Le Popol Vuh, récit historique du peuple maya quiché, a été traduit des dizaines de fois. Jusqu’au milieu du 20e siècle, bon nombre de ces traductions se fondaient sur la version réalisée en 1861 par Brasseur de Bourbourg, un missionnaire français. Pour souligner le travail du traducteur, nous avons étudié sa traduction non pas d’un point de vue comparatif des deux textes, mais du point de vue du paratexte, c’est-à-dire ce qui entoure le texte (page de titre, préface, notes, illustrations, etc.). Pour ce faire, nous avons dressé le cadre théorique du paratexte à l’appui des écrits de Genette et de Lane, puis nous l’avons appliqué à celui de la traduction du Popol Vuh de Brasseur de Bourbourg. D’une taille colossale, ce paratexte nous renseigne sur ce qui a motivé le travail du traducteur et sur ce qu’il a fait. L’étude de son avant-propos nous indique clairement que son but est de faire connaître la culture des Amériques sous un jour nouveau, et le Popol Vuh est pour lui l’exemple parfait d’une richesse littéraire, historique et culturelle jusque-là largement ignorée. Cette partie du paratexte de Brasseur de Bourbourg nous prépare à la lecture, alors que les nombreuses notes de bas de page nous guident pendant celle-ci. Force est toutefois d’admettre que le paratexte de cet ouvrage est si imposant qu’il porte ombrage à la traduction. Bref, l’étude du paratexte nous amène à aborder la traduction de Brasseur de Bourbourg d’un oeil critique, en fonction de ce que nous dit le paratexte. La lecture du paratexte et la connaissance de ses tenants et aboutissants devraient donc faire d’un simple lecteur un véritable lecteur averti, qu’il s’agisse d’une traduction ou de tout autre texte. / The Popol Vuh is a historical tale of the Maya Quiché people which has been translated many times. Until the mid 20th century, many of those translations were based on Brasseur de Bourbourg’s version published in 1861. In order to situate the translator’s work, we approached his translation from the perspective of paratext, i.e. what ccompanies the text (title page, preface, footnotes, illustrations, etc.), rather than comparing the source text to the translation. In order to do so, we have established the paratext’s theoretical framework, based on the works published by Genette and Lane, and we have applied it to Brasseur de Bourbourg’s translation of the Popol Vuh. Brasseur de Bourbourg’s paratext is colossal; it allows us to understand what motivated his work and what he has done. The study of the translator’s preface clearly demonstrates that his goal was to present the culture of the Americas from a different standpoint, and the Popol Vuh is, for him, the perfect example of a rich literary, historical and cultural heritage that has long been overlooked. The preface to the translation prepares the reader to read the text, whereas the many footnotes guide him when he’s reading the translation. Nevertheless, the amount of paratext is so imposing that it overshadows the actual translation. In short, paratext analysis allows us to look critically and advisedly at Brasseur de Bourbourg’s translation, with a good knowledge of what paratext actually tells us. Therefore, reading the paratext and being aware of its meaning should transform a simple reader into a well-informed and critical reader, whether it is a translation or any other kind of document.

