Made available in DSpace on 2014-12-17T14:36:14Z (GMT). No. of bitstreams: 1 SandraMOS_TESE.pdf: 3908132 bytes, checksum: 84ff37c9d90b24de2e894bfc67ede983 (MD5) Previous issue date: 2010-12-14 / The dialogue represents an essential condition for the complete realization of the Communication. In Paulo Freire we find a concept of dialogue which expresses itself, fundamentally, in two dimension: on one hand, in the confluence of subjectivities; on the other, in action. Dialogue would not be, therefore, a thinking for , but a thinking with . On the other hand, the media, here understood as synonym of technical media of information and expression is spread all over society as synonym of communication media. In this direction, this paper intends to check if the media allows the dialogue, in the heart of the Freirean concept of communication. We start from the premise that it is not possible to come to an answer if we continue to accept the theoretical approach which polarizes the process of communication between emitter and receptor. By using elements of the ethnomethodology such as the analysis of the conversation and the reflexivity, we dived in the school everyday life of educators and students of an elementary level public school in the city of Natal, capital of Rio Grande do Norte, in order to, through some experiences with the media, corroborate Paulo Freire's ideas, stating the mediation made by the world and seeking a bias for the use of the media to enable a more dialogic education / O di?logo figura como condi??o essencial para a plena efetiva??o da Comunica??o. Em Paulo Freire, encontramos uma concep??o de di?logo que se expressa, fundamentalmente, em duas dimens?es: por um lado, no encontro de subjetividades; por outro, na a??o. O di?logo n?o seria, portanto, um pensar para , mas, um pensar com . Por outro lado, a m?dia, aqui compreendida como sin?nimo de meios t?cnicos de informa??o e express?o est? difundida na sociedade como sin?nimo de meios de comunica??o. Nessa dire??o, este trabalho tenciona verificar se a m?dia possibilita o di?logo, no seio do conceito de comunica??o freirerano. Partimos do pressuposto de que n?o ? poss?vel chegar a uma resposta, se continuamos a aceitar a abordagem te?rica que polariza o processo da comunica??o entre emissor e receptor. Utilizandonos de elementos da etnometodologia como a an?lise da conversa??o e a reflexividade, mergulhamos no cotidiano escolar de educadores e educandos de uma escola p?blica de Ensino Fundamental na cidade do Natal, capital do Rio Grande do Norte, para, atrav?s de algumas experi?ncias com a m?dia, corroborar as ideias de Paulo Freire, afirmando a media??o feita pelo mundo e buscando um vi?s para utiliza??o da m?dia no sentido de proporcionar uma educa??o mais dial?gica

Made available in DSpace on 2014-12-17T14:55:42Z (GMT). No. of bitstreams: 1 EdgleyFT_DISSERT.pdf: 765553 bytes, checksum: aea7fc60815582ff55d8e20fd8a67591 (MD5) Previous issue date: 2010-05-26 / This dissertation has the thematic of the sexual affection of the masculine subjectivity within texts of Universo Masculino and Men‟s Health magazines as object of analysis. The central objective was to describe and interpret the theme on the masculine subjectivity in discourses about the affection of sexuality materialized in discourse practices in those magazines. The main point of the research matters how the discourse structures of texts in those magazines make it possible to comprehend the meanings produced about the masculinity nowadays. On the perspective of the thematic trajectory what consists the main aspect that concerns the leading of corpus in the research under the French discourse analysis, we have searched, in reports of those magazines, an arch-genealogy of masculinity, from a specific sexual-affection disposable of our mediate culture. The analytic trajectory enables us to conclude that the thematic trajectory about the sexual affection of the masculine subjectivity produces a semantic way that confirms hegemony and hetero-normative ideals, rather than what proposes new performances on the masculine subjectivity experiences. In its real effects, such mediate discourse practice pursues to link certain sexual affection knowledge to the male individual‟s lifestyle today, from the thematic choices, enunciation modalities and discourse strategies which are specific to the masculine media / Esta disserta??o tem como objeto de an?lise a tematiza??o da subjetividade masculina afetiva sexual em textos das revistas Universo Masculino e Men‟s Health. Nosso objetivo central ? descrever e interpretar o tema da subjetividade masculina nos discursos de afetividade e sexualidade materializados nas pr?ticas discursivas destas revistas. A principal quest?o norteadora da pesquisa ? a problematiza??o do modo como a discursividade destas duas revistas possibilita compreender os efeitos de sentido produzidos sobre o masculino na atualidade. Na perspectiva do trajeto tem?tico, aspecto central no tratamento de corpus na pesquisa em an?lise do discurso francesa, percorremos, nas mat?rias das revistas, uma arqueogenealogia do masculino, a partir de um dispositivo de afetividade-sexualidade espec?fico de nossa cultura midi?tica. Nosso percurso anal?tico permite concluir que o trajeto tem?tico da subjetividade masculina afetiva sexual produz um trajeto sem?ntico que reafirma ideais hegem?nicos e heteronormativos, mais do que prop?e novas performances nas viv?ncias subjetivas masculinas. Em seus efeitos de verdade, esta pr?tica discursiva midi?tica busca ligar certos saberes afetivo sexuais aos modos de vida do sujeito masculino na atualidade, a partir de escolhas tem?ticas, modalidades enunciativas e estrat?gias discursivas espec?ficas desta m?dia masculina.

