This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applied to argue that dragon and phoenix as visual symbols convey ideas about characters' background, marital relationship, social status shifts, and socio-culturally desirable values. Social Drama Theory is employed to analyze the lyrics to understand how ideal images of husband and wife are constructed. The archetypes of Chinese traditional culture that have influenced Chinese thought and action for centuries are discovered and discussed.

In this thesis, I investigate idiom processing from two angles through three different studies. First, I approached idiom processing from a constraint-based perspective. According to this view, not all idioms are alike: they can differ regarding lexical, and linguistic characteristics, such as their level of familiarity. In this first study, I investigated the underlying processes during the comprehension of idioms with different characteristics. I used the Event Related Potential (ERP) technique, which has high temporal resolution, to investigate this issue. I provided evidence that idioms' characteristics impact their processing. More specifically, idioms which are more familiar to language users (i.e., the ones that are encountered more frequently) showed processing facilitation compared to less familiar idioms. Also, idioms with plausible literal interpretation showed processing advantages over idioms which are less likely to be interpreted literally. The second aim of the current thesis was to investigate idiom processing from an embodied account of language processing. According to this view, various sources of information (including linguistic, affective, and sensory-motor) are available and used during the comprehension of language. While, this view has become popular in many language processing studies, studies of idiom processing are still at the beginning of this journey. To be able to investigate idiom processing while considering the role of affective and sensory-motor factors, we require access to norming data. In the second (descriptive) study, I conducted a large-scale survey and collected measures of valence, arousal, concreteness, and imageability for a set of English idioms, by both native speakers of English and proficient second language speakers. In the last study, I explored how the emotional status of idioms and their concreteness contributes to their processing, and whether this contribution is modulated by idiom familiarity. We found that the impact of non-linguistic sources of information (affective and sensory-motor) is determined by idiom familiarity, such that low familiar and high familiar idioms show different behaviour where these factors are concerned. For highly familiar idioms, behaviour aligns with the findings on word processing: for example, idioms with more positive valence showed facilitative processing. Unlike highly familiar idioms, valence had an inhibitory impact on idioms with low familiarity level, such that greater valence increased the reading time.

No description available.

<p>The decade of the nineteen-twenties has generally been recognized as a dynamic period in English-Canadian literature, but so far as fiction is concerned its achievement is widely assumed to be the introduction of social realism into the Canadian novel. Those novels which employ other than realistic conventions have been assumed by many critics to be inferior because of their non-realistic aspects. </p> <p>This dissertation examines four such novels, supposedly flawed by melodramatic excess~ Raymond Knister's White Narcissus (1929), Martha Ostenso's Wild Geese (1925), Morley Callaghan's A Broken Journey (1932), and Frederick Philip Grove's The Yoke of Life (1930) - in order to discover the function and significance of melodramatic conventions and the sort of vision they project.</p> <p>The first part of the dissertation defines such terms as "realism" and ''melodrama." and explains the critical approach to be used. In the central four chapters, this critical approach is applied to each novel in turn.</p> <p>When the novels are compared, following the detailed analysis of each, significant similarities emerge. In thematic terms, a quest is undertaken, in each case, which is meaningful on several levels: on the literal level there is an arduous physical journey across or into a specific (and generally threatening) landscape; on a symbolic level there is a journey of mythological and/or religious import; in psychological terms the journey is into the less rational aspects of human experience in an attempt to re-integrate a personality divided against itself. In terms of structure, as well, certain patterns emerge: each novel employs a balanced, rather symmetrical structure, formal devices which tend to distance the reader from the material, and vortex-like patterns of movement on the part of the protagonist.</p> <p>The formal and thematic patterns which emerge from a comparison of the four novels, then, suggest that there is a "melodramatic mode" common to them, and possibly to novels of periods other than the one explored in this thesis. Indeed, it is further argued, melodramatic conventions (which are related to the gothic mode and romanticism in general) may serve as an appropriate vehicle for the expression in fiction of a profound modern theme, the portrayal of alienated man in a secularized and relativistic universe.</p> / Thesis / Doctor of Philosophy (PhD)

This is a study of how literal and phenomenal transparency inform the development and understanding of a design ordered by two overlapping reference systems. A mixed-use building serves as the project to resolve the complexities of overlap that result from rotation, and to explore ideas of transparency. / Master of Architecture

