Thomas Pynchon’s novel, The Crying of Lot 49, details Oedipa Maas’ quest to unearth a possibly centuries-old clandestine mail system, the Trystero. Oedipa is immersed in notions of sociality and she must navigate the social landscape, searching for clues as to the existence of the social system. In her quest she assumes the role of a detective who searches for meaning, as she looks for clues and questions others who might potentially be privy to the secrets of the Trystero. She necessarily performs the process of symbolic exchange with those she encounters in an attempt at ascertaining some greater meaning within the world that she thinks might lie behind the Trystero. In this, the nature of the circulation of meaning is revealed as a cultural construct.

Submitted by Eduardo Felipe Cangemi Da Cruz null (eduardofccruz@yahoo.com.br) on 2016-11-15T16:18:08Z No. of bitstreams: 1 _DISSERTACAO_PRONTA_REVISADA.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-11-21T14:30:12Z (GMT) No. of bitstreams: 1 cruz_efc_me_fran.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) / Made available in DSpace on 2016-11-21T14:30:12Z (GMT). No. of bitstreams: 1 cruz_efc_me_fran.pdf: 1471676 bytes, checksum: 8753bf20cb0977e596c292a7eafd5460 (MD5) Previous issue date: 2016-10-11 / Não recebi financiamento / A presente pesquisa tem como foco central de análise a produção fonográfica da gravadora independente Discos Marcus Pereira, entre os anos de 1974 e 1978. Este período foi marcado pelo processo de consolidação do mercado de discos no Brasil e pelas discussões em torno de elementos que viriam redimensionar o campo da música popular brasileira, a partir de valores e comportamentos vinculados a certas categorias de apreciação e consumo. A empresa Discos Marcus Pereira lançaria no mercado fonográfico 142 elepês, todos voltados exclusivamente para o registro e divulgação da “autêntica música popular brasileira”. Deste universo discográfico estão sendo considerados como fontes desta investigação, àqueles dedicados à música popular instrumental, mais especificamente o choro. A década de 1970 demarcaria um importante momento de rearticulação e de revitalização deste gênero musical. Se de um lado ocorre a “redescoberta” do gênero e de seus artífices, por outro, concorre uma nova safra de compositores e instrumentistas que passam a pensar o choro para além dos modelos “tradicionais” de composição e execução. Essa tensão entre “preservação” e “revitalização” dos repertórios do choro é amealhada ao longo do trabalho, compondo parte do cenário em que circulariam os discos da gravadora. Essas discussões tangenciariam toda a década de 1970, marcada pela necessidade da afirmação da identidade nacional brasileira, para a qual colaborou de forma significativa a esfera da música popular. A escolha dos repertórios e artistas realizados pela gravadora iriam dialogar com a construção de uma tradição musical nacional, negociada e elaborada por memorialistas, musicólogos e folcloristas ao longo do século XX, através de práticas sociais que se constituíram, produzindo representações específicas acerca de uma determinada tradição musical a ser salva e preservada das influências deletérias dos gêneros musicais estrangeiros. Essa concepção em torno da cultura popular compõe e identifica a atuação da Discos Marcus Pereira nos anos de 1970. Tais posicionamentos em diálogo com um ideário estético e político onde, povo e nação, seriam tomados como elementos centrais de nossa identidade, são discutidos aqui, a partir da produção fonográfica da gravadora. / This research has the central focus of analysis the record production of the independent record label Discos Marcus Pereira, between the years 1974 and 1978. This period was marked by record market consolidation process in Brazil and the discussions on elements that would resize the field of Brazilian popular music, from values and behaviors related to certain categories of appreciation and consumption. The company Discos Marcus Pereira launch in phonographic 142 LPs market, all geared exclusively for the recording and disclosure of "authentic Brazilian popular music." This discographic universe are being considered as sources of this investigation, those dedicated to the instrumental popular music, specifically crying. The 1970s demarcate an important moment of re-articulation and revitalization of this musical genre. On the one hand there is the "rediscovery" of the genre and its creators, on the other, contributes a new crop of composers and instrumentalists who spend thinking crying beyond the "traditional" models of composition and performance. This tension between "preservation" and "revitalization" of the choro repertoire is accumulated throughout the work, forming part of the scenario in which circulate the recording disks. These discussions They crossed throughout the 1970s, marked by the need for affirmation of Brazilian national identity, which contributed significantly the sphere of popular music. The choice of repertoire and artists performed by the label would dialogue with the construction of a national musical tradition, negotiated and drafted by witnesses, musicologists and folklorists throughout the twentieth century, through social practices that constitute, producing specific representations about a particular musical tradition to be saved and preserved from harmful influences of foreign musical genres. This conception around the popular culture composes and identifies the role of Marcus Pereira discs in the 1970s Such positions in dialogue with an aesthetic and political ideas where people and nation, would be taken as central elements of our identity are discussed here, from the record production label.

