<p> The present collection of studies examines how sensory information is interrelated, and how that changes with age and experience. The hypotheses motivating the research were based on the sensory associations of adults who experience concrete inter/intra-sensory linkage, known as synesthesia. Adult synesthesia can inform the study of perceptual development, and even of language, because it appears to represent one way in which normal developmental mechanisms can play out. Using insights gained from adults with synesthesia, we derived novel hypotheses about cross-modal and cross-dimensional links likely to be present in early childhood and to persist in muted form in non-synesthetic adults.</p> <p> The research reported in Chapters 2 and 3 was an examination of the learned and naturally biased influences on the development of one type of intermodal sensory association. Specifically, it investigated whether colour-letter associations found in adults reflect learned versus naturally-biased influences between shape and colour. Results from these two studies suggest that pre-literate children (2.5-3 years old) show natural biases to associate certain shapes to certain colours, which can be manifest as colour associations to letters. Naturally-biased associations between shape and colour appear to be based, in part, on the angularity of the shape. In addition to the same naturally biased colour letter associations found in toddlers, older children (7-9 years old) and adults showed colour letter associations that appear to be based in literacy, since they were not present in preliterate toddlers. The research reported in Chapter 4 was an examination of crossmodal associations between sound and shape. Specifically, it investigated the influences of consonant and vowel sound on the mapping of words to shape in toddlers. Results from this study suggest that the vowel sound of a nonsense word can reliably predict its association to a shape with specific characteristics (rounded versus jagged). Such natural biases may help bootstrap language learning. The research reported in Chapter 5 was an examination of cross-modal associations to odour. Specifically, it investigated whether there any consistent cross-modal associations between odour and either colour or texture. Results from this study suggest that there are consistent colour and texture associations to odours, some of which do not appear to be based in experience. Across studies, pre-literate toddlers, older children, and/or adults provide evidence that stimulus characteristics reliably relate to one another cross-dimensionally and crossmodally. Further, sensory associations in adulthood appear to result from an interplay of learning and natural biases, and non-synesthetic adults and toddlers show consistent, naturally-biased sensory associations similar to those seen in synesthesia.</p> <p> The work presented in this thesis reveals the value of deriving hypotheses from the phenomenon of adult synesthesia about the interplay of learning and natural biases in the formation of sensory associations.</p> / Thesis / Doctor of Philosophy (PhD)

The following thesis deals with the topic of the contrast of phrasemes with a constituent black in German and Czech. The first, theoretical part of the thesis seeks to outline the basic terms as well as problematic points of the phraseological domain, which are of importance for the practical part. This concerns the phraseological terminology in general as well as the terminology of the contrastive phraseology. The practical part elaborates on the contrast of five phrasemes, picked from the Deutsch- tschechisches Wörterbuch der Phraseologismen und festgeprägten Wendungen (2010). These phrasemes have been looked up in DeReKo and InterCorp and subsequently analysed from the morpho-syntactic and semantic point of view. The result of this analysis should provide the answer to the question of whether the translation variants in the dictionary correspond with the actual written language usage or whether there is a discrepancy between those two areas.