Made available in DSpace on 2016-04-28T19:59:12Z (GMT). No. of bitstreams: 1 Cynthia Beatrice Costa.pdf: 5317777 bytes, checksum: dc9fb5495380ee82aa1786b164df2489 (MD5) Previous issue date: 2008-09-23 / Based on the literary project of Alice s Adventures in Wonderland, written by Lewis Carroll (1865), this dissertation discusses the specific literary quality of that work, in its originality, logic and esthetic, recreated in Portuguese through the act of translation. The discussion embraces the confront translation versus adaptation of the original text, revisiting these two concepts in the light of works written by four Brazilian authors and translators Monteiro Lobato, Sebastião Uchoa Leite, Ana Maria Machado and Ruy Castro and their distinguished writings. Some theoristis and their particular points of view about the translation subject, such as Walter Benjamin, Haroldo de Campos, Roman Jakobson, Octavio Paz and Roland Barthes, among others, are applied to the sounding of the translated and adapted versions in Brazil of Carroll s innovative work, which take as a challenge to preserve the English author s language with its puns, nonsense and ludic propositions. Chapter I, entitled The translation and the adaptation, emphasizes the identity of these two concepts, apprehended in the literary frontier. It discusses, at the same time, the role of the translator and of the reader and the concept of poetic writing, in the crossing of a writing that reads other writing. The study intends to investigate the artistic nature of translation and adaptation, and how these two modes of creation of a new text can or not recue the literary quality of the original text. Chapter II focuses in the different transformations promoted in Alice s Adventures in Wonderland by two national authors, Monteiro Lobato e Sebastião Uchoa Leite. Basing on modernist theories about translation, the works of those two translators are approached as models in the history of translation of writings orientated to children in Brazil. Chapter III analyses the translations/adaptations of Ana Maria Machado and Ruy Castro, still in view of the same theories, conducting to the revision of the editorial market concept and, over all, of the addressing to the child reader. The three chapters make use of a methodology based in the proceedings of comparison, deductive counter-arguing and by the critical metalanguage proposed by the authors, translators and adaptators of their Alices, in the 20th century / A partir do projeto literário de Alice no País das Maravilhas, de Lewis Carroll (Alice´s Adventures in Wonderland, 1865), discute-se, nesta pesquisa, a qualidade literária específica da obra, em sua originalidade tanto lógica quanto estética, recriada em português pelo ato da tradução. A discussão abarca o confronto tradução versus adaptação do texto-fonte, revisitando esses dois conceitos à luz dos trabalhos de quatro autores brasileiros tradutores Monteiro Lobato, Sebastião Uchoa Leite, Ana Maria Machado e Ruy Castro e suas escritas diferenciadas. Alguns teóricos e seus pontos de vista particulares sobre o assunto da tradução, como Walter Benjamin, Haroldo de Campos, Roman Jakobson, Octavio Paz e Roland Barthes, entre outros autores, são aplicados à sondagem das versões traduzidas e adaptadas no Brasil da inovadora obra de Carroll, que têm como desafio preservar a linguagem carrolliana com seus trocadilhos, nonsense e ludismo. O Capítulo I, intitulado A tradução e a adaptação, enfatiza esses dois conceitos quanto à sua identidade, apreendida nas fronteiras da literariedade. Discute, ao mesmo tempo, o papel do tradutor e do leitor e o conceito de escrita poética, na travessia de uma escrita que lê outra escrita. O estudo pretende investigar e levantar hipóteses a respeito da natureza artística da tradução e da adaptação, e como essas duas maneiras de criar um novo texto podem ou não resgatar a literariedade do texto original. O Capítulo II centra-se nas transformações, bastante diversas entre si, promovidas em Alice no País das Maravilhas por dois autores nacionais, Monteiro Lobato e Sebastião Uchoa Leite. Baseando-se nas teorias modernistas sobre tradução, os dois tradutores têm seus trabalhos abordados como modelos da história da tradução de escritas para crianças no Brasil. O Capítulo III analisa as traduções/adaptações de Ana Maria Machado e Ruy Castro, ainda sob o olhar das mesmas teorias, levando à revisão do conceito de mercado editorial e, sobretudo, do endereçamento ao leitor-criança. Nos três capítulos, a metodologia baseia-se em procedimentos de comparação, contra-argumentação dedutiva e na metalinguagem crítica exercitada pelos autores, tradutores e adaptadores de suas Alices, no século XX