The Maya of Central America developed a complex society: among their many achievements they developed a writing system, complex calendar and were prolific builders. The buildings of their large urban centres, such as Copan in Honduras, were decorated with painted stucco, moulded masks, carving and elaborate murals, using a range of coloured pigments. In this study the paints used on the buildings of Copan and some ceramic sherds have been investigated, non-destructively, using micro-Raman spectroscopy, micro-ATR infrared spectroscopy, environmental scanning electron microscopy with energy dispersive X-ray analysis (ESEM-EDX) and FTIR-ATR imaging spectroscopy. The paint samples come from four buildings and one tomb covering three time periods in the four hundred year history of Copan. The main pigment used in the red paint on these samples was identified as haematite, and the stucco as a mixture of calcite particles dispersed throughout a calcite-based lime wash stucco. The composition and physical nature of the stucco changed through time, indicating a refining of production techniques over this period. A range of minor mineral components have been identified in each of the samples including rutile, quartz, clay and carbon. The presence and proportion of these and other minerals differed in each sample, leading to unique mineral signatures for the paint from each time period. Green and grey paints have also been identified on one of the buildings, the Rosalila Temple. The green pigment was identified as a celadonite-based green earth, and the grey pigment as a mixture of carbon and muscovite. The combination of carbon and mica to create a reflective paint is a novel finding in Maya archaeology. The high spatial resolution of the micro-FTIR-ATR spectral imaging system has been used to resolve individual particles in tomb wall paint and to identify their mineralogy from their spectra. This system has been used in combination with micro-Raman spectroscopy and ESEM-EDX mapping to characterize the paint, which was found to be a mixture of haematite and silicate particles, with minor amounts of calcite, carbon and magnetite particles, in a sub-micron haematite and calcite matrix. The blending of a high percentage of silicate particles into the haematite pigment is unique the tomb sample. The stucco in this tomb wall paint has finely ground carbon dispersed throughout the top layer providing a dark base for the paint layer. Changing paint mixtures and stucco composition were found to correlate with changes in paint processing techniques and building construction methods over the four hundred years of site occupation.

Thesis (Ph. D.)--Georgia State University, 2006. / Thomas L. McHaney, Pearl A. McHaney, committee co-chairs; Matthew Roudane, committee member. Electronic text (170 p.) : digital, PDF file. Title from title screen. Description based on contents viewed July 3, 2007. Includes bibliographical references (p. 158-169).

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-16Bitstream added on 2014-06-13T18:30:46Z : No. of bitstreams: 1 santos_me_me_assis.pdf: 757864 bytes, checksum: 6228de78c6143bf23c2d70acb679a080 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A produção intelectual do feminismo questionou as representações e os papéis sociais de gênero e também contribuiu para a evolução de uma perspectiva crítica acerca das múltiplas opressões que assolam as mulheres. Entre as minorias femininas que despontaram nesse cenário de articulação, as mulheres negras, com sua escrita engajada e muitas vezes marcada pela autorrepresentação, buscam se inserir no espaço acadêmico e conquistar o reconhecimento de sua obra literária. Nesse sentido, este trabalho pretende fazer uma reflexão crítica sobre a narrativa de memórias das escritoras negras Carolina Maria de Jesus e Maya Angelou, em suas respectivas obras: Diário de Bitita e I Know Why the Caged Bird Sings. Para tanto, levantamos questões relevantes do enredo e enfocamos o trajeto singular das protagonistas negras rumo à conscientização de uma realidade construída em torno das desigualdades de poder. Deste modo, num primeiro momento, refletimos sobre a condição dos afrodescendentes e sublinhamos a situação da mulher negra durante e depois do período escravocrata. Na sequência tratamos da questão da literatura confessional direcionando seu enfoque para as formas diário e memória, a fim de evidenciar suas congruências e diferenças no universo confessional. Por fim, empreendemos um trabalho de análise das obras, em que salientamos pontos importantes e discutimos as trajetórias de cada personagem rumo à autoaceitação. / The intellectual production of feminism questioned the representations and social roles of gender and contributed to an evolution of a critical perspective towards the oppression suffered by women. Among the minorities that emerged in this scenery of articulation, the black women with an engaged writing, and also marked many times by self- representation try to put themselves in the academic space and have the recognition of their work as well. In this sense, this work intends to make a critical reflection about the memoirs of the black writers Carolina Maria de Jesus and Maya Angelou, in their respective books: Diário de Bitita and I Know Why the Caged Bird Sings. For that we raised questions concerning the plot and emphasize the black protagonists´ peculiar course towards awareness of a reality built around unequal powers. So, we first consider the black people condition and underline the black women situation before and during slavery time. Secondly, we talk about the confessional literature focalizing the diary and memoir forms in order to make evident their similarities and differences in the confessional universe. At last we attempt to a work of analysis of the books where we point out important items and discuss the characters´ course towards self-acceptance.

