Orientador: Eleonora Cavalcante Albano / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T17:06:38Z (GMT). No. of bitstreams: 1 Arnold_MarciaRafaela_D.pdf: 1649484 bytes, checksum: 513dd5160ee4090c890bc41e49c4d0b9 (MD5) Previous issue date: 2005 / Resumo: A partir da reprodução experimental da situação de fala das manchetes que antecedem os noticiários radiofônicos, levada a efeito por três locutores profissionais, este estudo analisa a influência do estilo de fala sobre os quatro primeiros formantes, F1, F2, F3 e F4, e a duração das vogais canônicas do português brasileiro /a,e,_,i,o,_,u/, obtidas na posição tônica de palavra, e das vogais ortograficamente transcritas ¿e¿ e ¿o¿, obtidas na posição pretônica de palavra, verificando, ainda, em conjunto com o estilo, a influência das diferenças inter-vocálicas (variável vogal) e do falante (variável informante) sobre aqueles parâmetros acústicos. Em um conjunto à parte, formado apenas pelas vogais pretônicas ¿e¿ e ¿o¿, avalia, ainda, juntamente com as variáveis estilo, vogal e informante, o papel da localização dessas vogais na frase (variável contexto frasal) para a direção dos parâmetros vocálicos estudados. A reprodução da situação de fala característica das manchetes noticiosas foi feita com base em enunciados que, de imediato, remeteram os informantes à situação de fala almejada. Esses enunciados continham as palavras-veículo com as vogais a serem analisadas. Entretanto, para realçar melhor as peculiaridades do estilo manchete, criou-se, com base nos mesmos textos, uma situação de fala que procurou reduzir ao máximo a ênfase utilizada na leitura das manchetes, a que se denominou estilo neutro.Tendo em vista que os textos utilizados para eliciar os dois estilos de fala em questão foram os mesmos, pode-se dizer que a diferenciação entre ambos se deu principalmente através de parâmetros prosódicos. Por esse motivo, dedica-se uma pequena parte deste estudo à análise da influência do estilo sobre alguns parâmetros prosódicos: a duração total dos enunciados, a duração silábica média e a variação da freqüência fundamental (F0) média do falante, todas medidos ao longo dos enunciados. Os resultados obtidos com os parâmetros acústicos vocálicos mostram que F1 e F2 variam primordialmente em função das diferenças inter-vocálicas, mas apresentam, ainda, pequenos percentuais decorrentes de variação advinda do falante, e, no caso de F1, também um percentual, maior do que o do falante, referente ao estilo de fala. F1 apresenta, ainda, interação significativa entre vogal e estilo e F2 entre vogal e informante e entre vogal e estilo. O terceiro formante (F3) tem sua variabilidade distribuída de modo mais ou menos eqüitativo entre as diferenças decorrentes do falante, da vogal, do estilo, e também da interação entre vogal e falante. O quarto formante (F4) tem sua variabilidade explicada principalmente pelo falante, seguida de perto pela variabilidade decorrente da vogal. A duração é um parâmetro relativamente influenciado pelas diferenças inter-vocálicas, apresentando, ainda, diferença quanto ao estilo, e, em menor escala, quanto ao falante. Como o estilo é a variável motivadora deste trabalho, convém lembrar que, dos três parâmetros afetados pelo estilo, a duração foi o que apresentou, proporcionalmente ao seu conjunto de análise, o maior percentual de variação decorrente daquela variável. No âmbito prosódico, o estilo é responsável pela maior parte da variabilidade de F0, suplantando mesmo a variabilidade decorrente do falante, provocando diferença significativa também na duração total dos enunciados e na duração silábica média. Os papéis da duração e da abertura vocálica (F1) na caracterização do estilo de fala das manchetes dos noticiários são interpretados do ponto de vista de uma concepção dinâmica da fala, na qual a informação estilística e lingüística têm efeitos concorrentes sobre as variáveis do trato vocal / Abstract: This is an acoustic phonetic study of news broadcast reading of a controlled headline corpus by three professional speakers in a laboratory setting. F1, F2, F3 and F4 of the seven stressed vowels /a,e,_,i,o,_,u/ and of the two pre-stressed vowels /e/ e /o/ of Brazilian Portuguese (BP) were measured and statistically analyzed. The independent variables were style, vowel and speaker. A separate set focusing exclusively on the pre-stressed vowels /e/ and /o/ was also set up and analyzed according to the same design except for the inclusion of a new variable: sentence position, of which the levels were ¿initial¿ and ¿final¿. Considering tat the same texts were used for eliciting both styles and that their distinction was obtained through instructions which yielded consistent prosodic differences, a part of this study was devoted to the description of the parameters involved, namely: mean F0, mean syllable duration and mean total length. The analysis unit was the utterance.The speakers were also asked to read the same corpus in a style as neutral as possible. The results for formants analyzed separately show that F1 and F2 vary primarily as function of vowel quality, but also exhibit small percentages of speaker dependent variation, and, in the case of F1, a slightly greater percentage of variation due to speaking style. In addition, F1 presents significant interaction between vowel and style. As for F2, significant interactions hold for vowel and speaker, and vowel and style. The third formant (F3) has its variability distributed more uniformly among the effects of speaker, vowel, style; the interaction between vowel and speaker is also significant. The fourth formant (F4) has its variability explained mainly by the speaker, followed closely by vowel variability. Duration is relatively influenced by vowel quality; in addition, it displays effects related to style, and, to a lesser extent, to speaker. As style is the main independent variable of this work, it is worth pointing out that, among the three parameters affected by style, duration was the one that proportionally shows the greatest effect size. In the prosodic domain, style is responsible for the most part of F0 variability, and its effects are greater than those of speaker variability. These results are discussed in relation to previous acoustic analyses of the BP vowel space. The roles of duration and of vowel opening in characterizing the headline style in news broadcast reading are interpreted from the point of view of a speech dynamics conception where linguistic and stylistic information have concurrent effects on vocal tract variables / Doutorado / Fonetica e Fonologia / Doutor em Linguística

