the final receiver of the translation. Due to the adopted perspective, the corpus is constituted exclusively by compositions that receive the indication of tunes for which there are music scores included in the book, in such a way that the established function can be thoroughly fulfilled. All the words which are specific to the semantic field of gastronomy have been researched in cookbooks contemporary to Festin Joyeux and in historical dictionaries, aiming at minimizing possible distortions caused by the gap of nearly three centuries between the publication of Festin Joyeux, in the 18th century, and its translation, in the 21st century.

Nowadays, consumers are lack of interest for advertisement because they are flooded by advertising. Therefore, advertisers try to motivate consumers to process ads. From the advertising literature, rhetorical devices can be attention-getting, arousing, and affect inducing and memorable. Specifically, the use of metaphors expends dimensional thinking and enhances ad responses. This research proposes two types of metaphors: juxtaposition vs. replacement. It examines the moderating effects of product type and consumers¡¦ gender differences on metaphor advertising. The present study uses experimental design with a 3(metaphor advertising: non-metaphor vs. juxtaposition vs. replacement) x2 (product type: search good vs. experience good) x2 (gender difference: male vs. female) factorial design. Six different scenarios are established through fictitious product ads, and the ad effects are measured by attitudes toward the ad, attitudes toward the brand, and purchase intention to observe the responses under different scenarios. The results indicate that the metaphor advertising is more effective than the non-metaphor advertising. In promoting a search good, the replacement metaphor is more effective than the juxtaposition metaphor. On the contrary, the juxtaposition is more effective than replacement in promoting an experience good. When females face metaphor ads for promoting a search good, the replacement is more effective than the juxtaposition. However, no such differences are found in males.The findings suggest that marketers should consider not only the product type they promote but also the gender of their target consumers in order to enhance the advertising effects.

This essay aim to set new hypothesis for Latin American’s development problem; the analysis is focused from “the encounter of two worlds” to the present. The generaland main hypothesis is a sort of “clutched” between the “Pre-Columbian System” and the “European System” and resulted in a so-called “Colonial System”. This “Colonial System” is defined as juxtaposition of systems and it has been suffering Western influence like a kind of “external shock” but keeping to an already hybrid system, wherein an inertial dynamic and not a dialectic one has been the main trait. The whole historical process is explained under such a point of view. / Este ensayo apunta a establecer nuevas hipótesis sobre el problema del desarrollo latinoamericano; el análisis está enfocado desde el encuentro de dos mundos hasta el presente. La principal y general hipótesis es el acoplamiento del sistema precolombino con el sistema europeo, que conformó el llamado sistema colonial. Este sistema colonial está definido como la yuxtaposición de sistemas, el mismo que ha recibido la influencia occidental como una suerte de shock externo, pero manteniendo un sistema híbrido en donde la dinámica inercial ha sido su rasgo principal y no una dinámica dialéctica. El complejo proceso histórico es explicado desde este punto de vista.

O Sentido poético da justaposição pictórica é uma pesquisa em poéticas visuais que tem como objetivo investigar conceitos como justaposição, montagem e metáfora na constituição da minha produção em pintura. Este estudo, portanto, discute uma pintura organizada a partir do encontro de materiais que, justapostos, fazem analogia a procedimentos da pintura. Desta forma serão discutidas no transcorrer da apresentação, questões recorrentes e seus desdobramentos no processo de criação. Os materiais utilizados na construção das obras são pensados e escolhidos por suas qualidades táteis e sensuais, tais como textura, brilho, opacidade e sedução. Em um certo momento a pintura deixa o plano bidimensional e parte para a tridimensionalidade; esta mudança será analisada através de teóricos como Rosalind Krauss e Alberto Tassinari. Nesta justaposição de cores, texturas, materiais e objetos, o título apresenta-se como elemento também justaposto ao trabalho físico da pintura. / The poetical sense of the pictorial juxtaposition is a research in poetical appearances that has the objective to investigate concepts as juxtaposition, assembly and metaphor in the constitution of my production in painting. This study, therefore, discuss a painting organized from the meeting of materials argues that, juxtaposed, make analogy to the painting procedures. In such a way, questions and its unfoldings in the creation process will be argued in the recurrent presentation. The materials used in the construction of the workmanships are thought and chosen for its tactile and sensual qualities, such as texture, brightness, opacity and seduction. At a certain moment the painting leaves the two-dimensional plan and goes to the tree-dimensional plan; this change will be analyzed through theoreticians as Rosalind Krauss and Alberto Tassinari. In this juxtaposition of colors, textures, materials and objects, the heading is presented as an also juxtaposed element to the physical work of the painting.

