La production du langage est une activité cognitive longtemps restée étudiée de manière isolée des processus cognitifs plus généraux pouvant sous-tendre sa réalisation. Notre approche a été de contribuer à la dynamique naissante d’une ouverture de la psycholinguistique aux autres domaines de la psychologie cognitive, en spécifiant les interactions qu’entretiennent les mécanismes langagiers avec les mécanismes attentionnels. Pour ce faire, nous avons notamment étudié dans quelle mesure la production d’une information linguistique isolée repose sur des mécanismes de sélection. Conjointement, nous avons tenté de mettre en évidence les mécanismes attentionnels sous-tendant ces mécanismes de sélection lexicale. Les sélections de deux types de mots grammaticaux ont été comparées : les mots de la classe ouverte et les mots de la classe fermée. Les résultats ont révélé que la sélection des deux types de mots, les mots de la classe fermée qui structurent la phrase et les mots de la classe ouverte qui lui donnent un sens, recrutent des ressources attentionnelles. Aussi, nous avons montré que l’effet d’interférence sémantique –supposé affecter un mécanisme de compétition à l’étape de sélection lexicale- peut être résolu avant l’engagement de ressources attentionnelles. Ce résultat suggère que l’effet d’interférence sémantique reflète un mécanisme situé avant la sélection lexicale. Une dernière étude s’est proposé d’explorer la dynamique temporelle de notre système de production à sélectionner plusieurs mots dans un contexte de production de séquences de mots, tel que celui de syntagmes nominaux. Les résultats chronométriques ont révélé que les mots sont sélectionnés de manière strictement séquentielle, une dynamique suggérant que le recrutement de ressources attentionnelles pour la sélection d’une information linguistique isolée peut contraindre leur agencement dans un contexte de production plus naturel. / Language production is a cognitive activity long studied in isolation from more general cognitive processes that could underlie its achievement. Our approach aimed to contribute to the emerging dynamics of the opening of psycholinguistics to other domains of cognitive psychology by specifying how linguistic mechanisms interact with attentional mechanisms. To do so, we first investigated to which extent producing a single linguistic unit relies on selection mechanisms. Also, we highlighted the attentional mechanisms underlying these lexical selection mechanisms: The selections of two types of grammatical words were compared: open- and closed- class words. Results revealed that the selections of both, closed-class words structuring the phrase, and open-class words conveying meaning, require attentional resources. In a third study, we showed that the semantic interference effect - affecting a competition mechanism supposedly taking place at the level of lexical selection- can in fact be resolved before the involvement of central attentional resources. This suggests that this semantic interference effect possibly reflects a mechanism taking place prior to lexical selection. In a last study, we explored the temporal dynamics of our production system when engaged in the selection of several words within a sequence, using noun phrases. Chronometric results revealed that words are selected strictly sequentially. This dynamics suggests that the way attentional resources are recruited for the selection of an isolated linguistic unit can constrain the way several words are produced in a more natural speaking context.

In a Romantic song cycle or songbook, songs tend to share many common ideas because they are used to set to the poems from one collection written or collected by one author. Many composers designed the same motivic or structural elements to a group of songs for unity, and sometimes they made chronological narratives for the series of poems. Music theorists have tried to find out a way of giving a sense of unity or narrative to the songs in a song cycle or songbook by analyzing its musical language and text setting. They have suggested plausible explanations for the relationships among the songs in a song cycle or songbook, and some theorists have traced the tonal movements and provided a visual explanation for them. Hugo Wolf's two volumes of the Italienisches Liederbuch (1890-91, 1896) were set to the forty-six poems from Paul Heyse's well-selected works. Wolf's way of selecting poems from Heyse's collection seems inconsistent, and his song ordering in the both volumes does not show evident rules. However, a closer study for relationships between the songs could widen our perspective to comprehend the whole songbook as a unified storyline. This study selected the first four songs from each volume of the Italienisches Liederbuch, and analyzed the eight songs in a traditional way, accounting for harmony, motivic feature, tonal movement, form, and text setting. The study finds that Wolf used the third relationships among the songs to convey a storyline in his order of the songs, and especially exploited the direction of thirds for his own narrative. While this may only be a pilot study with partial results, it can serve as a stimulus for a comprehensive study of factors that provide unity in the cycle as a whole.