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The Gravity Control for Maya will be extraordinary beneficial to an animator trying to create realistic animation, by calculating the center of gravity and area of balance. This control will provide the animator with the ability to rotate around the center of gravity and keep the character in a balanced pose. With that ability, the animator can easily create accurate poses and animation, such as mid-air flips. The system also supports a vast number of characters with different shapes, sizes and number of limbs.

I denna uppsats beskrivs metoder för att skapa en arm i 3D samt att lägga in den i ett foto där den ersätter en riktigt arm. Anledningen till detta är att kunna skapa effekter i filmer och bilder som inte är möjliga med analog teknik. I denna uppsats kan man läsa om tekniker som används i varje del av utvecklingsprocessen och problem som uppstår samt lösningar och tips. I uppgiften finns det med delar som Modellering, Texturering, Rendering, Kamera Matchmoving och Compositing.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-10-22T19:00:31Z No. of bitstreams: 2 Dissertacao - Regis Puppim - 2014.pdf: 12285624 bytes, checksum: 373e1696407287b4c5865465ab71f27f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-22T19:11:09Z (GMT) No. of bitstreams: 2 Dissertacao - Regis Puppim - 2014.pdf: 12285624 bytes, checksum: 373e1696407287b4c5865465ab71f27f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-22T19:11:09Z (GMT). No. of bitstreams: 2 Dissertacao - Regis Puppim - 2014.pdf: 12285624 bytes, checksum: 373e1696407287b4c5865465ab71f27f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-05-26 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The present study aimed to measure the cultural significance of clothing in the Aztec and Mayan civilizations , besides exposing the hierarchy , reflected in dressing practices and compare historical reports and graphical representations , portrayed in contemporary media. Thus, the work was devided into three stages: Imaging survey (Chapter 1: The history viewed), literature review (Chapter 2: The history read) and field research (Chapter 3: A living history). The first chapter emphasized the analysis of representations of the clothing of the Aztecs and Mayans, enabling the interpretation noted by several authors, in three different medias: Electronic game Age of Empires II: The Conquerors, the animation The Road to Eldorado and feature film Apocalypto. The second chapter allows to understand how History and the History of Fashion and Dress Code narrate these nations, especially about costumes. Finally, the third chapter unraveled the strong legacy left by these civilizations, even though not much explored by other types of research. Therefore, the study revealed that the solid hierarchical relationships within the classic Mesoamerican societies are still seen by media artists and contemporary fashion brands. / El presente estudio tuvo como objetivo medir la importancia cultural de la ropa en las civilizaciones azteca y maya, además de la exposición de la jerarquía, que se refleja en las prácticas de vestir y comparación de los informes históricos y las representaciones gráficas, retratados en los medios de comunicación contemporáneos. Para ello, se divide el trabajo en tres etapas: estudio de imágenes (Capítulo 1: La visión de la Historia), revisión de la literatura (Capítulo 2: La historia leída) y la investigación de campo (Capítulo 3: una historia vivida). El primer capítulo enfatiza el análisis de las representaciones de la ropa de los aztecas y más, lo que permite la interpretación han señalado varios autores, en tres medios diferentes: Electrónico juego Age of Empires II: The Conquerors, la animación The Road to El Dorado y la película Apocalypto. En el segundo capítulo, nos permite comprender cómo la Historia y la Historia de la Moda y el Código de Vestimenta dice esta gente, sobre todo cuando se trata de disfraces. Finalmente, el tercer capítulo fue desentrañar el fuerte legado dejado por estas civilizaciones, aunque poco explorado en otros tipos de investigación. Por lo tanto, el estudio reveló que las relaciones jerárquicas sólidos dentro de las sociedades mesoamericanas clásicas siguen siendo vistos por los artistas de medios y marcas de moda contemporáneas. / A presente investigação objetivou mensurar o significado cultural da indumentária nas civilizações Asteca e Maia, além de expor a hierarquização, refletida nas práticas vestimentares e comparar relatos históricos e representações gráficas, retratadas em mídias contemporâneas. Para tanto, dividimos o trabalho em três etapas: levantamento imagético (Capítulo 1: A história vista), revisão bibliográfica (Capítulo 2: A história lida) e pesquisa de campo (Capítulo 3: a história vivida). O primeiro capítulo ressaltou a análise das representações da indumentária dos Astecas e Mais, possibilitando notar a interpretação de diversos autores, em três distintas mídias: O jogo eletrônico Age of Empires II: The Conquerors, a animação O Caminho para Eldorado e o filme de longa metragem Apocalypto. Já o segundo capítulo, permitiu compreender como a História e a História da Moda e da Indumentária narra estes povos, sobretudo, no que se refere aos trajes. E, por fim, o terceiro capítulo possibilitou desvendar o forte legado deixado por estas civilizações, mesmo que pouco explorado em outras modalidades de pesquisas. Portanto, o trabalho revelou que as sólidas relações hierárquicas dentro das sociedades mesoamericanas clássicas são ainda visto por mídias, artistas e marcas de moda contemporâneas.