The aim of the diploma thesis is to describe a problematic state of the components N-N/N-A. The introduction part describes how the conversion is elaborated in literature and how offen we can find it in contemporary italian language. Following terms, related to the conversion subject, are defined: transposition, zero derivation and juxtaposition. In addition, the paper focuses on relation between elements N-N and N-A significantly. Existing tests, based on which the researched elements are categorized into compounds N-N or syntagmas N-A, were evaluated and new tests for description of these elements were defined. Dictionary Zingarelli was used for the excerption of words, the function of which could be both noun and adjective. Characteristics of words obtained, the subordinate article function, were verified in italian corpora itWaC. In conclusion, complex overview of the phrase type N-N and N-A, the second element of which passed transcategorization phenomena, was given.

O Sentido poético da justaposição pictórica é uma pesquisa em poéticas visuais que tem como objetivo investigar conceitos como justaposição, montagem e metáfora na constituição da minha produção em pintura. Este estudo, portanto, discute uma pintura organizada a partir do encontro de materiais que, justapostos, fazem analogia a procedimentos da pintura. Desta forma serão discutidas no transcorrer da apresentação, questões recorrentes e seus desdobramentos no processo de criação. Os materiais utilizados na construção das obras são pensados e escolhidos por suas qualidades táteis e sensuais, tais como textura, brilho, opacidade e sedução. Em um certo momento a pintura deixa o plano bidimensional e parte para a tridimensionalidade; esta mudança será analisada através de teóricos como Rosalind Krauss e Alberto Tassinari. Nesta justaposição de cores, texturas, materiais e objetos, o título apresenta-se como elemento também justaposto ao trabalho físico da pintura. / The poetical sense of the pictorial juxtaposition is a research in poetical appearances that has the objective to investigate concepts as juxtaposition, assembly and metaphor in the constitution of my production in painting. This study, therefore, discuss a painting organized from the meeting of materials argues that, juxtaposed, make analogy to the painting procedures. In such a way, questions and its unfoldings in the creation process will be argued in the recurrent presentation. The materials used in the construction of the workmanships are thought and chosen for its tactile and sensual qualities, such as texture, brightness, opacity and seduction. At a certain moment the painting leaves the two-dimensional plan and goes to the tree-dimensional plan; this change will be analyzed through theoreticians as Rosalind Krauss and Alberto Tassinari. In this juxtaposition of colors, textures, materials and objects, the heading is presented as an also juxtaposed element to the physical work of the painting.

O Sentido poético da justaposição pictórica é uma pesquisa em poéticas visuais que tem como objetivo investigar conceitos como justaposição, montagem e metáfora na constituição da minha produção em pintura. Este estudo, portanto, discute uma pintura organizada a partir do encontro de materiais que, justapostos, fazem analogia a procedimentos da pintura. Desta forma serão discutidas no transcorrer da apresentação, questões recorrentes e seus desdobramentos no processo de criação. Os materiais utilizados na construção das obras são pensados e escolhidos por suas qualidades táteis e sensuais, tais como textura, brilho, opacidade e sedução. Em um certo momento a pintura deixa o plano bidimensional e parte para a tridimensionalidade; esta mudança será analisada através de teóricos como Rosalind Krauss e Alberto Tassinari. Nesta justaposição de cores, texturas, materiais e objetos, o título apresenta-se como elemento também justaposto ao trabalho físico da pintura. / The poetical sense of the pictorial juxtaposition is a research in poetical appearances that has the objective to investigate concepts as juxtaposition, assembly and metaphor in the constitution of my production in painting. This study, therefore, discuss a painting organized from the meeting of materials argues that, juxtaposed, make analogy to the painting procedures. In such a way, questions and its unfoldings in the creation process will be argued in the recurrent presentation. The materials used in the construction of the workmanships are thought and chosen for its tactile and sensual qualities, such as texture, brightness, opacity and seduction. At a certain moment the painting leaves the two-dimensional plan and goes to the tree-dimensional plan; this change will be analyzed through theoreticians as Rosalind Krauss and Alberto Tassinari. In this juxtaposition of colors, textures, materials and objects, the heading is presented as an also juxtaposed element to the physical work of the painting.