In recent years scholars have begun to re-evaluate the works, writings, and life of Robert Schumann (1810-1856). One of the primary issues in this ongoing re-evaluation is a reassessment of the composer's late works (roughly defined as those written after 1845). Until recently, the last eight years of Schumann's creative life and the works he composed at that time either have been ignored or critiqued under an image of an illness that had caused periodic breakdowns. Schumann's late works show how his culture and the artists communicating within that culture were transformed from the beginning to the middle of the nineteenth century. These late works, therefore, should be viewed in the context of Schumann's output as a whole and in regard to their contributions to nineteenth-century society. Schumann's contributions, specifically to the genre of the song cycle from 1849 to 1852, are among his late compositional works that still await full reconsideration. A topical study, focusing on three themes of selections from his twenty-three late cycles, will provide a critical evaluation of Schumann's compositional output in the genre of the song cycle. First, Schumann's political voice will be examined. The political events that led to the mid-nineteenth-century revolutions inspired crucial changes in European life and the art produced at that time. Schumann took an active role through his artistic contributions in which he exercised his political voice in responding to these changing events. Second, Schumann's storytelling voice will be explored. In the nineteenth century, storytellers remembered past events in order to comment on social and political issues of their own day. Schumann's storytelling voice allowed him to embrace a change in his own musical style and message in several late cycles.ird, Schumann's (relational) feminist voice will be considered. In two late cycles Schumann featured historical women: Elisabeth Kulmann (1808-1825), a Russian poet, and Mary, Queen of Scots (1542-1587). In both of these cycles, Schumann closely associated these women's lives with their work and appreciated their strength and their abilities to transcend their earthly burdens. These late song cycles not only allow us to fully appreciate a large part of Schumann's late-compositional oeuvre, but they also provide us a better understanding of the mid-century German culture from this artist's perspective. The method by which Schumann communicated with his audiencesone so different from that of the 1840-songsis as significant as the messages he hoped to communicate. Schumann's experiences leading up to 1848 had changed him as a man and as a musician. Through his late song cycles, Schumann communicated his ideas about the transformation that happened within himself, his audiences, and the German culture and proposed ways to resolve the many conflicts that existed.

These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).

Of all the composers of German Lied, Franz Schubert and Hugo Wolf can be considered the true giants of this musical form. Schubert's position is secure as the greatest composer of the Lied. Wolf, though challenging Schubert in this particular idiom only, brought the Lied to its culmination. This study will show, by comparative analysis, the respective treatment by Fr anz Schubert and Hugo Wolf of selected poems by Johann Wolfgang von Goethe. Though Schubert composed some seventy songs (not including multiple settings of the same text), and Wolf fifty-one, based on the poetry of Goethe, they shared only thirteen of these poems in common. Four songs by each composer have been selected for detailed analysis.

Because of the lack of information concerning the success or failure of Schubert's bilingual edition and concerning the relationship between the English texts and Schubert's settings, most performers take the conservative route of performing both the songs from Lady of the Lake and the rest of Schubert's English song repertoire only with the German translations. Because of the desirability of performing this repertoire in English for English-speaking audiences, this study examines all of the English songs of Schubert to determine whether the original poems can be successfully substituted for the German translations. Editions of the settings that can be effectively performed with the English texts are included in the appendix, in order to make available editions which reflect Schubert's ambition to make his songs easily accessible to non-German-speaking audiences.

