Orientador: Ester Mirian Scarpa / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T07:30:39Z (GMT). No. of bitstreams: 1 Iliovitz_EricaReviglio_D.pdf: 3642450 bytes, checksum: 7ecba27c943198b36d14574d937bc7df (MD5) Previous issue date: 2005 / Resumo: Com o objetivo geral de contribuir para estudos referentes ao nível fonológico da linguagem em condições patológicas, esta tese apresenta uma análise da inserção de pausa e estruturação dos domínios prosódicos na fala de dois sujeitos disártricos em decorrência de um acidente automobilístico. O principal objetivo é descrever as características prosódicas da fala disártrica de acordo com a teoria da Fonologia Prosódica, que postula, dentre outras coisas, que a linguagem oral é estruturada em domínios prosódicos. Uma abordagem prosódica e entonacional foi considerada a mais adequada para os dados, pois envolve evidências entonacionais, segmentais e rítmicas dos três domínios mais altos da hierarquia prosódica: a frase fonológica, a frase entonacional e o enunciado fonológico. A análise dos dados foi feita de acordo com a perspectiva teórica da Fonologia Prosódica (NESPOR & VOGEL, 1986) e Fonologia Entonacional (LADD, 1996) conforme usada por TENANI (2002) para analisar dados do Português Brasileiro. Os dados analisados consistem em três conjuntos de gravações: a) leitura de um texto; b) leitura de frases controladas experimentalmente do corpus de TENANI (2002) e c) fala espontânea e entrevistas. Os processos fonológicos implementados pelos disártricos nas fronteiras dos domínios prosódicos foram analisados de acordo com a proposta de TENANI (2002). Tais processos fonológicos foram: inserção de pausas, vozeamento da fricativa, tapping, haplologia, elisão, ditongação e degeminação. Para melhor descrever a alteração da fala disártrica, foi feita uma comparação entre os resultados de TENANI (2002) para sujeitos brasileiros adultos e os disártricos. Os resultados demonstraram evidências da preservação dos domínios prosódicos na fala dos sujeitos. A inserção de pausas foi o elemento prosódico mais utilizado para estruturar os domínios prosódicos. Em relação ao uso de pausas e o contorno entonacional, foi verificado que a associação de tons corresponde ao estudo de TENANI (2002). Quanto à implementação de processos fonológicos, o vozeamento da fricativa foi feito pelos sujeitos sobretudo dentro da mesma frase fonológica. Nas demais fronteiras consideradas, eles geralmente optaram pela inserção de pausas para estruturar domínios. O tapping, quando implementado, era feito somente dentro da mesma frase fonológica. A haplologia indicou importantes aspectos rítmicos na fala dos sujeitos. Quando aplicada, promovia um ritmo mais acentual na fala do disártrico mais grave. Ao não ser implementada na fala do sujeito levemente disártrico, indicava um ritmo mais silábico, que soava, para alguns ouvintes, como um sotaque estrangeiro espanhol. No que se refere à elisão e ditongação, a fala dos disártricos confirma os resultados de TENANI (2002), uma vez que eles implementam tais processos tanto dentro da mesma frase fonológica quanto entre elas. A degeminação, porém, foi bloqueada através da inserção de pausas / Abstract: With the general aim of contributing to studies about the phonological level of language in pathological conditions, this thesis presents an analysis of pause insertion and structuring of prosodic domains in the speech of two dysarthric subjects whose dysarthria was due to a car crash. The main objective of this thesis is to describe the prosodic characteristics of dysarthric speech. This was done by using the theory of Prosodic Phonology which states, among other things, that oral language is structured into prosodic domains. A prosodic and intonational approach was considered the most adequate for the data. It took into account intonational, segmental and rhythmic evidences from the three higher domains of prosodic hierarchy: phonological phrase, intonational phrase and phonological utterance. The analysis of the data followed the theoretical perspective of Prosodic Phonology (NESPOR & VOGEL,1986) and Intonation Phonology (LADD ,1996) as used by TENANI (2002) to analyze Brazilian Portuguese data. The data we analyzed consisted of three sets of recordings: a) the reading of a text; b) the reading of experimentally controlled sentences from the corpus by TENANI (2002); and c) spontaneous speech and interviews. Phonological processes that make up the frontiers of prosodic domains were analyzed for the dysarthric subjects, following Tenani¿s proposals. The phonological processes were: pause insertion, fricative voicing, tapping, syllable determination, elision, dyphtongation and vowel degemination. To better describe the phonological alteration of dysarthic speech, a comparison was made between the results of TENANI (2002) for adult Brazilian Portuguese subjects and the dysarthric ones. The results show evidence of the preservation of prosodic domains in the speech of the subjects. Pause insertion was the most used prosodic element to structure the prosodic domains. As for the use of pauses and intonation contour, it was verified that the tonal association correspond to the study carried out by TENANI (2002). With regard to the phonological processes implementation, fricative voicing was done by the subjects mainly inside the same phonological phrase. In the other frontiers considered, they usually choose pause insertion to structure domains. Tapping, whenever used, was applied only inside the same phonological phrase. Syllable degemination indicated important rhythmic aspects in subjects speech. Whenever used, it promoted a more stressed rhythm in the speech of the most severe dysarthric subject. When it was not used in the speech of the slightly dysarthric subject it indicated a more syllabic rhythm which sounded as a Spanish foreign accent to some listeners. As for elision and dyphtongation, the speech of the dysarthric subjects confirm the results by TENANI (2002), for they implement such processes both inside the same phonological phrases and between them. Vowel degemination, however, was blocked through pause insertion / Doutorado / Linguistica / Doutor em Linguística

