The thesis paper is devoted to phonetic analysis of the Glagolitic Missal which was compiled by Vojtěch Tkadlčík. The attention is mainly paid to the differences between Glagolian sounding and the Latin transcription of the text. In the introduction of the paper the Czech type of the New Church Slavonic language is characterised and the structure of the Glagolitic Missal is presented. In the main part of the paper, which is based on the work with analysed texts, some phonetic phenomena and graphic specialities of the New Church Slavonic of the Czech type are described. Examples illustrate the places where Tkadlčík draw from the phonetics of South Slavonic languages or Eastern Slavonic languages and where he tried to make the text sound genuinely Czech. In the conclusion of the paper characteristic traits of the New Church Slavonic language of the Czech type are summarized.

This study explores the social approval of internet dating through the ranking of vignette scenarios. The scenarios are manipulated by the conditions of face-to-face interaction, presence of mutual acquaintance, and use of internet technology. Measures of legitimacy, predicted longevity, and social perception test for changes in attitudes of the varied ways in which a hypothetical couple meets. One of seven randomly distributed scenarios was ranked by a total of 346 undergraduates to disentangle the above conditions and test for an effect on social approval. Situated in the framework of cultural adaptation, script theory and the saturated self, support is found for low cultural approval of internet dating. Conditions of face-to-face interaction, issues of trust, and affinity to the internet demonstrate clear effects on the approval of relationships formed through internet dating.

Fisher of Men tells the story of an ancient and secretive group of supernatural balance keepers. When God goes missing, it is up to them to locate him before the armies of Heaven and Hell lay siege to the earth, but they have their own problems. When knowledge of a secret weapon surfaces, they are tasked to find it and destroy it before it falls into the hands of either side. The secret weapon is Charitie Newman, a young woman from rural Indiana who moved to New Orleans with her sister. Charitie has special abilities that have no limits, and after her sister is brutally murdered, she agrees to join forces with the group in order to find God--and her sister's murderer.