[pt] O foco principal desta dissertação consiste em apresentar aspectos fundamentais da inventividade poética de William Carlos Williams (1883-1963) cujas fecundações em diversos sistemas poéticos ocidentais se fazem notar desde, pelo menos, o meio do século XX. Com base em levantamentos de dados, considerações críticas, análises textuais e traduções comentadas, a pesquisa é organizada em sete partes: (I) à guisa de introdução; (II) sobrevoo biográfico; (III) mapeamento da recepção de Williams no Brasil; (IV) fundamentação teórica; (V) a busca por uma nova forma, a formulação do Verso Livre Novo e primeiras traduções; (VI) a estética de objetos williamsiana e outras traduções; (VII) comentários finais e apontamentos futuros. O que se busca, ao longo de todas as etapas da investigação, é a formulação de ferramentas teóricas, críticas e tradutórias para abordar a obra em questão. Do mesmo modo, e consequentemente, o trabalho procura apontar caminhos para o enriquecimento do repertório da poesia brasileira, na medida em que visa preencher importantes lacunas de informação e tradução em relação a toda uma linhagem poética cujo ponto de inflexão, a obra de Williams, é iluminado em seus aspectos mais produtivos e fecundantes. / [en] The aim of this master s thesis is to present fundamental aspects of the inventiveness of William Carlos Williams poetry that have fertilized Western poetry since at least the middle of the 20th century. Based on critical considerations, textual analyses and commented translations, the research is organized in seven parts: (I) introduction; (II) biographical sketch; (III) a mapping of Williams reception in Brazil; (IV) theoretical foundation; (V) the struggle for a new form, the formulation of the New Free Verse and first translations; (VI) Williamsian aesthetics of objects and other translations; (VII) final comments and future research. The material intends to provide theoretical, translational and critical tools to approach the work in question, as well as to enrich the repertoire of the Brazilian poetry, since it seeks to fill in major gaps concerning information on and translation of an entire poetic lineage, and illuminating some of the most productive and fruitful aspects of its turning point, the poetry of William Carlos Williams.