The content of the diploma thesis entails proving of compatibility between liberal variant of multiculturalism and liberalism. Critique by Brian Barry this compatibility denies and understands liberal multiculturalism, which it personifies in Will Kymlicka, as illiberal. This critical view is related to the liberal-communitarian debate, through which are interpreted Brian Barrys critique as well as new conceptual elements in Will Kymlickas liberal multiculturalism that make it an update of modern liberalism. The thesis legitimizes this update, as well as firm attachment between liberal multiculturalism and liberalism through interpretation of Kymlickas postulates that is based on Rawls theory of justice and through establishing connection between those postulates and the wider postulates of liberalism.

It is the goal of this document to bring to the attention of the public the compositions of Brian Israel, an American Jewish composer who died of leukemia in 1986 at the age of 35. This document contains a biography of the composer, information on where to obtain the scores, texts to the poems of Kenneth Patchen, as well as a study of three, selected clarinet works, which trace his compositional development. The Sonata for Clarinet and Piano, a neo-classical work, is representative of his early style, using classical forms with non-traditional harmonies. It is comprised of three movements, Allegro assai, Andante, and Vivace. The chamber work Lovesongs, Lions, and Lullabyes, for soprano, clarinet, and piano, is a progressive work that experiments with text painting, chord splitting, mode mixture, and an increasing harmonic language, and is inspired by the poetry of Kenneth Patchen, a World War II poet. There are four movements to this work: "O, sleeping falls the maiden snow," "O when I take my love out walking," "The lions of fire," and "I have lighted the candles Mary." The Concerto for Clarinet and Wind Ensemble is a textless, programmatic work that uses chromatic fragments and displaced octaves to represent the timeline known as the Final Solution. This work contains three movements that have been titled, Crystal Night, Coronach, and Liberation, that further direct the program. Each work is described in structure, harmonic texture, harmonic language, and interpretation.