Tendo em vista as formas de interação entre os sujeitos e os audiovisuais ficcionais interativos, esta pesquisa teve como objetivo geral a elaboração de diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo com base na potencialização da experiência estética do espectador. Com o avanço dos aparatos tecnológicos e as inovadoras possibilidades, o iCinema (cinema interativo) ganha maior força e conquista os espectadores quanto à imersão e à participação no processo de decisão da trajetória da história. A partir disso, foram traçados alguns objetivos específicos teóricos: estudar a experiência estética gerada na recepção da narrativa cinematográfica; compreender o fluxo motivacional e o papel dos dispositivos na construção da mise-én-scène; verificar as etapas da construção de um roteiro cinematográfico clássico e a possibilidade de construção multilinear; e explorar métodos multimetodológicos para a pesquisa. Com relação aos objetivos específicos práticos, buscou-se: co-produzir um roteiro de curta-metragem cinematográfico ficcional interativo; realizar um estudo de recepção com profissionais da área audiovisual a partir do roteiro criado; entender a relação dos espectadores com narrativas multilineares e interativas; entender os dispositivos cinematográficos com vistas a potencializá-los na criação do roteiro; e criar diretrizes para a elaboração de roteiros interativos. O crescimento das possibilidades criadas pelos filmes pode ser percebido na ampliação das narrativas fílmicas e nos diversos movimentos propiciados por esta mídia, gerando múltiplas sensações e a intensificação das emoções. Neste contexto, buscou-se responder à seguinte pergunta de pesquisa: como construir uma narrativa cinematográfica ficcional multilinear a partir de dispositivos cinematográficos contemporâneos, fazendo com que o espectador vivencie uma experiência extraordinária? Para responder aos objetivos da pesquisa traçou-se um plano multimetodológico (BAUER, GASKELL, 2008), compreendendo abordagens qualitativa, quantitativa, pesquisas bibliográficas, documentais e empíricas (MERRIAM, 1998; MERKLE, 2000). A abordagem junto aos espectadores teve a participação de 24 pessoas, homens e mulheres, entre 20 e 39 anos, fluentes em internet e novas mídias. O roteiro de curta-metragem cinematográfico multilinear interativo foi criado por Raul Inácio Busarello e Patricia Bieging. O estudo de recepção (JACKS; ESCOSTEGUY, 2005) teve a participação de sete especialistas em produção audiovisual. Verificou-se que a multilinearidade das estruturas colabora com o iCinema e convida o espectador, que espera ser surpreendido, a assumir papéis importantes para o desenvolvimento da narrativa. Evidenciou-se que o gerenciamento da interatividade é o ponto chave do iCinema e um desafio para os roteiristas e para os produtores. Estas desafiadoras experiências permitem maior interação e, até mesmo, imersão e profunda vivência dos sujeitos frente à narrativa. Possibilita, inclusive, a interferência em seu fluxo narrativo, fazendo com que a obra seja reformulada de acordo com as escolhas do espectador. Em resposta à pergunta de pesquisa foram elaborados quatro grupos de diretrizes, que se subdividem, visando à criação de roteiros cinematográficos multilineares interativos, sendo: 1) foco nas estratégias de potencialização da experiência do espectador, subdividido em: criação da narrativa, captura da atenção, realismo da narrativa, personagens e self-experience; 2) dispositivos estratégicos e gerenciamento interativo; 3) gerenciamento das ramificações, subdividido em: manutenção do fluxo, teasers e inatividade do espectador; 4) condução do fluxo narrativo. / Considering the forms of interaction between subjects and interactive fictional audiovisual means, this study aimed at elaborating guidelines to create an interactive multilinear fictional movie script based on boosting spectators\' aesthetic experience. With the advances in technologies and the innovative possibilities they ensue, iCinema has been gaining momentum and conquering spectators as to its immersion and participation in decision-making processes for the plot. From this scenario, specific theoretical objectives were also outlined: to study the aesthetic experience generated from the reception of a movie narrative; to understand motivational flow and the role of devices in building the mise-én-scène; to verify the stages in a classic movie script writing and possibilities for multilinear writing; and to explore multi-methodological methods for the study. Specific practical objectives included: to co-produce an interactive fictional short film script; to study its reception with audiovisual professionals; to understand the relation between spectators and interactive multilinear narratives; to understand the cinema devices and boost their functions in script writing; and to create guidelines to write interactive scripts. The increasing possibilities created by film can be perceived by the broadening of film narratives, and by several movements enabled by such medium, thus generating a multitude of sensations and intensified emotions. In this context, the research question guiding this study was: how can one build a multilinear fictional filmic narrative from contemporary cinema devices in order that spectators have an extraordinary experience? In order to fulfill the objectives of this study, a comprehensive multi-method plan (BAUER, GASKELL, 2008) was devised to approach qualitative, quantitative, bibliographic, documental, and empirical aspects of research (MERRIAM, 1998; MERKLE, 2000). Spectator approach involved 24 participants, men and women with ages between 20-39 that were literate in new media and the Internet. The interactive multilinear short film script was written by Raul Inácio Busarello and Patricia Bieging. The reception study (JACKS; ESCOSTEGUY, 2005) was performed with 7 audiovisual production specialists. It was possible to verify that structural multilinearity collaborates with iCinema and invites spectators, who expect surprises, to take on important roles to develop the plot. It was evident that managing interactivity is the key point in iCinema, and it poses a challenge for screenwriters and producers alike. These challenging experiences allow for greater interaction, and even immersion and profound dedication of subjects to the narrative. It even allows for interference in narrative flow, enabling reformulation of the film according to spectator choices. In response to the research question, 4 groups of guidelines were elaborated and subdivided for the creation of interactive multilinear screenplays, namely: 1) focus on spectator experience boost strategies: narrative creation, attention capture, narrative realism, characters, and self-experience; 2) strategic devices and interactive management; 3) branch management: flow maintenance, teasers, and spectator inactivity; and 4) narrative flow and pacing.

Esta dissertação trata das possíveis aproximações entre os campos da arquitetura e do cinema a partir de seus processos de criação e produção. Sob a luz dos estudos genéticos sobre o processo de criação artística foram realizadas entrevistas com arquitetos e cineastas com o objetivo de observar como acontece o criar e o produzir de seus objetos, isto é, o arquiteto quando projeta e constrói, o cineasta quando roteiriza e produz um filme. A partir destes relatos e dos registros de outros autores em relação aos seus processos, colhidos em fontes diversas, foram levantas semelhanças e contrapontos entre o criar e fazer arquitetônico e cinematográfico. / This present work is about the possible similarities between architecture and cinema through their creation and production processes. Under the scope of genetic criticism about the artistic creation process, several interviews were made with architects and filmmakers aiming the observation on how the object\'s creation and production happens, i.e., when the architect designs the project and builds it, and when the filmmaker writes the script and produces it. Based on these interviews and on reports made by other authors describing their own processes, similarities and differences were found between the creation and production in those two fields (architecture and cinema).