Выпускная квалификационная работа состоит из введения, трех глав, библиографического списка и списка словарей. Во введении обоснована актуальность выбранной темы, поставлены цели и задачи. Главная цель проекта — это издание книги стихотворений. В первой главе рассматривается история русского стихосложения. Во второй главе обозначены принципы составления книг поэзии. В третьей главе представлен макет авторского сборника стихотворений. Общий объем работы составляет 80 страниц. / The graduation thesis consists of an introduction, three chapters, a bibliography, and a list of dictionaries. In the introduction, the relevance of the chosen topic is substantiated, goals and objectives are set. The main goal of the project is to publish a book of poems. The first chapter deals with the history of Russian versification. The second chapter outlines the principles for compiling books of poetry. The third chapter presents the layout of the author's collection of poems. The total volume of work is 80 pages.

In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.

No description available.

This project focuses on the importance of reading fluency, emphasizing its role in the construction of meaning and aiding in the overall comprehension process. Its components: accuracy, automaticity, and prosody are examined in relation to various activities that enhance each component. A sample curriculum is discussed.

Poète picard du début du XIIIe siècle, le Reclus de Molliens est l’auteur à de deux textes à teneur morale, religieuse et savante, qui circulent sous les titres de Miserere et Carité. Même si ces deux textes édifiants connaissent une diffusion considérable au Moyen Âge et qu’ils rencontrent une réception plus que favorable auprès de plusieurs générations de lecteurs et d’auteurs anciens, ils ont largement été délaissés, voire négligés par la critique moderne, qui ne leur a accordé aucune monographie depuis la fin du XIXe siècle (Van Hamel, 1885). Si la présente thèse vise en partie à combler cette lacune par le moyen d’une mise à jour des données de base quant à la diffusion et au legs littéraire du Reclus de Molliens, elle propose avant tout une réflexion d’ordre poétique, qui engage de façon active le statut de canon littéraire de l’œuvre. À titre de textes à succès – qui font acte de modèle et d’étalon poétique aux yeux d’un vaste public –, Miserere et Carité paraissent tout désignés pour servir de guide et de point de repère poétique permettant de repenser la vitalité et les codes de la poésie édifiante, à l’aune des critères de jugement et des pratiques de lecture concrètes du public médiéval. La documentation historique liée au Reclus de Molliens révèle que le système de versification adopté dans Miserere et Carité, soit la strophe d’Hélinand (8aabaabbbabba), joue un rôle primordial dans la réception de l’œuvre. Comme il faudra le montrer, les textes en strophe d’Hélinand répondent à une série de règles cohérentes, spécifiques et différenciées (partie I), si bien qu’ils s’apparentent à un système poétique à part entière, doté de son propre « horizon d’attente » et de ses propres conventions de lecture (partie II). Ces règles non écrites, qui semblent directement infléchir la réception de Miserere et Carité, participent également du procès du sens en ajoutant un impact dramatique au propos édifiant (partie III). Dès lors que l’analyse de Miserere et Carité sera ainsi imbriquée à celle de ce corpus formel, il deviendra possible de dégager une poétique du texte édifiant en strophe d’Hélinand, qui sera guidée et balisée par le parfait exemple d’un poète à succès. / The Reclus de Molliens, an early 13th century French poet, is the author of two moralizing, religious and didactic texts known as Miserere and Carité. Despite its wide circulation, as well as its significant influence over subsequent generations of authors and readers, this work has been largely neglected by modern critics: the most recent monograph on Miserere and Carité was indeed published over one hundred thirty years ago (Van Hamel, 1885). The following dissertation aims at filling this gap in research by updating the basic data regarding the circulation and literary legacy of this medieval best-seller. Moreover, it provides a reflection surrounding the poetics of this work, which draws on its status as a part of a forgotten literary canon. The fact that Miserere and Carité were so widely read, and therefore constituted models and poetic benchmarks for a wide audience, makes them ideal case studies to rethink the vitality and the codes of moralizing poetry, based on the actual criteria and reading practices of the medieval audience. The historical documentation pertaining to the Reclus de Molliens reveals that the versification system adopted in Miserere and Carité, known as the Helinandian stanza (8aabaabbbabba), plays a vital role in the reception of his works. As will be demonstrated, works that are composed using this type of verse follow a consistent set of poetic rules (part 1). This means that they constitute a legitimate poetic system, with its own “horizon of expectations” and reading conventions (part 2). These implicit rules, which seem to have impacted the reception of Miserere and Carité, also contribute to the construction of meaning by adding a dramatic impact to their moralizing content (part 3). Once the analysis of Miserere and Carité is thus imbricated in the analysis its “formal family”, it will then be possible to define a poetics of the moralizing text written in Helinandian stanza, guided and framed by this successful poet.