O tema da presente dissertação é a noção de Equivalência (Äquivalenz) de Werner Koller. Frequentemente atrelado às abordagens linguísticas à tradução, que, na segunda metade do século XX, buscaram conferir à pesquisa em tradução o estatuto de ciência, o conceito de equivalência foi alçado à condição de princípio teórico que garantiria a objetividade exigida das disciplinas que aspirassem à cientificidade. Para isso, porém, adotouse uma concepção abstrata e artificial de equivalência, que relegava o tradutor ao lugar de mero reprodutor de conteúdos pré-fixados pelo autor do original. Com o surgimento de novas vertentes de pesquisa no âmbito dos estudos de tradução, tais pressupostos foram postos em xeque, o que levou ao descarte e à estigmatização dessa noção. Se tomarmos por base a oposição elucidada por Kopetzki (1996), tal virada nos estudos de tradução pode ser interpretada como um movimento de concepções universalistas para concepções relativistas de língua e tradução, que rejeitam a ideia de tradução como transporte de significados imobilizados a priori. Diante disso, o objetivo desta pesquisa é demonstrar que a Equivalência de Koller não está calcada no universalismo que serve de base a outros modelos de equivalência tradutória, e que a noção defendida pelo autor tem validade prática, na medida em que funciona como um conceito operacional para tradutores profissionais e estudiosos da tradução. O presente trabalho se divide em duas grandes partes: a primeira é de caráter teórico e se destina à apresentação e à análise de trechos selecionados da obra de Koller, ainda inédita em português, a fim de evidenciar o caráter antiuniversalista de seus pressupostos; na segunda parte, mais voltada à prática, proponho uma maneira de aplicar seu conceito de Equivalência a um par de textos empíricos. O corpus que serve de base ao exemplo de aplicação é composto das ocorrências de cores presentes no romance Buddenbrooks: Verfall einer Familie (1909), de Thomas Mann, e na sua tradução para o português, de autoria de Herbert Caro e publicada no Brasil sob o título Os Buddenbrook: decadência duma família (1942). / The topic of this dissertation is Werner Kollers notion of equivalence (Äquivalenz). Often associated with the linguistic approaches to translation, which, in the second half of the 20th century, sought to make a scientific discipline out of the subject, equivalence turned into the one theoretical principle that would presumably guarantee the objectivity expected of any aspiring science. The consequence, however, was an abstract and artificial concept of equivalence, which portrayed translators as mere reproducers of contents that had been predetermined by the original author. With the advent of new research branches in the field of Translation Studies, such assumptions were called into question, which led to the discard and stigmatization of the concept. Bearing in mind the opposition brought to light by Kopetzki (1996), such a turn in Translation Studies may be interpreted as a move away from universalistic conceptions and a step towards relativistic conceptions of language and translation, which reject the idea of translation as the transport of pre-existing meanings. In view of that, the aim of this research is to demonstrate that Kollers Äquivalenz is not based upon the universalism that characterizes other theoretical frameworks to translation equivalence and can therefore be considered of practical relevance, inasmuch as it functions as an operational concept to professional translators and translation scholars. The present dissertation is divided in two main parts: the first part is of theoretical nature and is dedicated to the presentation and analysis of selected passages from Kollers work, still unedited in Portuguese, in order to demonstrate the antiuniversalistic character of his premises; in the second, more practice-oriented part, I propose a way of applying his concept of Equivalence to a pair of empirical texts. The corpus upon which this application example is based consists of instances of colour names found in the novel Buddenbrooks: Verfall einer Familie (1909), by Thomas Mann, and its translation to Portuguese, written by Herbert Caro and published in Brazil under the title Os Buddenbrook: decadência duma família (1942).