O objetivo deste estudo é apresentar uma proposta de tradução, do francês para o português, de partes selecionadas da obra Festin Joyeux, ou, la Cuisine en Musique, de autoria do officier de bouche do rei Luís XV, J. Lebas (1738). Essa obra constitui objeto inusitado de tradução e se distingue de outros livros de cozinha por envolver uma singular justaposição de gêneros, uma vez que se trata de receitas culinárias versificadas que podem ser entoadas segundo melodias populares da época, os airs de cour e os vaudevilles. No primeiro capítulo, é feita uma breve contextualização sócio-histórica e apresentação da obra original. O segundo capítulo consiste em discussão da natureza da obra e levantamento de possíveis dificuldades decorrentes do hibridismo de gêneros, acompanhado de uma delimitação de estratégia para a tradução pretendida. Por fim, o terceiro capítulo contém a tradução em si de composições de Festin Joyeux, acompanhadas de comentários que justificam as decisões pessoais tomadas na empreitada. Como apoio teórico, recorreu-se às abordagens funcionalistas da tradução, que enfatizam a questão da função como guia no processo de transposição de conteúdo e de forma da língua-fonte para a língua-meta. À luz de conceitos elaborados por teóricos funcionalistas como Katharina Reiss e Hans Vermeer, e em especial do modelo proposto por Christiane Nord, procurou-se traçar um plano de ação voltado para uma função pré-estabelecida para o textometa, tendo por base a análise textual e o receptor final da tradução. Em razão da perspectiva adotada, o corpus se compõe exclusivamente de composições que recebem a indicação de melodias cujas partituras estão incluídas na obra, de maneira que a função estabelecida possa ser cumprida integralmente. Todos os termos específicos ao campo semântico da gastronomia foram pesquisados em livros de cozinha contemporâneos a Festin Joyeux e em dicionários históricos, com o intuito de minimizar as possíveis distorções sofridas nesse espaço de quase três séculos entre a publicação de Festin Joyeux, no século XVIII, e sua tradução, no século XXI. / The aim of this study is to present a translation proposal, from French to Portuguese, of selected parts from the book Festin Joyeux, ou, la Cuisine en Musique, written by Louis XVs officier de bouche, J. Lebas (1738). This book appears as an unusual subject for a translation and distinguishes itself from other culinary books due to its text type juxtaposition, in as much as its a compilation of recipes in verse, intended for singing according to popular tunes at the time, the airs de cours and vaudevilles. In the first chapter, we make a brief social-historical contextualisation and an introduction of the original book. In the second chapter we discuss the nature of the text and survey the possible difficulties derived from the text type juxtaposition, determining a strategy for the intended translation. Finally, the third chapter includes the translation itself of Festin Joyeuxs compositions, accompanied by commentaries that justify the personal decisions made in the task. As a theoretical support, we have drawn from the functional approaches of translation which emphasize the question of the function as a guide in the process of transposing the content and form from the source-text to the target-text. In the light of concepts elaborated by funcionalist theorists like Katharina Reiss and Hans Vermeer, and in particular of the model proposed by Christiane Nord, we have strived to set an action plan towards a pre-established function for the target-text, based on text analysis and the final receiver of the translation. Due to the adopted perspective, the corpus is constituted exclusively by compositions that receive the indication of tunes for which there are music scores included in the book, in such a way that the established function can be thoroughly fulfilled. All the words which are specific to the semantic field of gastronomy have been researched in cookbooks contemporary to Festin Joyeux and in historical dictionaries, aiming at minimizing possible distortions caused by the gap of nearly three centuries between the publication of Festin Joyeux, in the 18th century, and its translation, in the 21st century.