The master thesis The Langue d'oc in the Scholarly Discourse Before and After The Great French Revolution considers the image of the Occitan language in the lexico-graphical and grammatico-graphical works that have been written between the beginning of the 18th and the mid-19th century. During this epoch, in the framework of a diglossic model, the language in question had been suffering a status of a dominated language. At the same time, however, it had awaken an interest of many scholars whose motivations for their studies ranged from a will to contribute to a proliferation of Francization to an effort to save the Occitan language and restore its own dignity. It is precisely this motivation, as well as the denominations which our authors had given to the language in question and also their strategies for its valorization or devalorization, that this text engages with. The socio-linguistic situation in the Pays d'Oc and the impact of The French Revolution and of its linguistic politics on the presence and the representation of the Occitan are also being examined. These phenomena are studied in the framework of a theory of the formation of nations by Miroslav Hroch as the phase A of the Occitan movement which had remained, at least during this phase, a purely cultural phenomenon, that is to say a...

The master's thesis focuses on a translatological analysis of the original text and two available translations of the Break of Noon, a play written by a significant French playwright and diplomat Paul Claudel. Miloš Marten was the first to translate the play into Czech in 1910. The second translation was done by Vladimír Mikeš and was published in 2012. Given the time span of more than a hundred years between the translations, it is not only interesting to compare them linguistically but also to make a comparison of their reception. Therefore, the thesis deals with the reception of the texts and its development over time. The thesis defines Paul Claudel's place in French culture in the past and today and how its play is perceived in the Czech context. The thesis studies the position of the first translation in the time of its publishing and right after it. The thesis seeks to determine the reasons for the second translation to be commissioned and assess the position of the new text in the target culture. To determine the position of the translations in the Czech context and their potential effect on the culture, the thesis uses the polysystem theory which seems to be the most convenient tool as it studies to what extent translation literature affects domestic literature.