O tema da presente dissertação é a noção de Equivalência (Äquivalenz) de Werner Koller. Frequentemente atrelado às abordagens linguísticas à tradução, que, na segunda metade do século XX, buscaram conferir à pesquisa em tradução o estatuto de ciência, o conceito de equivalência foi alçado à condição de princípio teórico que garantiria a objetividade exigida das disciplinas que aspirassem à cientificidade. Para isso, porém, adotouse uma concepção abstrata e artificial de equivalência, que relegava o tradutor ao lugar de mero reprodutor de conteúdos pré-fixados pelo autor do original. Com o surgimento de novas vertentes de pesquisa no âmbito dos estudos de tradução, tais pressupostos foram postos em xeque, o que levou ao descarte e à estigmatização dessa noção. Se tomarmos por base a oposição elucidada por Kopetzki (1996), tal virada nos estudos de tradução pode ser interpretada como um movimento de concepções universalistas para concepções relativistas de língua e tradução, que rejeitam a ideia de tradução como transporte de significados imobilizados a priori. Diante disso, o objetivo desta pesquisa é demonstrar que a Equivalência de Koller não está calcada no universalismo que serve de base a outros modelos de equivalência tradutória, e que a noção defendida pelo autor tem validade prática, na medida em que funciona como um conceito operacional para tradutores profissionais e estudiosos da tradução. O presente trabalho se divide em duas grandes partes: a primeira é de caráter teórico e se destina à apresentação e à análise de trechos selecionados da obra de Koller, ainda inédita em português, a fim de evidenciar o caráter antiuniversalista de seus pressupostos; na segunda parte, mais voltada à prática, proponho uma maneira de aplicar seu conceito de Equivalência a um par de textos empíricos. O corpus que serve de base ao exemplo de aplicação é composto das ocorrências de cores presentes no romance Buddenbrooks: Verfall einer Familie (1909), de Thomas Mann, e na sua tradução para o português, de autoria de Herbert Caro e publicada no Brasil sob o título Os Buddenbrook: decadência duma família (1942). / The topic of this dissertation is Werner Kollers notion of equivalence (Äquivalenz). Often associated with the linguistic approaches to translation, which, in the second half of the 20th century, sought to make a scientific discipline out of the subject, equivalence turned into the one theoretical principle that would presumably guarantee the objectivity expected of any aspiring science. The consequence, however, was an abstract and artificial concept of equivalence, which portrayed translators as mere reproducers of contents that had been predetermined by the original author. With the advent of new research branches in the field of Translation Studies, such assumptions were called into question, which led to the discard and stigmatization of the concept. Bearing in mind the opposition brought to light by Kopetzki (1996), such a turn in Translation Studies may be interpreted as a move away from universalistic conceptions and a step towards relativistic conceptions of language and translation, which reject the idea of translation as the transport of pre-existing meanings. In view of that, the aim of this research is to demonstrate that Kollers Äquivalenz is not based upon the universalism that characterizes other theoretical frameworks to translation equivalence and can therefore be considered of practical relevance, inasmuch as it functions as an operational concept to professional translators and translation scholars. The present dissertation is divided in two main parts: the first part is of theoretical nature and is dedicated to the presentation and analysis of selected passages from Kollers work, still unedited in Portuguese, in order to demonstrate the antiuniversalistic character of his premises; in the second, more practice-oriented part, I propose a way of applying his concept of Equivalence to a pair of empirical texts. The corpus upon which this application example is based consists of instances of colour names found in the novel Buddenbrooks: Verfall einer Familie (1909), by Thomas Mann, and its translation to Portuguese, written by Herbert Caro and published in Brazil under the title Os Buddenbrook: decadência duma família (1942).

 la fin du Moyen Âge les fleurs sont fréquemment représentées dans les tapisseries, les manuscrits enluminés et les tableaux. L’objectif de l’étude est d’établir qu’il ne s’agit pas d’un simple procédé décoratif. Les fleurs, support naturel de la couleur, constituent un système symbolique par analogie dont la fonction est de guider le spectateur dans sa lecture de l’image. La construction des images en réseaux signifiants avec la flore symbolique accompagne un comportement nouveau, la Devotio Moderna, sous l’influence des ordres Mendiants, notamment les Dominicains. L’objectif est de guider le fidèle lors de ses prières. Les imagiers utilisent également ce système pour représenter les rois français Valois qui souhaitent proclamer leur lien privilégié avec Dieu. L’étude de ce système symbolique, contenu et structure, nous permet de mieux comprendre la mentalité médiévale avec sa façon particulière de penser le monde. / At the end of the Middle Ages flowers are frequent in tapestries, manuscripts and paintings. The aim of this study is to prove they are not just decorative items but that they have their own function in images. These flowers, especially by means of their colours, make up a symbolical system aiming at guiding the reader to understand the inner sense of symbolical images. This special way of composing images is concomitant with a new way of praying God, the Devotio Moderna, under the supervision of preachers, especially the Dominicans. The image-makers also use these new patterns to picture the French Valois kings in order to assert their alleged special relationship with God. The study of this symbolical system, contents and structure, enable us to understand better the particular medieval way of thinking the world.