Many buildings in Pretoria’s central business district stand empty and bandoned. These buildings are being looted, stripped and vandalised, resulting in a great deal of damage that eventually leads to their destruction. The Extramural Building is an iconic modernist building that has served the city well over its lifetime. It has stood abandoned and empty for the last seven years, is in a state of disrepair, and is on the verge of being lost and forgotten. The intention with the dissertation is to connect the past and the future by investigating the potential of old buildings with the aim of retaining their existing fabric and cultural significance. Heritage practice and theories of adaptation are investigated to generate a theoretical framework for the remodelling of old buildings. A statement of significance is developed by investigating the historical context of the building. The Tshwane Inner City Regeneration Framework is used as a starting point for the development of an urban framework for the project. An appropriate program is chosen, derived from the theoretical framework, statement of significance and urban framework. Appropriate precedent studies serve as examples of the discussed theory, urban framework, program and conceptual intentions. The design of a proposed intervention is developed within the established urban framework by applying the theoretical framework. The navigation of the complexities between heritage practice and remodelling ultimately allows a new interpretation of the building to emerge. The argument and its eventual expression results in an intervention that allows the Extramural Building to reclaim its role in the city, unlocking its latent potential, and retaining its inherent cultural value. / ‘n Groot aantal geboue in Pretoria se sentrale besigheidsdistrik staan leeg en verlate. Hierdie geboue word gereeld deur vandale gestroop en geplunder; hulle rig verstommende skade aan wat uiteindelik tot die vernietiging van die geboue lei. Die Buitemuurse Gebou is ‘n ikoniese, moderne gebou wat vir lank ‘n positiewe bydrae tot die stad gelewer het. Die gebou staan al sewe jaar lank leeg en is baie vinnig besig om te verval, wat sonder drastiese ingryping ongetwyfeld tot die gebou se finale vernietiging sal lei. In die verhandeling word daar gepoog om die verlede en toekoms te versoen deur die potensiaal van ou geboue te ondersoek met die doel om die geboue en hul kulturele waarde te behou. Erfenispraktyk en aanpassingsteorieë word ondersoek om ‘n teoretiese raamwerk vir die herbenutting van ou geboue te genereer. ‘n Verklaring van betekenis word ontwikkel deur die gebou se geskiedenis te ondersoek. Die Tshwane Middestad Ontwikkeling- en Herlewingstrategie word as ‘n beginpunt vir die ontwikkeling van ‘n stedelike raamwerk vir die projek gebruik. ‘n Toepaslike gebruiksprogram word afgelei uit die teoretiese raamwerk, die verklaring van betekenis en die stedelike raamwerk. Die studie word deur toepaslike gevallestudies as voorbeelde van die tersaaklike teorieë, stedelike raamwerk, program en konseptuele doelwit van die projek ingelig. Die ontwerp van die voorgestelde ingryping word binne die bestaande stedelike raamwerk in oorleg met die teoretiese raamwerk ontwikkel. Die ondersoek van die kompleksiteite wat tussen erfenispraktyk en aanpassingsteorieë bestaan maak nuwe interpretasies van die ou gebou moontlik. Die argument, en uiteindelike uitdrukking daarvan, word gevolg deur ‘n ingryping wat die Buitemuurse Gebou toelaat om weer sy rol in die stad te vervul en so die latente potensiaal van dié gebou te ontgin, maar ook die inherente kulturele waarde daarvan te laat voortbestaan. / Mini Dissertation MArch(Prof)--University of Pretoria, 2018. / Architecture / MArch(Prof) / Unrestricted

Just as water surface waves are found everywhere on the ocean's surface, internal waves are ubiquitous throughout the atmosphere. These waves constantly propagate and interact with other flows, but these interactions are difficult to observe due to inadequate current technology. Numerical simulations are often utilized in the study of internal waves. In this work, ray theory is used to numerically simulate the interaction of atmospheric internal waves with time-dependent and time-independent background flows, specifically the interaction of small-scale internal waves and large-scale inertial waves. Parameters such as initial wavenumbers and amplitudes of both small internal waves and inertial waves are determined that will cause the small waves to reach a turning point or critical level, or in the case of time-dependent flows, a wavenumber that reaches a critical value. Other parameters that may cause the waves to become unstable are included in the analysis, such as wave steepness and shear instability. These parameters are combined to determine the spectrum of waves that will experience instability during the interaction. Two principal interactions, small-scale internal waves propagating through an infinite wave train and small-scale internal waves propagating through an inertial wave packet, are simulated and compared. For the first interaction, the total frequency is conserved but is not for the latter. This deviance is measured and results show how it affects the outcome of the interaction. The interaction with an inertial wave packet compared to an inertial wave train results in a higher probability of reaching a Jones' critical level and a reduced probability of reaching a turning point, which is a better approximation of outcomes experienced by expected real atmospheric interactions.