This thesis will reveal a political dimension to Emerson's work, situating itself in the current scholarly movement to analyze Emerson from a different angle. Scholars have long heralded Emerson as a staunch individualist or transcendentalist, yet there has been a recent shift in literary studies to consider him from a social or political perspective. Emerson's emphasis on the individual does not diminish in any of the three essays that I have selected; however, he strongly urges every individual to contribute towards the amelioration of society. He also believes that an individual person has enormous potential to cause both great improvement and great harm, which is why a wise man or scholar is a paramount component to any society. Moreover, this thesis addresses topics that are particularly useful today, as Emerson's words are just as relevant to the political situation in the world now as they were in the 19th century. / by Elizabeth Gillespie. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

"The purpose of the present study is to observe how the consumers select ready-to-wear dresses in a small oil town, which had a population of 3,336 in June, 1940...A brief summary of the entire study follows. (1) Of the 215 customers, 60 percent were sales customers and 60 percent stated the price they wished to pay. (2) The 135 dresses purchased were about equally distributed among $7.95, $10.95,$16.95 and $29.95 values. (3) The color desired was specified by 83 percent of the customers. Navy and tan were the two leading colors. (4) While 97 percent of the women designated the size they needed, only 83 percent purchased the size requested. Size 16 was bought by more women than any other size. (5) Customers had little knowledge regarding trade names and materials. Of the dresses sold, 64 percent were rayon. (6) About 90 percent of the women designated in some manner the type of dress they desired. Almost 50 percent of the purchasers selected tailored garments. (7) Slightly less than half of the customers check on the quality of workmanship or the material in the dress. Only 15 percent of the women asked for a guarantee of any type. (8) Ten percent of the women objected to the alteration of the garments which they contemplated buying and did not make a purchase because of this."--Leaves 35-36.

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Made available in DSpace on 2015-10-19T11:50:16Z (GMT). No. of bitstreams: 1 andersonmest2011.pdf: 1343264 bytes, checksum: 13e3043d77d737b9a800ddbfea0eef4a (MD5) Previous issue date: 2011-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Explores and analyses the Amazon culture domain in the organization and information representation context. It presents concepts of culture highlighting schools of thoughts aiming on basing reflections about the studied domain. The supportive theorical reference is focused in the Ranganathan s Faceted Classification Theory and in the Theory of Integrated Levels from the Classification Research Group, as the theorical-methodological basis as for outlining the classificatory structure aiming on building documentary language in the Amazon culture domain. The selection of concepts took place based on the terms resulted from an oral research in three geographical municipalities in Amazon, Bragança, Castanhal and Marajó archipelago. Etymological origins analysis of the words indicated the influence of foreign culture from the European, African, Asiatic and American continents in the Amazon language. The results of that analysis revealed the feasibility of developing a working methodology in order to outline a classification structure and a set of concepts to represent the Amazon culture domain in its fundamental roots as a basis for the building of a system for knowledge organization. / Explora e analisa o domínio cultura amazônica no contexto da organização e representação da informação. Apresenta conceitos de cultura destacando escolas de pensamento com o objetivo de embasar as reflexões sobre o domínio estudado. O referencial teórico de apoio é centrado na Teoria da Classificação Facetada de Ranganathan e na Teoria dos Níveis Integrativos do Classification Research Group, como base teórico-metodológica para delinear a estrutura classificatória visando a construção de linguagens documentárias no domínio cultura amazônica . A seleção dos conceitos foi realizada tomando por base os termos resultantes de pesquisa oral de três localidades geográficas da Amazônia, as cidades de Bragança, Castanhal e o arquipélago do Marajó. A análise das origens etimológicas das palavras indicou a influência das culturas estrangeiras dos continentes europeu, africano, asiático e americano na linguagem amazônica. Os resultados das análises revelaram a viabilidade de se desenvolver uma metodologia de trabalho para delinear uma estrutura de classificação e de um conjunto de conceitos para representar o domínio cultura amazônica nas suas raízes basilares como base para a construção de sistemas de organização do conhecimento.