Mon sujet de thèse sur "La peinture à Montpellier de Sébastien Bourdon à Joseph- Marie Vien" tend à fédérer dans un premier temps les recherches qui ont été effectuées par bribes sur les peintres montpelliérains du XVIIe et XVIIIe siècles (Antoine Ranc (1634 - 1716), Jean de Troy (1638 - 1691), Etienne Loys (1724 – 1788) , Jean Coustou (1719 – 1791)...). Elles permettent de retracer le contexte artistique et historique du foyer culturel de la ville à travers les nombreuses commandes privées et publiques. Il est aussi intéressant de se demander s'il existe une école montpelliéraine dans laquelle la création des Académies aurait pu avoir un rôle. Enfin cette étude permettra de comprendre quelle est la place artistique de la cité montpelliéraine par rapport aux deux autres grandes provinces du sud que sont Toulouse et Marseille. / This study draws the history of painting in Montpellier in the 17th and 18th centuries, through the careers of Sébastien Bourdon (1616-1671) and Joseph-Marie Vien (1716-1809). Although these two masters are internationally recognized, their influences on local painting remained to be defined, just like those of three other academicians: Hyacinthe Rigaud (1659-1743), Jean Ranc (1674 - 1735) and Jean Raoux (1677-1734). This study not only aims at analysing works by painters now famous, but also at revealing other contemporary artists as well as local workshops, which were opened to multiple influences. These workshops and artists were at the forefront of the paintings done in Montpellier up to the end of the 18th century. Some were more important than others, as those of Flemish masters at the beginning of the 17th century, of Paul Pezet ( ? – 1687) and of Antoine Ranc (1634 - 1716) during the Classical Age or even those of Etienne Loys (1724 - 1788) and Jean Coustou (1719 - 1791) in the 18th century. The latter trained the great masters from Montpellier who became academicians. This study means to define the essence of this local painting and its models. The issue of academies also partakes of our domain of research. Several attempts at creations of academic schools marked out these two centuries: be they, that of Sébastien Bourdon in 1649, that of Jean de Troy (1638-1691) in 1679, that of Jacques Giral (1684-1749) in 1737 and finally “la Société des Beaux-arts” (the Company of the Fine arts) in 1779. They are studied along with other southern academies of art, in Toulouse and Marseille. Thus, this analysis of local workshops and academies interrogates the notion of school in Montpellier, thereby registering this research at a more global scale, by comparing its results with the matching productions of other artistic centers in the same area, but also of Parisian and European great masters.

With the Digital Mozart-Edition (DME), the Salzburg Mozarteum Foundation and the Packard Humanities Institute, Los Altos (California), intend to build a bridge between music philology and informatics using the example of Wolfgang Amadé Mozart’s oeuvre. The aim of the project is to edit Mozart’s complete works as well as letters, documents and text sources according to scholarly criteria and in a fully digital format available free of charge on the internet. The core project of the DME, the Digital Interactive Mozart Edition (DIME), is conceived as a further development of the Neue Mozart-Ausgabe (NMA). Following the principle “code equals edition”, all musical texts and their critical documentation are encoded in the XML-based format by the Music Encoding Initiative (MEI). All variants and editorial interventions of the music can be made visible through The Digital Mozart Score Viewer (MoVi), a visualisation tool built around the Verovio music engraving library.

Le Chemoné Esré, ou prière des dix-huit bénédictions, est la principale prière juive, aussi nommée Téfila, ou prière par excellence. L’objet de cette thèse est de mettre en évidence sa structure, c'est-à-dire la logique de son organisation, en rappelant les données de sa genèse et de sa fixation durable. Partant d’une étude des sources (du Pentateuque, des prophètes, de la Michna et du Talmud, puis des livres de prières), l’auteur retrace les étapes de sa mise en forme, ce qui permet de suivre l’évolution du judaïsme lui-même. Ses aspects sont méthodiquement envisagés : son caractère de mitsva, de devoir religieux, le sens de chaque bénédiction et sa fonction dans la liturgie depuis la destruction du Temple de Jérusalem, sa place dans le vécu des orants, la manière dont la prière doit être dite et avec quelle kavana, ou intention, dans quel cadre, en respectant quelle gestuelle, en mobilisant quelles ressources intérieures de la part des orants. Ses enjeux théosophiques et moraux, le système de représentations auquel elle se rattache, dans la perspective de la mystique kabbalistique du AriZal et du Hassidisme du XIXème siècle (rapport avec les séfirot, ou niveaux d’émanation de la Substance, et inversement les klippoth, obstacles à la kedoucha, ou sainteté, font l’objet d’une étude qui porte d’une part sur la présentation des doctrines et d’autre part sur les buts qui sont assignés au Chemoné Esré en fonction des possibilités qu’elle est censée offrir, à ceux qui la prononcent et à ceux pour lesquels elle est dite. / The Shemone Esre or the Eighteen Blessings Prayer, sometimes simply known as Tefila, is the quintessential Jewish prayer. The purpose of this dissertation is to delineate the structure of the Shemone Esre through an exploration of its evolving structure from its genesis to its lasting fixation. Beginning with a study of the ground texts (Pentateuch, Prophets, Michna and Talmud, up to the modern prayer book), the author examines the successive stages of its formatting. Through this exploration emerges a view of the broader evolution of Judaism, the main characters of which are formally analysed: the mitsva (religious prescription), the meaning of each blessing and its liturgical function after the destruction of the Temple of Jerusalem, how people consider this prayer, how they say it, with what kavana (intention), in what place, with what gesture and attitude. Going further, the moral and theosophical aspects of Jewish prayer, as well as the allegorical system to which it belongs are also envisaged, from the perspectives of Lurianic and Hassidic mysticism. More specifically, the sefirot (emanating spheres of the Being) and their opposites, the klippoth (viewed as obstacles to kedousha or sanctity), are studied from the dual perspective of the doctrinal content, and of the purposes devolved to the Shemone Esre.

Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to collectively as Mainstream Electronic Music (MEM). The research has potential for application within contexts such as computer games, multimedia, live electronic music, interactive installations and accessible music or “music therapy”. Musical themes in computer games and multimedia can morph adaptively in response to parameters in realtime. Morphing can be used by electronic music producers as an alternative to mixing in live performance. Interactive installations and accessible music devices can utilise morphing algorithms to enable expressive control over the music through simple interface components. I have developed a software application called LEMorpheus which consists of software infrastructure for morphing and three alternative note sequence morphing algorithms: parametric morphing, probabilistic morphing and evolutionary morphing. Parametric morphing involves converting the source and target into continuous envelopes, interpolation, and converting the interpolated envelopes back into note sequences. Probabilistic morphing involves converting the source and target into probability matrices and seeding them on recent output to generate the next note. Evolutionary morphing involves iteratively mutating the source into multiple possible candidates and selecting those which are judged as more similar to the target, until the target is reached. I formally evaluated the probabilistic morphing algorithm by extracting qualitative feedback from participants in a live electronic music situation, benchmarked against a live, professional DJ. The probabilistic algorithm was competitive, being favoured particularly for long morphs. The evolutionary morphing algorithm was formally evaluated using an online questionnaire, benchmarked against a human composer/producer. For particular samples, the morphing algorithm was competitive and occasionally seen as innovative; however, the morphs created by the human composer typically received more positive feedback, due to coherent, large scale structural changes, as opposed to the forced continuity of the morphing software.

Audiovisuelle Medien stellen Archive vor zunehmende Probleme. Ein stark wachsender (Web-)TV-Markt mit Sende- oder Rohmaterial, zunehmender Einsatz von medial aufbereitetem Lehrmaterial in Schulen, Hochschulen und Firmen, die Verbreitung der Videoanalyse als Forschungs- und Lehrmethode, die Ausbreitung von Überwachungskameras sowie die immer günstigeren Produktionsbedingungen vom professionellen Produzenten bis zum Heimvideo sind nur einige Stichworte um die neuen quantitativen Dimensionen zu umreißen. Die archivarischen und dokumentarischen Werkzeuge sind heute mit dieser Situation überfordert. Der Workshop versucht hier Probleme und Lösungsmöglichkeiten zu umreißen und beschäftigt sich mit den technologischen Fragestellungen rund um die Archivierung audiovisueller Medien, seien es analoge, digitalisierte oder digitale Medien. Dabei werden zum einen die technologischen Probleme angesprochen, die zum Aufbau und Management eines Archivs bewältigt werden müssen. Zum anderen wird der praktische Einsatz von der Gestaltung der Benutzungsoberfläche bis zur Frage des Umgangs mit kritischem Material diskutiert.

The goal of this thesis is to create an application, which will be primarily used as three-axis parametrizable musical instrument, respectively a modifi ed MIDI controller, suitable for Android devices. Firstly, several products, which are available on the market, are reviewed and the reader is introduced to the problematics of audio synthesis, available technologies and typical Android device potential. The next chapter is dedicated to application design. Few designs are mentioned with focus on the chosen design concept. A part of this chapter is also a speci cation of the original concept, its implementation and advantages/disadvantages. The next part is dedicated to implementation and optiomalization of some of the critical points. Also the tests are evaluated including a survey about application usability. At the end, the whole work is concluded and the further development is outlined.