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-09-24T15:31:37Z No. of bitstreams: 1 Letícia Saltiél Webber_.pdf: 2312766 bytes, checksum: fce9a826a78e0df02fc42136d807f22f (MD5) / Made available in DSpace on 2018-09-24T15:31:37Z (GMT). No. of bitstreams: 1 Letícia Saltiél Webber_.pdf: 2312766 bytes, checksum: fce9a826a78e0df02fc42136d807f22f (MD5) Previous issue date: 2018-05-07 / Nenhuma / O desenvolvimento municipal depende de fatores que afetam a capacidade de gerar emprego e renda, de aumentar suas receitas e de realizar investimentos. Esse problema envolve várias forças sociais como o governo, as entidades que promovem o conhecimento, os empresários e a sociedade. Com a intenção de modificar o ambiente no qual se vive e auxiliar o município de Osório/RS a encontrar alternativas para amenizar os problemas locais, idealizou-se a implementação de um parque tecnológico na cidade. O município carece de um norteamento para a implantação do parque tecnológico, dessa forma, para a efetivação dessa iniciativa, apresenta-se o objetivo dessa dissertação, que é propor um roteiro indicando quais as diretrizes necessárias para a criação de um parque tecnológico para o município de Osório e a forma de sensibilização dos atores da tríplice hélice e da sociedade. A proposta contempla um roteiro de procedimentos que devem ser executadas para viabilizar a implementação do parque, inspirado no modelo de governança da tríplice hélice. O cumprimento dos objetivos foi possível através da pesquisa documental com abordagem exploratória qualitativa, que permitiu o acesso e análises de dados; da pesquisa-ação, que promoveu a interação dos atores envolvidos; e teve o direcionamento dos passos para a criação do roteiro conforme a Design Science Research com as sugestões dos Experts. Essa movimentação pôde ser registrada num Caderno de Campo. Com a pesquisa, foi possível observar que o município apresenta um desenvolvimento regular motivado principalmente pela falta de investimentos e que necessita aumentar o emprego e a renda, que diminuíram em função da diminuição da capacidade produtiva e do envelhecimento da população. Ainda que, a implantação do parque tecnológico estruturante voltado para tecnologia, com governança nos moldes da tríplice hélice, auxiliaria no desenvolvimento local, consoante as sugestões dos Experts. Assim, o roteiro proposto para a criação do parque tecnológico já logrou êxito visto que várias etapas propostas já foram realizadas. / The municipal development depends on factors that affect the ability to generate jobs and income, to increase their revenue and undertake investments. This problem involves various social forces as the Government, entities that promote knowledge, entrepreneurs and the society. With the intent to modify the environment in which one lives and assist the municipality of Osório/RS to find alternatives to alleviate local problems, idealized implementation of a technological park in the city. The city lacks a providing guidance for the implementation of the technology park, in this way, for the implementation of this initiative, the goal of this dissertation is to propose a roadmap indicating what the guidelines required for the creation of a park technology for the city of Osório and the form of awareness of the triple helix and actors of society. The proposal includes a script for procedures that must be performed to enable implementation of the Park, inspired by the model of governance of the triple helix. The achievement of the goals was possible through documentary research with exploratory qualitative approach, which allowed the access and analysis of data; the action research, which promoted the interaction of actors involved; and had the direction of the steps to the creation of the script as a Design Science Research with suggestions from Experts. This movement could be recorded in a field Notebook. With the survey, it was possible to observe that the municipality presents a regular development motivated principally by lack of investment and that it needs to increase employment and income, which decreased due to the decrease in production capacity and the aging of the population. Although the deployment of structuring technology-oriented technology park, with governance along the lines of the triple helix, would assist in local development, according to the suggestions of Experts. Thus, the proposed roadmap for the creation of the technological park has already achieved success since several steps have already been made proposals.

