Nesta pesquisa tivemos como objetivo depreender imagens de língua em textos literários da prosa brasileira produzidos no século XXI. O corpus é composto por livros publicados no período de 2001 a 2013 no Brasil. Selecionamos 10 obras, sendo 5 autores; três homens e duas mulheres. Buscamos caminhar no sentido das prerrogativas da análise do discurso e combinar campos em diálogo, tendo como essencial a materialidade do texto. O trabalho realizado, portanto, não pretende se localizar a priori num campo isolado ou determinado da crítica literária ou da análise linguística. Para tanto, tomamos a prosa literária, a princípio, como estrutura textual, estabelecendo dessa forma nosso ponto de partida para efetivar o trabalho com o texto/palavra: realizar leituras investigativas calcadas em mecanismos predominantemente propostos pela Análise do Discurso desenvolvida por Michel Pêcheux e propostos pela vertente estruturalista de Roland Barthes. A partir da análise, respondemos ao questionamento central: quais imagens de língua podem ser depreendidas das narrativas e como tal imagem sustenta uma leitura interpretativa da própria narrativa? Essas duas perguntas nos levaram a observar i. Como a língua (escrita/fala) é retratada de forma explícita e implícita; ii. Quais aspectos linguísticos poderiam ser recorrentes nos textos (variedade línguística, diálogos, erros, sintaxe, metáforas etc); iii. Qual o papel da língua para o funcionamento das ações no enredo de cada livro. Outra ação importante para a investigação aderir à leitura da literatura como produto histórico e social, sendo assim carregada de índices das atuais condições de organização social brasileira. Realizamos a análise pautando-nos em uma construção de um roteiro de análise, desenvolvido a partir das discussões teóricas anteriores e que foi sendo melhor elaborado no percurso desse trabalho. Ao final da pesquisa pudemos considerar a elaboração de cinco hipóteses de imagens de língua, levantadas tendo em vista elementos e funções em circulação no nosso tempo e cultura; assim, temos as imagens: de língua como falha, de língua como marca da história do sujeito, de língua como possibilidades de variadas respostas (versões); da língua como instauradora de realidade e, por fim, de língua espelhada (mundo interno e externo; eu e outro). Com nossa pesquisa, pretendemos contribuir no sentido de compreender que ao dizer da Literatura, dizemos da Língua. Assim, à medida que participamos do debate a respeito do que vem se constituindo como literatura brasileira contemporânea, participamos também do debate para descrever a língua contribuindo para uma visão de caráter emancipatório, ao desvendar alguns mecanismos ideológicos de punição ou impedimento de usos lingüísticos. / In this research we aimed for understand language images in literary texts of the Brazilian prose produced in the twenty-first century. The corpus is composed of books published in the period from 2001 to 2013 in Brazil. We selected 10 oeuvres, being 5 writers; three men and two women. We seek to move towards the prerogatives of discourse analysis and to combine fields in dialogue, having as essential the materiality of the text. The work done, therefore, doesnt intend to be located a priori in an isolated or particular field of the literary criticism or linguistic analysis. Therefore, we take the literary prose, initially, as a textual structure, thus establishing our starting point to carry out the work with the text/word: to carry out investigative readings based on mechanisms predominantly proposed by the Discourse Analysis developed by Michel Pêcheux and proposed by the structuralist aspect of Roland Barthes. As from the analysis, we answer the central question: which language images can be understand from the narratives and how does such an image support an interpretive reading of the narrative itself? These two questions led us to observe: i. How the language (written/speaking) is portrayed explicitly and implicitly; ii. What linguistic aspects can be recurrent in the texts (linguistic variety, dialogues, errors, syntax, metaphors, etc.); iii. What is the role of the language for the operation of the actions in the plot of each book. Another important action for the investigation adheres to the reading of the literature as historical and social product, being thus loaded with indices of the current conditions of Brazilian social organization. We performed the analysis based on a construction of a roadmap of analysis, developed from the previous theoretical discussions and that was better elaborated in the course of this work. At the end of the research we could consider the elaboration of five hypotheses of language images, raised in view of elements and functions in circulation in our time and culture; so, we have the images: of language as failure, of language as a mark of the subjects history, of language as possibilities of varied answers (versions), of the language as a restorer of reality and, finally, of mirrored language (internal and external world; me and another). With our research, we intend to contribute in the sense of understanding that in the saying of the Literature, we say of the Language. Thus, as we participate of the debate about what has been constituted as contemporary Brazilian literature, we also participate of the debate to describe the language contributing to a vision of emancipatory character, when reveal some ideological mechanisms of punishment or impediment of linguistic uses.