This study evaluates and provides solutions to the problem of poor subjective feel of seat suspensions that employ magnetorheological (MR) dampers and skyhook control. An Isringhausen seat suspension that had been modified to replace the stock passive damper with a controllable MR damper was used to evaluate the problems and potential solutions. A seat suspension tester was built using materials from 80/20 Incorporated and a hydraulic actuation system from MTS. An HP Dynamic Signal Analyzer was used as the main piece of data acquisition equipment, along with a Pentium PC and National Instruments Data Acquisition card. All of the hardware is installed in a controlled laboratory facility at Virginia Tech's Advanced Vehicle Dynamics Lab. The first task was to analyze the source of the unexpected peak in the acceleration spectrum of the suspended seat. This analysis was accomplished using a combination of pure tone inputs and a Fourier analysis of a simple model of the system. This analysis indicated that the peak is actually three times the resonant frequency of the seat suspension. The analysis also indicates that the frequency components continue at odd multiples of the resonant frequency, however, the third peak is the most noticeable. The third multiple is in the resonant frequency range (4-8 Hz) of the human body, so it was initially blamed for the poor subjective feel of the seat. However, solutions to remove this harmonic were tested without success. The work progressed to a time domain analysis, which eventually led to determining the source of the poor subjective feel. The seat suspension was excited with a variety of inputs. The seat acceleration and damper control current were examined in the time domain to show that the cause of the poor subjective feel is the control signal discontinuities. The control policy was modified to remove the control signal discontinuities and was found to improve the subjective feel of the seat. Finally, several two-degree-of-freedom control policies were implemented and tested. Although the results from this testing are inconclusive, they generated several recommendations for future research. / Master of Science

No description available.

Thesis (M.A.)--Indiana University, 2007. / Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2019 / La présente étude propose d'approcher la pratique sculpturale de l'artiste américain Brian Dettmer. Désarticulés, scellés avant d'être soigneusement découpés, les livres qui constituent la matrice de son travail échangent leur aspect traditionnel contre des formes inusitées n'ayant de cesse de subvertir les propriétés structurelles et esthétiques de l'objet. Résolument délinquants, ces ouvrages altérés, encore aujourd'hui marqués de l'empreinte du premier codex, voient leur caractère survivant ouvrir à un questionnement sur le rapport que nous entretenons avec le livre à l'ère du numérique. Une relation conflictuelle, oscillante, qui sous-tend la démarche de Dettmer dont le discours, indissociable de sa pratique, porte à considérer la forme livresque tel le symptôme de changements socioculturels profonds. Tressant anthropologie, philosophie et sociologie, l'enjeu de cette recherche multidisciplinaire est de mettre au jour les chemins de pensée empruntés par l'artiste pour instaurer un dialogue entre l'objet-livre et l'environnement informationnel dématérialisé qui lui disputerait son statut de gardien de la connaissance. C'est donc par une attention accordée aux propos de Dettmer, à la matérialité de ses sculptures et aux effets épistémologiques qu'elles induisent que notre analyse tente de donner corps à cette rencontre entre deux dispositifs du savoir. / This study focuses on the sculptural practice of Brian Dettmer. Disarticulated, sealed prior to being carefully carved, the books at the center of the artist’s practice forego their traditional aspect and take on strange forms that relentlessly subvert the structural and esthetical proprieties of the object itself. Definitely delinquent while still bearing to this day the imprint of the first codex, these altered objects, through the survival of their fundamental quality, question the relationship we have with books in the digital age. Conflictual, oscillating, this relationship underlies the process of the artist, whose own discourse, always tightly related to his practice, sees in the book format a symptom of deep sociocultural changes. Drawing from anthropology, philosophy and sociology, this multidisciplinary study intends on revealing the pathof thought used by Dettmer in his effort to establish a dialogue between the “object-book” and the dematerialized informational environment, the latter contending the former’s claim to the guardianship of knowledge. Through a careful consideration of the artist’s commentaries, the materiality of his sculptures and the epistemological effects they induce, our study ultimately explores the encounter between these two different devices of knowledge.

British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites interpretation blending and altering traditional sounds through microphones and a processed signal flow. The performance guide will address acoustical considerations when the flute sound is being manipulated by dynamic and time-based processors in live performance; the interaction between the flute, electronics and acoustic spaces; the elements of sound production that provide interpretation of contemporary popular styles; and the opportunities for the performer to find, explore and develop artistry beyond the limitations of music notation.