This thesis investigates the use of colour in the interior decorations of the Royal Pavilion, Brighton. The building was created between 1785 and c.1823 by the Prince of Wales (1762 – 1830), later Prince Regent and George IV. The main aims of the thesis are firstly, to analyse the intense colour scheme of the building and set it in the historical context of colour theory and pigment production, and secondly, to establish to what extent personal tastes and fashion influenced these designs. Chapter 1 brings together nineteenth century descriptions of and reactions to the building from early guidebooks and visitors' accounts, followed by brief outlines of restoration work carried out since 1850 and observations on how the building is experienced by visitors today. The aim of Chapter 2 is to provide an overview of colour theory and literature in Europe between c.1765 and c.1845, in order to highlight the cultural, social and scientific background to the use of colour in art and interior design. Chapter 3 outlines the role of key figures involved in the creation of the building. It first discusses the Prince's tastes in art and considers to what extent he may have drawn inspiration from other members of the Royal Family and earlier Oriental buildings and interiors. The chapter then discusses the artists and designers John and Frederick Crace, Robert Jones and Humphry Repton. Chapter 4 describes the colour schemes and chromatic layout of the interior of the building in its various stages from the 1780 to the 1820s. The chapter includes a case study of the conspicuous and varied use of silver as a colour in the building, discussed in the context of the use of silver in other European interiors. Three appendices provide detailed information of colour terms found in contemporary account books, pigments identified in the Royal Pavilion so far, their historical context and where they are found in the interiors. The thesis thus analyses the multi-sensory experience of an interior in relation to new ideas about colour as a crucial element of interior design.

This thesis should solve the mystery of the synesthesia (especially on field of the theory of literature). The explanation of selected art schools of the second half of nineteenth century should anchor this phenomenon in the history of literature. The thesis analysis the concrete cases selected from the primary texts (collection of poems Zazděná okna, prose Román o Manfredu Macmillenovi and drama Sen o říši krásy). This analysis is based on the various types od synesthesia. The analysis prooved that this phenomenon does not only exist in the world literature, but it also exists in the Czech literature of that age. The comparison of the results extracted by Sean A. Day, Ph.D. was very interesting. This thesis examines also the colours and seing of the colours in the dreams. The work of Svetozar Nevole showed up useful. Although the work is almost 50 years younger than the primary literature, there were no big problems with adaptation of this theory for the primary texts.

SUMMARY The names of colours in the Lithuanian dialects have not been investigated at all; therefore, the topic of the present work for Master of Arts “The Names of Colours in Dialects” is relevant and important. The aim of the work is to investigate and describe the names of colours in dialects. The main objectives of the work: 1) to identify the frequency of the use of the names of colours; 2) to identify the kind of things the characteristic colour of which is marked by the names of colours; 3) to identify the semantic contents of the names of colours. The methods of the work: descriptive, statistical, the method of semantic analysis. The material has been selected from 6 dialectal dictionaries: “Dictionary of Daukšiai Region” by V. Labutis; “Dictionary of Druskininkai Dialect” by G. Naktinienė, A. Paulauskienė, V. Vitkauskas; “Dictionary of Lazūnai Dialect” by J. Petrauskas, A. Vidugiris, “Dictionary of North East Dūnininkai Subdialects” by V. Vitkauskas; Vol. 1 and Vol. 2 of “Dictionary of Zanavykai Subdialect” by R. Bacevičiūtė, G. Čepaitienė, V. Sakalauskienė, J. Švambarytė, K. Vosylytė; “Dictionary of Zietela Subdialect” by A. Vidugiris. The object of the work: 1) combinations in which certain two denotats are compared according to the common feature of a colour; 2) usually metaphoric combinations epithet + noun marking a characteristic feature (the combinations in which the name of a colour has a secondary meaning have been rejected); 3) metaphoric derivatives... [to full text]