Nesta pesquisa tivemos como objetivo depreender imagens de língua em textos literários da prosa brasileira produzidos no século XXI. O corpus é composto por livros publicados no período de 2001 a 2013 no Brasil. Selecionamos 10 obras, sendo 5 autores; três homens e duas mulheres. Buscamos caminhar no sentido das prerrogativas da análise do discurso e combinar campos em diálogo, tendo como essencial a materialidade do texto. O trabalho realizado, portanto, não pretende se localizar a priori num campo isolado ou determinado da crítica literária ou da análise linguística. Para tanto, tomamos a prosa literária, a princípio, como estrutura textual, estabelecendo dessa forma nosso ponto de partida para efetivar o trabalho com o texto/palavra: realizar leituras investigativas calcadas em mecanismos predominantemente propostos pela Análise do Discurso desenvolvida por Michel Pêcheux e propostos pela vertente estruturalista de Roland Barthes. A partir da análise, respondemos ao questionamento central: quais imagens de língua podem ser depreendidas das narrativas e como tal imagem sustenta uma leitura interpretativa da própria narrativa? Essas duas perguntas nos levaram a observar i. Como a língua (escrita/fala) é retratada de forma explícita e implícita; ii. Quais aspectos linguísticos poderiam ser recorrentes nos textos (variedade línguística, diálogos, erros, sintaxe, metáforas etc); iii. Qual o papel da língua para o funcionamento das ações no enredo de cada livro. Outra ação importante para a investigação aderir à leitura da literatura como produto histórico e social, sendo assim carregada de índices das atuais condições de organização social brasileira. Realizamos a análise pautando-nos em uma construção de um roteiro de análise, desenvolvido a partir das discussões teóricas anteriores e que foi sendo melhor elaborado no percurso desse trabalho. Ao final da pesquisa pudemos considerar a elaboração de cinco hipóteses de imagens de língua, levantadas tendo em vista elementos e funções em circulação no nosso tempo e cultura; assim, temos as imagens: de língua como falha, de língua como marca da história do sujeito, de língua como possibilidades de variadas respostas (versões); da língua como instauradora de realidade e, por fim, de língua espelhada (mundo interno e externo; eu e outro). Com nossa pesquisa, pretendemos contribuir no sentido de compreender que ao dizer da Literatura, dizemos da Língua. Assim, à medida que participamos do debate a respeito do que vem se constituindo como literatura brasileira contemporânea, participamos também do debate para descrever a língua contribuindo para uma visão de caráter emancipatório, ao desvendar alguns mecanismos ideológicos de punição ou impedimento de usos lingüísticos. / In this research we aimed for understand language images in literary texts of the Brazilian prose produced in the twenty-first century. The corpus is composed of books published in the period from 2001 to 2013 in Brazil. We selected 10 oeuvres, being 5 writers; three men and two women. We seek to move towards the prerogatives of discourse analysis and to combine fields in dialogue, having as essential the materiality of the text. The work done, therefore, doesnt intend to be located a priori in an isolated or particular field of the literary criticism or linguistic analysis. Therefore, we take the literary prose, initially, as a textual structure, thus establishing our starting point to carry out the work with the text/word: to carry out investigative readings based on mechanisms predominantly proposed by the Discourse Analysis developed by Michel Pêcheux and proposed by the structuralist aspect of Roland Barthes. As from the analysis, we answer the central question: which language images can be understand from the narratives and how does such an image support an interpretive reading of the narrative itself? These two questions led us to observe: i. How the language (written/speaking) is portrayed explicitly and implicitly; ii. What linguistic aspects can be recurrent in the texts (linguistic variety, dialogues, errors, syntax, metaphors, etc.); iii. What is the role of the language for the operation of the actions in the plot of each book. Another important action for the investigation adheres to the reading of the literature as historical and social product, being thus loaded with indices of the current conditions of Brazilian social organization. We performed the analysis based on a construction of a roadmap of analysis, developed from the previous theoretical discussions and that was better elaborated in the course of this work. At the end of the research we could consider the elaboration of five hypotheses of language images, raised in view of elements and functions in circulation in our time and culture; so, we have the images: of language as failure, of language as a mark of the subjects history, of language as possibilities of varied answers (versions), of the language as a restorer of reality and, finally, of mirrored language (internal and external world; me and another). With our research, we intend to contribute in the sense of understanding that in the saying of the Literature, we say of the Language. Thus, as we participate of the debate about what has been constituted as contemporary Brazilian literature, we also participate of the debate to describe the language contributing to a vision of emancipatory character, when reveal some ideological mechanisms of punishment or impediment of linguistic uses.