O presente trabalho se propõe a esboçar a primeira apresentação em língua portuguesa de uma das mais importantes figuras do pensamento, letras e educação da Rússia, absolutamente central em seu desenvolvimento técnico, científico e literário, Mikhail Vassílievitch Lomonóssov. Nele, juntamente com uma introdução provendo uma contextualização geral do século XVIII russo, seguida de um panorama biográfico do polímata centrado em sua produção literária e findada em um relato sobre sua contribuição para a formação da língua russa moderna, são apresentadas as traduções integrais de quatro obras suas na área das letras, duas das quais poemas longos acrescidos de comentários, bem como outras traduções secundárias ilustrativas da primeira parte. / The goal of the present work is to provide a sketch presenting for the first time in Portuguese language one of the most important individuals in Russian thought, language and education, who played a fundamental role in the technological, scientific and literary development of the country, Mikhail Vasilievitch Lomonosov. Here, along with an introduction containing a general outline of 18th century Russia, followed by a biographical overview of the polymath and ending in an account of his main contributions to the shaping of the modern Russian language, four full translations of his works in the realm of letters are presented, two of which duly commented long poems, as well as minor secondary translations, illustrating the first part.

The chief subject of this dissertation is a description of the reflections on the poetry of 19th and 20th century, in connection with questions of national identity, national self-confidence, tradition and openness to European space. I deal with the question, how these topics are (often unconsciously) reflected in the prosodic debates of certain periods (especially during the Czech National Revival or at the time of the formation of independent Czechoslovakia) and how influence the views on how the Czech verse looks or should look, for what purposes poetry is to serve or what threatens the national literature and language. I also follow the changes in the relation of the theory of verse to the poetry itself and compare the concept of the verse and its basic categories in Czech and international theory. This work is composed of four isolated parts, relatively independent of each other. These are partial probes on selected topics from the history of Czech and foreign literature and its reflection. The first chapter focuses on the syllabotonic reform of the Czech verse and on the motivation, which led to its acceptance or rejection. I investigated the reasons, which led some authors to the partial violation of rules and some authors to attempts to establish quantitative verse. The topic of Czech iamb...

Mathias Eugen Mnyampala (1917-1969) est un écrivain, juriste et poète d'expression swahilie tanzanien. De langue maternelle cigogo, il apprend le kiswahili et l'écriture par les textes de la Bible à l'âge de quinze ans. A partir de l'indépendance du Tanganyika en 1961, il engage son art poétique au service du développement du kiswahili, la langue de la nouvelle nation. Dans cette destinée particulière d'un jeune pasteur de l'Ugogo du centre de la Tanzanie, qui devient un maître reconnu par ses pairs de la poésie d'expression swahilie et un artiste national, se reflète la problématique de la construction d'une nation tanzanienne. Notre question centrale concerne la structure métrique formelle et la langue des poèmes de Mathias E. Mnyampala. Comment les définir ? Quels rapports entretiennent-ils avec le corpus classique des XVIIIème et XIXème siècles de la poésie d'expression swahilie ? Pourquoi est-ce ce type particulier de poésie - décrit formellement et linguistiquement - qui fait l'objet d'une promotion à l'échelon national et de reconnaissances officielles par des autorités politiques successives de Tanzanie ? Pour aboutir à l'interprétation politique de l'analyse formelle et linguistique des textes poétiques, il nous a fallu d'abord nous doter d'outils de description formelle qui étaient manquants. Nous parcourons pour ce faire l'ensemble des théories métriques existantes afin d'arriver à une synthèse formelle et réductionniste. Nous analysons ensuite le corpus poétique de Mathias E. Mnyampala sur cette base. Les formes métriques et la langue des poèmes témoignent de processus créatifs ex materia liés à la métrique classique qui nous apprennent quelque chose au sujet de la construction nationale au service de laquelle ils sont appelés. La création ex materia, ni classique ni moderne, est une troisième voie de la composition poétique que notre approche formelle permet de décrire. Nous verrons qu'en parallèle d'une nationalisation des mètres classiques de la poésie d'expression swahilie, il est question d'une africanisation de la culture nationale.