Atsižvelgiant į šiuolaikinę ugdymo koncepciją buvo siekiama išanalizuoti spalvos poveikį mokinių vizualinei raiškai ir tuo būdu labiau sudominti menu mokinius. Tuo tikslu buvo surinkti ir apibendrinti įvairių šalių ir laikotarpių koloristų, menininkų, psichologų, filosofų ir mokslininkų spalvų teorijos darbai, atsispindintys spalvos ir šviesos prigimties aiškinimo, spalvos niuansų išgavimo, jų derinimo, spalvinių efektų panaudojimo ir poveikio žmogaus meniniam pasaulio suvokimui raida. Palyginus įvairių autorių patektus spalvų ratus, spalvines sferas, kubus ir kitas spalvų figūras, buvo aptarti jų bendri ir specifiniai bruožai. Buvo pateikti spalvų derinimo pavyzdžiai, aptartas jų estetinis meninis poveikis. Pedagoginio eksperimento metu, trukusio 2007 – 2008 mokslo metus, siekta pateikti mokiniams įvairiapusišką, vaizdingą, lengvai suvokiamą spalvų derinimo iliustracinę medžiagą. Pamokų metu buvo pastebėta, kad vizualinė dailė siejasi ir su fizika, ir su akies sandarą nagrinėjančia biologija. Išstudijuota literatūra, atspindinti psichologinius 5 -7 klasių mokinių ypatumus, paauglystės laikotarpio vaikų intelektualinės ir emocinės brandos raiškos formas bei problemas. Surinkta medžiaga iš pedagogikos – psichologijos leidinių apie jaunesnių paauglių psichologinius ir vizualinės raiškos ypatumus, atskleidžianti, kaip produktyviau ir efektyviau panaudoti sukauptas žinias apie spalvų įtaką mokinių vizualinei raiškai, kurios pagalba bręstantys vaikai bando tiksliau išreikšti savo... [toliau žr. visą tekstą] / Considering today’s training conception the aim was to analyze the influence of colours toward the visual expression of the schoolchildren and raise their interest in art. Colours theory works of different country‘s and time’s colourist‘s, artist‘s, psychologist‘s, philosopher‘s and scientist’s were collected and summarized. Common and specific features of geometrical figures of different colours were discussed. Examples of combinations of colours were presented and aesthetic art influence was discussed. Different, pictures and understandable literature about compositions of colours was presented to schoolchildren during 2007-2008 year training experiment. Literature on psychology and visual expression of young people was analyzed. Additional information about compositions of colours and light was provided to the schoolchildren of the 5th - 7th class during the research. Completed tests and content analysis of art works of schoolchildren proved hypothesis that it is right to give to young people the knowledge about the colours because the schoolchildren of the 5th class were interested in contrasts and the schoolchildren of upper classes were interested in half-tones and indistinct colours.

This diploma work deals with what influence the colour (red, yellow, green and blue) of an obstacle has on the jumping performance of horses. Eleven horses of different ages and breeds which are used for both recreational as well as sport riding purposes participated in the trial. The success of the horses at jumping over obstacles of variours colours was evaluated in relation to other selected variables, namely gender, age, height of the jump, and the type of riding surface. The horses were most successful at jumping yellow (96.4%) and red (95.2%) obstacles, whilst being less successful over green (85.7%) and blue (83.3%) ones. A successful jump included those where the front or hind hoof touched the obstacle without actually knocking the obstacle down. The values for touching the obstacle with the front or hind hoof were approximately the same for the red (7.1%) and green (9.5%) obstacles. With the yellow obstacles, there was a higher percentage of touching with the front hoof (11.9%) than the hind hoof (4.7%). With the blue obstacles, there was also a higher percentage of touching with the front hoof (10.7%) than the hind hoof (9.5%), although the difference was not as marked as with the yellow obstacles. The influence of the other selected variables on the jumping performance of the horses over the different coloured obstacles was diverse. The values of the correlation coefficients for gender and the type of riding surface did not prove there was a statistically significant influence of the horse´s success. In contrast, statistically significant relationships were proven for the height of a jump which was green, with a correlation coefficient rxy = -0.236+ (i.e. the higher the green jump the less successful the jumps), or yellow, with a correlation coefficient rxy = -0.377+++ (i.e. the older the horse the less successful the jumps).