abstract: Humans perceive the environment using multiple modalities like vision, speech (language), touch, taste, and smell. The knowledge obtained from one modality usually complements the other. Learning through several modalities helps in constructing an accurate model of the environment. Most of the current vision and language models are modality-specific and, in many cases, extensively use deep-learning based attention mechanisms for learning powerful representations. This work discusses the role of attention in associating vision and language for generating shared representation. Language Image Transformer (LIT) is proposed for learning multi-modal representations of the environment. It uses a training objective based on Contrastive Predictive Coding (CPC) to maximize the Mutual Information (MI) between the visual and linguistic representations. It learns the relationship between the modalities using the proposed cross-modal attention layers. It is trained and evaluated using captioning datasets, MS COCO, and Conceptual Captions. The results and the analysis offers a perspective on the use of Mutual Information Maximisation (MIM) for generating generalizable representations across multiple modalities. / Dissertation/Thesis / Masters Thesis Computer Engineering 2020

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-08-05T22:19:41Z No. of bitstreams: 1 Veruska Lima Rangel.pdf: 3073843 bytes, checksum: 247dd43d22672257b9dffe2ce9792230 (MD5) / Made available in DSpace on 2015-08-05T22:19:41Z (GMT). No. of bitstreams: 1 Veruska Lima Rangel.pdf: 3073843 bytes, checksum: 247dd43d22672257b9dffe2ce9792230 (MD5) Previous issue date: 2014-12-15 / This work aims to study the Fashion Design as memory, language, identity and culture, having its starting point from Vitorino Campos' work, a stylist from Bahia. The research has the overall objective to demonstrate how, when putting down on paper his project or when drawing, a stylist transforms his mental representation in a graphical representation ___ the fashion design that becomes language and memory device or memories ___ that by itself already works with time and awakens memories and/or oblivion, associating cultures and showing designer's identity. In this sense, an understanding of drawing as a visual record of fashionable it becomes a memory device , presents the language, memory , culture and identity that strengthens timeless way ( towards the transit times past , future or present, without reducing Cartesian duration of these ), with existing variables and overcoming the idea of objectification image . The research focuses both evocative and inspiring aspects of social and anthropological dimension of the design , as the technical aspect determining the achievement of these . Thus , this paper highlights , the universe of Fashion Design, the fact that the designers of the area generally look to the past references to the identity of this recreating times , and from there , the research investigates the production designer Vitorino Fields which demonstrates their parts inspiration from other eras. In this way, the work intends to contribute to systematize a knowledge concerning the analysis of fashion images within a broad perspective and based on specialized theory on the subject, linked to the substrates chosen since the title of the Thesis. Through the observation of designs shown here, it was sought to demonstrate the existing relations since the idea creation until the final piece manufacturing by the stylist.Thus, the research was cultivated in a way to show the Drawing's implicit or explicit sense relations from a documentary survey and a field research with semi-structured interview and the found data discussion. / Esse trabalho estuda o Desenho de Moda enquanto linguagem e dispositivo de mem?ria, identidade e cultura, a partir da obra do estilista baiano Vitorino Campos. A pesquisa demonstra como, ao desenhar (colocar no papel seu projeto), um desenhista, neste caso o estilista, transforma a sua representa??o mental em uma representa??o gr?fica e como este desenho de moda se torna linguagem e registro de mem?ria, ou mem?rias, pois evoca lembran?as e/ou esquecimentos. Este registro gr?fico est? intimamente associado ?s culturas, principalmente da moda, e representa a identidade do desenhista. Nesse sentido, o entendimento do desenho como registro visual da moda que se torna dispositivo de mem?ria, apresenta a linguagem, mem?ria, cultura e identidade que o