Idioms are frequently used in any language and thereby it is important to investigate how these linguistic resources are understood, acquired and mastered. More studies need to be conducted, specially in the learning of a second language. Cooper (1999) examined the processing of idioms in English by L2 learners using the Think-aloud procedure (TAP). He found that a heuristic model consists of the numerous strategies used by these speakers to find the meaning of written idioms by exploring and try to find the meaning which is less familiar to them, compared to the native speakers knowledge and holistic or integrated approach. In the currrent work, realized in Sweden, the TAP was applied to compare the responses given by learners of Spanish as a second language and native speakers about common verbal idioms. The aim is to analyze the interpretation and comprehension of non-literal or figurative meaning of these expressions. As the result indicates, the Spanish idioms were less familiar to the L2 learners, but their figurative meaning was understood in 41% of the times, and including partial associations in 76% of the attempts using the TAP. The descriptions of these L2 Spanish speakers’ group varied notoriously: amid match and partial coincidences with figurative meaning, unusual images were referred and the literal meaning was presented in a few cases as part of the figurative. The heuristic and a kind of hybrid approach to the idiomatic meaning in the oral and semantic elaborations and interpretative strategies were confirmed. However, it was relatively easier to the L2 speakers to propose lexical definitions. With a more holistic processing and descriptions of meaning, the native speakers accessed the non-literal idioms’ meaning with a complete description in 85% of the cases, and including linked information in 98%, which confirmed that regional idioms could be particularly unknown. Some difficulties to give explicit information about concrete terms by members of the group of native speakers were identified. / Las locuciones son expresiones de uso común en el habla cotidiana y por ello es importante investigar cómo son comprendidas y adquiridas, tanto en el aprendizaje de lenguas maternas como en el de segundas lenguas. Cooper (1999) examinó cómo los hablantes de inglés como segunda lengua, usando el procedimiento Pensar en Voz Alta (PVA), describen el significado de locuciones presentadas por escrito. Él identificó que un modelo heurístico de procesamiento se conforma por numerosas estrategias con las cuales estos hablantes intentan encontrar y dar respuestas acertadas acerca del significado idiomático. El PVA se usó en este estudio, realizado en Suecia, para comparar las respuestas de aprendientes de español como segunda lengua y hablantes nativos, enfocando locuciones verbales de uso común en esa lengua. El propósito fue analizar las interpretaciones y comprensión de significado no literal o figurado de las secuencias convencionales presentadas. Los resultados muestran que para los hablantes de español como segunda lengua las locuciones eran poco familiares, pero acertaron en el 41% de sus intentos al describir significados coincidentes con el sentido figurado, y en 76% con asociaciones parciales de significado. Las respuestas de estos hablantes variaron notoriamente: entre aproximación al significado convencional proporcionaron imágenes inusuales y algunos significados literales como parte del figurado, confirmando un abordaje heurístico o indagatorio y cierta aproximación híbrida al conocimiento idiomático en la L2. Sin embargo, fue relativamente más fácil para estos participantes formular definiciones léxicas. El abordaje de los hablantes nativos fue en cambio más holístico o integrador, con la descripción completa de significados del sentido figurado en 85% de casos, y en 98% con asociación de información relacionada, lo que confirma que algunas expresiones pueden ser conocidas de distinta forma en regiones diferentes. En algunos casos hubo ciertas dificultades para exponer información explícita sobre términos concretos en este grupo de hablantes nativos.

Las locuciones son expresiones de uso común en el habla cotidiana y por ello es importante investigar cómo son comprendidas y adquiridas, tanto en el aprendizaje de lenguas maternas como en el de segundas lenguas. Cooper (1999) examinó cómo los hablantes de inglés como segunda lengua, usando el procedimiento Pensar en Voz Alta (PVA), describen el significado de locuciones presentadas por escrito. Él identificó que un modelo heurístico de procesamiento se conforma por numerosas estrategias con las cuales estos hablantes intentan encontrar y dar respuestas acertadas acerca del significado idiomático. El PVA se usó en este estudio, realizado en Suecia, para comparar las respuestas de aprendientes de español como segunda lengua y hablantes nativos, enfocando locuciones verbales de uso común en esa lengua. El propósito fue analizar las interpretaciones y comprensión de significado no literal o figurado de las secuencias convencionales presentadas. Los resultados muestran que para los hablantes de español como segunda lengua las locuciones eran poco familiares, pero acertaron en el 41% de sus intentos al describir significados coincidentes con el sentido figurado, y en 76% con asociaciones parciales de significado. Las respuestas de estos hablantes variaron notoriamente: entre aproximación al significado convencional proporcionaron imágenes inusuales y algunos significados literales como parte del figurado, confirmando un abordaje heurístico o indagatorio y cierta aproximación híbrida al conocimiento idiomático en la L2. Sin embargo, fue relativamente más fácil para estos participantes formular definiciones léxicas. El abordaje de los hablantes nativos fue en cambio más holístico o integrador, con la descripción completa de significados del sentido figurado en 85% de casos, y en 98% con asociación de información relacionada, lo que confirma que algunas expresiones pueden ser conocidas de distinta forma en regiones diferentes. En algunos casos hubo ciertas dificultades para exponer información explícita sobre términos concretos en este grupo de hablantes nativos. / Idioms are frequently used in any language and thereby it is important to investigate how these linguistic resources are understood, acquired and mastered. More studies need to be conducted, specially in the learning of a second language. Cooper (1999) examined the processing of idioms in English by L2 learners using the Think-aloud procedure (TAP). He found that a heuristic model consists of the numerous strategies used by these speakers to find the meaning of written idioms by exploring and try to find the meaning which is less familiar to them, compared to the native speakers knowledge and holistic or integrated approach. In the currrent work, realized in Sweden, the TAP was applied to compare the responses given by learners of Spanish as a second language and native speakers about common verbal idioms. The aim is to analyze the interpretation and comprehension of non-literal or figurative meaning of these expressions. As the result indicates, the Spanish idioms were less familiar to the L2 learners, but their figurative meaning was understood in 41% of the times, and including partial associations in 76% of the attempts using the TAP. The descriptions of these L2 Spanish speakers’ group varied notoriously: amid match and partial coincidences with figurative meaning, unusual images were referred and the literal meaning was presented in a few cases as part of the figurative. The heuristic and a kind of hybrid approach to the idiomatic meaning in the oral and semantic elaborations and interpretative strategies were confirmed. However, it was relatively easier to the L2 speakers to propose lexical definitions. With a more holistic processing and descriptions of meaning, the native speakers accessed the non-literal idioms’ meaning with a complete description in 85% of the cases, and including linked information in 98%, which confirmed that regional idioms could be particularly unknown. Some difficulties to give explicit information about concrete terms by members of the group of native speakers were identified.