This thesis sheds first light on the complex narrative behind the earliest appearance of writing in Europe. A radical new framework of interpretation, recognising art and writing as different ends of a single mode of graphic expression, is applied to the material culture of Early to Middle Bronze Age Crete as a context-conscious alternative to the strict and anachronistic divisions imposed by traditional models. This allows for a novel way of viewing and identifying structures of meaning embedded in otherwise familiar evidence. A comprehensive synthesis of the archaeological evidence for the undeciphered Bronze Age Cretan writing systems is offered, contextualising the thesis and its arguments within a new narrative of mostly autonomous script formation on Crete. Detailed analysis of the material record is started in the Early Bronze Age, where a previously unrecognised system of Prepalatial glyptic iconography is demonstrated to have maintained uniform distribution and presentation for roughly eight centuries, appearing in the exact contexts, and ostensibly fulfilling similar functions, as later writing. This newly identified system is argued to have provided the conceptual background against which later writing emerged. The thesis subsequently discusses the Archanes Script, the first accepted ‘true’ writing to appear west of Egypt, which has been severely understudied and highly ill-understood. Redefining the Archanes Script completely, a first signary is constructed, and new documents discovered. A further chapter argues for the possible existence of other, as of yet unidentified, linear writing systems on Crete. This is followed by a study of the Cretan Hieroglyphic writing system; the unjustified omission of supposedly ‘decorative’ signs in many of its documents is identified, the script’s corpus nearly doubled, and ‘a complete turnaround in the way in which we approach and define Cretan Hieroglyphic’ proposed.

Cette thèse s'inscrit dans le cadre de la synthèse de parole à partir du texte. Elle traite plus précisément du procédé de création de voix en synthèse par sélection d'unités. L'état de l'art repose pour cela sur l'enregistrement d'un locuteur pendant une à deux semaines, suivant un script de lecture de plusieurs dizaines de milliers de mots. Les 5 à 10 heures de parole collectées sont généralement révisées par des opérateurs humains, pour en vérifier la segmentation phonétique et ainsi améliorer la qualité finale de la voix de synthèse.La lourdeur générale de ce procédé freine considérablement la diversification des voix de synthèse ; aussi en proposons-nous ici une rationalisation. Nous introduisons une nouvelle unité, appelée "sandwich vocalique", pour l'optimisation de la couverture des scripts de lecture. Sur le plan phonétique, cette unité offre une meilleure prise en compte des limites segmentales de la synthèse par sélection que les unités traditionnelles (diphones, triphones, syllabes, mots, etc.). Sur le plan linguistique, un nouvel enrichissement contextuel nous permet de mieux focaliser la couverture, sans négliger les aspects prosodiques. Nous proposons des moyens d'accroître le contrôle sur les phrases du script lecture, tant dans leur longueur que dans leur pertinence phonétique et prosodique, afin de mieux anticiper le contenu du corpus de parole final et de rendre automatisable la tâche de segmentation. Nous introduisons également une alternative à la stratégie classique de condensation de corpus en mettant au point un algorithme semi-automatique de création de phrases, grâce auquel nous accroissons de 30 à 40% la densité linguistique du script de lecture.Ces nouveaux outils nous permettent d'établir un procédé très efficace de création de voix de synthèse, procédé que nous validons à travers la création et l'évaluation subjective de nombreuses voix. Des scores perceptifs comparables à l'approche traditionnelle sont ainsi atteints dès 40 minutes de parole (une demi-journée d'enregistrement) et sans post-traitement manuel. Enfin, nous mettons à profit ce résultat pour enrichir nos voix de synthèse de diverses composantes expressives, multi-expressives et paralinguistiques. / This work falls within the scope of text-to-speech (TTS) technology. More precisely, focus is on the voice creation process for unit-selection synthesis. In a standard approach, a textual script of several thousands of words is read by a speaker in order to generate approximately 5 to 10 hours of useable speech. The recording time is spread out over one or two weeks and is followed by the considerable task of manually revising the phonetic segmentation for all of the speech.Such a costly and time-consuming process presents a major obstacle to diversifying synthesized voices. In order to increase efficiency in this process, we introduce a new unit, called a "vocalic sandwich", to optimize coverage of the recording texts. Phonetically, this unit better addresses the segmental limitations of unit-selection TTS than state-of-the-art units (diphones, triphones, syllables, words...). Linguistically, a new set of contextual symbols focuses the coverage, allowing for more control and consideration of prosody. Practically, in order to automate the segmentation process, better anticipation of the phonetic and prosodic content desired in the final database is required. This is achieved here by increasing the readability and consistency of each sentence included in the script. As a side, these properties also help to facilitate the reading stage. Furthermore, as an alternative to the classic corpus condensation, a semi-automatic sentence building algorithm is developed in this work wherein sentences are built rather than selected from a reference corpus. Ultimately, the sentence building provides access to much denser scripts, specifically allowing for increases in density of between 30 and 40%.In incorporating these new approaches and tools, the voice creation process is made very efficient, as is validated in this work through the preparation and evaluation of numerous synthesized voices. Perceptive scores that are comparable to the traditional process are achieved with 40 minutes of speech (half-day recording) and without any manual post-processing. Finally, we take advantage of these results in order to enhance our synthesized voices with various expressive, multi-expressive and paralinguistic features.