fortalece de maneira atemporal (no sentido do transitar pelos tempos passado, futuro ou presente, sem se reduzir a dura??o cartesiana destes), apresentando as vari?veis existentes e superando a ideia de coisifica??o da imagem. A pesquisa se foca tanto nos aspectos evocativos e inspiradores da dimens?o social e antropol?gica do desenho, quanto no aspecto t?cnico determinante da realiza??o destes. Dessa forma, este trabalho destaca, do universo do Desenho de Moda, o fato de que os desenhistas da ?rea geralmente buscam no passado referencias para a identidade do presente, recriando tempos, e a partir da?, a pesquisa investiga a produ??o do estilista Vitorino Campos, que demonstra em suas pe?as a inspira??o de outras ?pocas. Por meio da observa??o dos desenhos aqui estudados foi realizada uma an?lise que partiu das rela??es existentes desde a ideia de cria??o at? a confec??o final da pe?a. A pesquisa buscou as rela??es de sentidos impl?citas ou expl?citas do Desenho, a partir da sistematiza??o de um conhecimento relativo ? an?lise de imagens de moda, de um levantamento documental, da pesquisa de campo com entrevista semiestruturada e da discuss?o e an?lise dos dados encontrados.

Diploma thesis Figurativeness of denominations in a partnership based on a questionnare survey deals with a discourse of figurative denominations in partnerhips. Firstly, the position of partnership denominations within the field of onomastics is defined and a general language characteristics of these denomations is presented. Further on, the main ideas from cognitive linguistics are presented, especially the conceptual metaphor theory which has been the basis for an analysis and interpretation of partnership denominations. These have been divided into several semantical groups in the context of which the partnership denominations are being analysed.

Cette thèse a comme but de resituer l’œuvre de l’auteur suisse romand, Charles Ferdinand Ramuz dans le contexte français où elle a été souvent mal accueillie, plus particulièrement à l’époque contemporaine à sa création même. Afin de pouvoir situer les questionnements et les hypothèses, elle dresse un panorama des différents aspects de la réception de l’œuvre en question (malentendus, interprétations linguistiques, esthétiques et narratologiques). Ce travail souhaite s’inscrire dans le renouveau critique qui s’est fait jour dans les années soixante. Il étudie les stratégies d’expression et les techniques narratives qui rendraient possible une « langue-image » et une esthétique de la perception phénoménologico-cinématographique. Il consacre une attention particulière à l’usage ramuzien du pronom on ainsi qu’à la mise en œuvre des effets cinématographiques. L’analyse détaillée de ces constantes de l’écriture ramuzienne permettent non seulement de redéfinir les enjeux d’un regard détaché, objectif et de redécouvir le foyer perceptif comme doté de conscience et de cognition, mais aussi de poser une question qui peut paraître bouleversante : l’écriture de cet écrivain vaudois, mettrait-elle en œuvre ce que la création romanesque associée à la mouvance du Nouveau Roman définit et théorise trente ans plus tard ? / The aim of the present thesis is to resituate the work of the Swiss writer Charles Ferdinand Ramuz in the French context in which it was frequently badly received, namely in the contemporary age of its creation. In order to situate the questions and hypotheses, the thesis will provide a panorama of the different aspects of the work’s reception in question (misunderstandings, linguistic, aesthetic and narratological interpretations). This study aims to follow in the lines of the Critical Renewal which appeared in the sixties. It will study the strategies of expression and the narrative techniques that would allow a «language-image» and an aesthetics of the phenomenological-cinematographic perception. It will focus especially on Ramuz’ usage of “on” (we) as well as on the realization of the cinematographic effects. The detailed analysis of these constants in Ramuz’ writing make it possible not only to redefine the challenges of a detached and objective view and to rediscover the perceptive focus as if it was provided with conscience and cognition but also to raise a seemingly upsetting question: may it be possible that the writing of this Vaud writer already accomplishes what the Romanesque creation in association with the movement of the New Novel (Nouveau Roman) defines and theorises thirty years later ?