Vi har under tio veckor producerat en del av Peter Martinssons film Eve. Vi har stått bakom en stor del av den tekniska biten. Vi har inte deltagit något i idéarbetet och idén bakom filmen, däremot har vi påverkat det visuella resultatet genom att göra stora delar av bakgrundsmaterialet. På så sätt har våra idéer och vår konst fått en stor del i filmen. Genom detta arbete har vi velat utveckla våra kunskaper främst i programmet AliasWavefront Maya, men även rent estetiskt. Målet med arbetet var inte att bli klara med filmen, utan att lära oss av produktionsprocessen. Vi har varit tvungna att anpassa oss i vårt arbete till det speciella utseendet som filmen har. Detta har gett oss kunskaper i att anpassa oss efter andras krav och idéer, tekniskt och mentalt. Vi har också lärt oss en hel del nya modelleringstekniker och funktioner i programmet. Desto mer man jobbar med 3D-modellering ju snabbare, bättre och förutseende på eventuella problem blir man. Övning ger färdighet även här. / We have under a 10 week period been producing a part of Peter Martinsson’s short movie Eve. He had an aesthetic vision and we handled the technical part. This meant that we couldn’t change the core idea behind the movie but we could influence the visual outcome due to the fact that we built a large part of the backdrop. Through this work we’ve been trying to improve our knowledge of Alias Wavefront Maya but also to evolve as 3D artists. The goal of this project was not to complete the entire movie but to learn from the process of making this movie. We have had to adapt our working process to be able to produce the unique look of this movie. By doing so we have aquired new knowledge in the ways of meeting customers demands and ideas, both mental and technical. We have also aquired new skills in the craft of modeling and in the field of using Maya. The more you work with 3D, the faster you’ll be able to model and you ability to produce fine details without falling into the usual traps becomes greater than it was before. In this line of work practice makes perfect. / Detta är en reflektionsdel till en digital medieproduktion.

Inom 3D-grafik, visualiseringar, spel och VR finns ett behov av måttriktig modellering. Traditionellt så används CAD-program för att uppnå ett exakt eller precist resultat. Men då CAD-program inte utmatar polygonal geometri så fungerar det inte att använda resultatet direkt i tidigare nämnda kategorier. Denna studie ämnar att underlätta måttriktig polygonal modellering i Autodesk Maya genom ett tillägg i form av ett grafiskt användargränssnitt. Effektiviteten av detta mäts genom tidtagning på modellering av CAD-ritningar i polygoner hos en testgrupp både med och utan tillägget samt en kvalitetskontroll där resultatet jämförs med specifikationen. Medelresultatet av testgruppens användning av tillägget var en förbättring i tidsåtgång gentemot endast Maya. Geometrin hade även bättre måttriktighet.