This submission falls into two sections: a thesis and a screenplay. My thesis presents an original approach to screenwriting using storytelling dynamics found in film editing; I call this “writing-for-the-cut”. This section also contains my software experiments that hold the promise of innovative digital tools for screenwriters. In the second section I apply both my editing strategy and my software experiments in the production of an original screenplay called Rush the Sky. In the history of the screenplay, the advent of the master scene format, which gained fairly wide circulation from the early 1950s (Price 11), marked a moment of separation of the screenwriter from the film production process. Up to this point most screenwriters worked closely with studios and were steeped in the contiguous crafts of filming and editing. But the master scene format freed the script from all references to the ‘factory’ and in so doing fundamentally transformed film writing culture; now a new generation of largely non-specialists were writing for the big screen. To fill the ‘film school’ void occasioned by the loss of studio apprenticeships and mentoring, a lively market in guru screenwriting manuals emerged, particularly from around the 1970s. Taking their cue from the ‘no camera angles’ injunction on screenplays, the manual-writers tended to delineate the territory of screenwriting as a craft detached from production; in this way manual-readers have been discouraged from any serious consideration of the follow-on crafts (filming and editing) as potential modifiers of the screenplay. The perhaps unintended consequence has been that ‘manual culture’ has come to foster a view of film as a finished, projected product: we are ‘writing for cinema’. I propose an alternative strategy: the edit suite, not the cinema, is the real destination for our screenplay. This is a view of film as a constructed product: we are ‘writing for the cut’. This idea finds its roots in the lively theories and debates advanced by the early Soviet filmmakers such as Lev Kuleshov and Sergei Eisenstein in the 1910s and 1920s. For them, as Pudovkin declared “The foundation of film art is editing” (Pudovkin xiii). They viewed editing as a juxtapositional dynamic, one that engaged the inductive capacities of the audience to ‘discover’ the story. From this Hegelian notion of juxtaposition to its more nuanced application today, I identify three kinds of editorial juxtaposition that are essential to cinematic storytelling: poetry, puzzle, and kinesis. I suggest that these juxtapositions are interrelated and on axes of intensity: Poetry to Prose, Puzzle to Exposition, and Kinesis to Stasis. Finally, I identify how each of these editing terms can be adapted for use by screenwriters. In the second part of this submission, Rush the Sky is a demonstration of how the techniques of writing-for-the-cut can be applied in practice. This is a fast moving thriller in the style of British Indie films such as Trainspotting (wr: John Hodge dir: Danny Boyle1996), Sexy Beast (wrs: Louis Mellis, David Scinto dir: Johanthan Glazer 2000), and Dead Man’s Shoes (wrs: Paddy Considine, Shane Meadows dir: Shane Meadows 2004). Rush the Sky tells the story of two adrenaline-addicted lovers: Ella and Luke. Luke is a young base-jumper who has witnessed a gangland murder. Desperate to escape the mob and the police, he climbs a high mast and base-jumps into a storm cloud. Struck by lightning, he falls to earth in a coma. Ella joins forces with Luke’s feral brother Jared and together they ‘rescue’ Luke from hospital and attempt to wake him up. Rush the Sky is a non-linear story that interweaves a present-day road movie with a darkly euphoric backstory. Some of the specific editing figures I employ include parallel action, ‘split-edit’, non-linear shuffle, scene-scripted montage, and ellipsis. In the development of the treatment, I devised a hybrid writing-editing interface that allowed me to ‘mount’ and sequence the beats of my story. This is a kinetic environment where the beats are displayed as text, proxy images and film clips. In this way the familiar write/read/revise process of screenwriting moved closer to the play/watch/edit process of the cutting room. I strongly believe this approach could herald a fresh way of both composing a screenplay and ‘proving’ the cinema-worthiness of the story before filming commences.

LAND OF DREAMS is an opera in one act based on poems by the English poet William Blake. The work is for chamber orchestra, dancers, and an actor, as well as the vocal cast listed below. Cast of Characters Thomas Soprano The Father Baritone The Nurse Alto The Mother Mezzo Soprano The opera divides into eight sections with a total performance time of approximately forty minutes. Each section represents a different stylistic approach to the musical material. This juxtaposing of various styles is reflective of the eclectic nature of the text. The setting is England around 1800, the scene is a child's (Thomas) bedroom. All of the dramatic action takes place in this room in the various stages of the conscious (awake) and unconscious (asleep) states of the child's mind.