Made available in DSpace on 2016-04-26T18:17:22Z (GMT). No. of bitstreams: 1 Tulio Cesar Gama e Silva.pdf: 497636 bytes, checksum: 4f5062145379b6581731eddc5ba9098e (MD5) Previous issue date: 2008-08-20 / The dissertation consists of investigating alternative forms of dramatic and narratives structures for the development of cinematographic script. Trying to detect distinct models of narrative construction, the research has as main object the study on the script of the film 21 Grams (2003), of the Mexican scriptwriter Guillermo Arriaga. At a first moment, a comparison of the script and the film will be made, following the methodology of the Genetic Criticism to understand the structural approach of the work. The analysis will have as support the studies of specialized authors in audiovisuals scripts as Flávio de Campos, David Bordwell and Jean-Claude Carrière; however, the effort of the research will be to unmask the properties and the limits of the processes of creation of cinematographic narrative and to extend the dimension of the possibilities of creative development on cinema script. 21 Grams is presented as example of a possible "shunting line" of the dramatical standardization, since it shows a narrative form of nonlinear time and multi-protagonists. The fragmentation, at the beginning, seems to divergir basic laws of classic narrative, as the unity law and continuous progression law. The narrative of 21 Grams, thus, brings as attractive its own narrative form, where the way to tell a story is so attractive as much the content of story / A dissertação consiste em investigar formas alternativas de estruturas narrativas e dramáticas para o desenvolvimento de roteiro cinematográfico. Buscando detectar modelos distintos de construção narrativa, a pesquisa tem como objeto principal o estudo sobre o roteiro do filme "21 Gramas" (2003), do roteirista mexicano Guillermo Arriaga. Em um primeiro momento, será feita uma comparação do roteiro e do filme, seguindo a metodologia da Crítica Genética para entender a abordagem estrutural da obra. A análise terá como suporte os estudos de autores especializados em roteiros audiovisuais como Flávio de Campos, David Bordwell e Jean-Claude Carrière; no entanto, o esforço da pesquisa será de desvendar as propriedades e os limites dos processos de criação de narrativa cinematográfica e ampliar a dimensão das possibilidades de desenvolvimento criativo sobre roteiro de cinema. "21 Gramas" se apresenta como exemplo de um possível "desvio" da padronização dramática, pois exibe uma forma narrativa de tempo não-linear e sem protagonista único. A fragmentação, a princípio, parece divergir de leis fundamentais de narrativa clássica, como a lei da unidade e a lei da progressão contínua. A narrativa de "21 Gramas", assim, traz como atrativo a sua própria forma narrativa, em que o modo de contar uma história é tão atraente quanto o conteúdo da história

Sexualundervisning har varit obligatoriskt i Sverige sedan 1955 och är en del av ett folkhälsopolitiskt uppdrag att främja sexuell hälsa. Sex- och samlevnadsundervisningen har de senaste åren fått en del kritik för hur den genomförs och organiseras på skolorna. Det råder stora skillnader skolor emellan och ofta får eleverna inte tillräckligt med chanser att diskutera normer och värderingar kopplade till sexualitet. Syftet med denna studie var därför att undersöka vilka betydelser sexualitet ges i sex- och samlevnadsundervisningen på högstadiet, samt vilka sexuella normer som (re)produceras eller dekonstrueras där. Studiens teoretiska ram utgörs av sexuell scriptteori, där sexualiteten ses som styrt av sexuella manus konstruerade av samhällets normer och värderingar.Skolan kan utifrån teorin ses som både en arena för och producent av sexuella normer och värderingar. Studiens empiriska material består av semistrukturerade intervjuer med fem pedagoger på högstadienivå. Resultaten visade att sex- och samlevnadsundervisningen kan ha en stark normkritisk prägel där traditionella sexuella script ifrågasätts. Dock visade resultaten att undervisningen var beroende av flera faktorer, så som enskilda pedagogers intresse, elevgruppens sammansättning samt externa aktörer. Studiens slutsats är därför att dagens sex- och samlevnadsundervisning inte kan  sig konstruera ett koherent sexuellt script som står i kontrast till de mer traditionella heterosexuella scripten.