La présente étude porte sur la manière dont est abordée la répétition dans la traduction anglaise du Bourgeois gentilhomme de Molière (1670), pièce de théâtre où la répétition lexicale et syntaxique foisonne. Pour ce faire, nous faisons une analyse contrastive de neuf versions anglaises de la pièce que nous comparons à l’original ainsi que les unes aux autres. Cette analyse qui prend comme fil conducteur la théorie de Berman aussi bien d’un point de vue théorique (la traduction de la lettre) que pratique (la critique des traductions et les tendances déformantes) nous permet de dégager les grandes tendances de chacune des traductions et, de ce fait, d’approfondir et de nuancer la réflexion sur la traduction littérale, en remettant en perspective la littéralité comme la solution la plus adéquate pour le traitement de phénomènes relevant de la forme dans un discours, tels que la répétition. / This study examines the treatment of repetition in the English translations of Moliere’s play Le Bourgeois gentilhomme, a text where lexical and syntactic repetitions abound. This research is conducted by way of a contrastive analysis of nine English versions of the play that we compare to the original and to each other. Based on Berman’s principles both from a theoretical point of view (the translation of the letter) and a practical one (evaluation of translation and deforming tendencies), this analysis allows us to identify the general patterns of each translation, and thereby, deepen and nuance thinking about literal translation while reasserting the status of literalism as the most adequate solution for the handling of phenomena pertaining to the form of a given text or discourse, such as repetition.

<p>The aim of this study has been to analyse metaphorical strings which have been interpreted literally, a process referred to as metaphor reversal. This was first described by Löflund (1999:18) and the specific term was later coined by Alm-Arvius (2006:6). Metaphor reversal is basically a subcategory of the broader term polysemy punning.</p><p>When a metaphor unexpectedly is interpreted literally, a humorous effect takes place and a pun is created. Especially if the metaphorisation in question has an entrenched figurative meaning, the unexpectedness of the literal interpretation is greater and the pun more obvious. The examples of these puns exploiting metaphor reversal have been taken from films featuring the verbal comedian Groucho Marx (GM), who frequently used this type and other kinds of puns in his films.</p><p>The terms internal and external metaphor, coined by Alm-Arvius (2003:78), have been used in order to distinguish between two different types of metaphorisations. Internal metaphor refers to metaphors with obvious internal collocational clashes and external metaphor refers to metaphors without such clashes, which can thus be given a literal as well as a figurative reading. However, this is not a clear-cut distinction and occasional overlapping between the two categories is common. Therefore, a continuum has been given which shows the overlapping category ‘more figurative external metaphors’. These are metaphors without collocational clashes, but with entrenched figurative meanings which make them metaphorical and not literal.</p><p>GM does not only revert external metaphors; he also reverts internal metaphors although this category contains collocational clashes which should make a literal interpretation impossible. Internal metaphor puns tend to be more absurd than external metaphor puns due to the collocational clashes which make the literal interpretation less probable. Reverted external metaphors are referred to as REM and reverted internal metaphors as RIM.</p><p>Most examples analysed are metaphorisations with idiom status with clearly preferred figurative meanings. Consequently, their figurative meanings are deeply entrenched and should not be altered. However, these figurative meanings are altered by GM in his punning; they are reverted and interpreted literally. This indicates that one of the few occasions when it is accepted or even possible to interpret a metaphorical idiom literally is in punning.</p>