A expressão emocional é um dos meios de comunicação primordiais do bebê humano, sendo sua manifestação um recurso que lhe garante a própria sobrevivência. Esta temática tem sido bastante estudada, usualmente, na relação do bebê com adultos, mais particularmente com a mãe, em condições de laboratório e ambiente doméstico. No entanto, novas configurações sociais emergiram, em que o cuidado da criança pequena tem sido cada vez mais compartilhado com instituições de educação infantil, onde os pares de idade são os parceiros mais frequentes. A revisão da literatura relacionada à expressividade emocional entre pares de bebês evidencia lacunas nesse campo, e há autores que afirmam o não reconhecimento da ocorrência mesmo da interação, já que a interação entre coetâneos nos dois primeiros anos de vida não é vista como viável. Com isso, traçamos o objetivo de verificar se ocorrem manifestações de expressividade emocional de sorriso e choro em interações de pares de bebês, no ambiente do berçário de uma creche. E, em ocorrendo, investigar como se dão. Com embasamento teórico-metodológico na Rede de Significações, realizamos um estudo longitudinal de casos múltiplos, com análise qualitativa. Participaram da pesquisa dezoito bebês de uma creche pública localizada no interior do Estado de São Paulo, e três educadoras responsáveis pela turma. Dentre os bebês, Tiago (cinco a dez meses de idade) e Bruno (oito meses a um ano e um mês de idade) foram sujeitos focais, sendo acompanhados durante cinco meses, através de videogravações semanais de trinta minutos para cada bebê. A análise do material empírico se dividiu em duas etapas: 1) mapeamento das ocorrências de sorriso e choro, discriminando os parceiros com os quais os bebês interagiram ao se expressar; e, 2) análise qualitativa dos episódios interativos nos quais Bruno e Tiago se expressaram emocionalmente com os pares. A partir das diferentes formas de expressão do bebê, tanto com base na literatura como no material empírico analisado, foram criadas as categorias de riso, sorriso, choramingo, choro e choro prolongado. Realizada a análise, não se verificou a ocorrência de risos nas interações dos bebês, pelo menos nos dias em que foram feitas as gravações. Com relação aos sorrisos de Tiago, observamos que se manifestaram em situações lúdicas, e se modificaram ao longo do tempo. Por volta dos oito / nove meses do bebê, os sorrisos passaram a ter repercussão nos parceiros, que brevemente reagiram à expressão. No caso de Bruno, também aos nove meses ele passou a manifestar alguns sorrisos que repercutiram e contagiavam os pares de idade. Os sorrisos de Bruno se manifestaram com uma riqueza de sentidos identificáveis nas interações, não sorrindo apenas aos pares, mas também dos pares e com os pares. Apesar das mudanças nos sorrisos dos bebês ao longo do tempo, o processo não se manifestou de modo linear. Nas expressões de choro dos bebês não se observou mudanças nas interações com os pares, apenas diferenças na qualidade e duração de tempo. As interações de pares em que Tiago chorou estavam relacionadas, em sua maioria, ao incômodo decorrente de invasões físicas sobre o bebê. Já no caso de Bruno, na maior parte das vezes, as interações compreendiam incômodo por situações de competição ou perda de brinquedos. Em ambas as expressões estudadas, observamos que sorrisos, apesar de menos frequentes entre os pares, contagiaram mais do que os choros, no sentido de haver alguma reação por parte dos pares. É oportuno apontar, neste momento, a relevância de estudos futuros sobre esta temática investigativa, haja vista a importância e a riqueza das manifestações de expressividade emocional nas interações de bebês que convivem em ambiente coletivo. / Emotional expression is a primary means of human infant communication and its manifestation is a resource that guarantees their survival. This theme has been extensively studied, usually in the infant\'s relationship with adults, more particularly with the mother, in laboratory conditions and home environment. However, new social configurations have emerged in which the care of young children has been increasingly shared with educational institutions, where infant peers are the most frequent partners. A literature review related to emotional expressiveness among infant peers highlights gaps in this field, and there are authors who do not recognize the occurrence infant peer interaction, since such phenomenon in the first two years of life is not seen as feasible. Thus, this work aims to verify if there are manifestations of smiling and crying emotional expressions in infant peer interactions in a day care nursery environment. And, if affirmative, well seek to investigate how do these manifestations occur. With theoretical and methodological basis in the Network of Meanings perspective, we conducted a longitudinal a multiple case study cases with qualitative analysis. The participants were eighteen infants from a public day care center in the state of São Paulo, with three teachers responsible for the class. Among all the babies, Tiago (five to ten months old) and Bruno (eight months to one year and one month of age) were the focal subjects. Weekly thirty-minute (per participant) video recordings were conducted for five months. The analysis of the empirical material was developed in two stages: 1) mapping of smiling and crying expressions in peer-interaction, identifying the peer involved; and, 2) qualitative analysis of interactive episodes in which the focal subjects emotionally expressed themselves with peers. Based on different forms of infant expression, both based on the literature and empirical data, the following emotional expression, categories were created: laughter, smiling, whimpering, crying and prolonged crying. In the analysis, there was no occurrence of laughter in infant peer interactions, at least in the scenes recorded. Regarding Tiago, smiles were first manifested in play situations and changed over time. Around eight / nine months both subjects` smiling began to impact partners, who would briefly respond to the expression. Bruno smiling episodes demonstrated a variety of senses identifiable in the interactions, smiling not only toward peers, but also with and due to peers. Despite the changes in the subjects` smiling over time, the process were not expressed in a linear fashion. In crying expressions, change concerning quality and length of expressions was observed, but there were no differences in peer interactions. Peer interactions in which Tiago cried were related mostly to the discomfort arising from intrusive physical contact with other babies. In Bruno`s case, crying occurred mostly in interactions involving annoyance by competition situations or loss of toys. For both expressions studied, we found that smiles, although less frequent among peers, have caused more reaction in peers. Future studies investigating this theme are needed, given the importance and great variety of the emotional expressiveness manifestations in infants peer interactions in collective environments.

Crying is infants utilize to express their emotional state. It provides the parents and the nurses a criterion to understand infants’ physiology state. Many researchers have analyzed infants’ crying sounds to diagnose specific diseases or define the reasons for crying. This thesis presents an automatic crying level assessment system to classify infants’ crying sounds that have been recorded under realistic conditions in the Neonatal Intensive Care Unit (NICU) as whimpering or vigorous crying. To analyze the crying signal, Welch’s method and Linear Predictive Coding (LPC) are used to extract spectral features; the average and the standard deviation of the frequency signal and the maximum power spectral density are the other spectral features which are used in classification. For classification, three state-of-the-art classifiers, namely K-nearest Neighbors, Random Forests, and Least Squares Support Vector Machine are tested in this work, and the experimental result achieves the highest accuracy in classifying whimper and vigorous crying using the clean dataset is 90%, which is sampled with 10 seconds before scoring and 5 seconds after scoring and uses K-nearest neighbors as the classifier.

Barnets gråt är en naturlig del i utvecklingen och minskar när barnet blir äldre. Föräldrarnas hälsa och självförtroende påverkas negativt av den fortsatta gråten och gråten är en av de vanligaste frågorna föräldrarna lyfter inom barnhälsovården. Syftet med studien var att beskriva föräldrars upplevelse av att trösta sitt gråtande barn under två år. Studien utfördes som en systematisk litteraturstudie med en induktiv ansats och innehåller 11 vetenskapliga artiklar. Resultatet visar att föräldrarna oftast är oförberedda på hur de upplever gråten och utvecklar olika strategier och metoder för att trösta barnet. Stöd från familj och utomstående, samt stöd från distriktssköterskan hade stor betydelse för föräldrarna. Föräldrarna sökte aktivt information via internet. När gråten blev överväldigande kunde en oro hos föräldrarna för att skada barnet finnas. Många föräldrar upplevde dock ett bristande stöd från distriktssköterskan och saknade ett mer lätt överskådligt informationsmaterial kring gråten. Förslag på en ökad kunskap hos distriktssköterskan och en utveckling av befintligt material, för att möta föräldrarnas behov av stöd. / The baby's cry is a natural part of its development but decreases as the child ages. Parents' health and self-confidence are negatively affected by the continued crying and crying is one of the most common questions parents raise with child health care. The studies purpose was to describe parents' experience of comforting their crying child under two years. The study was conducted as a systematic literature study with an inductive approach and contains 11 scientific articles. The results show that parents are often unprepared for how they experience crying and develop different strategies and methods to comfort the child. Support from family and outsiders, as well as support from the district nurse was of great importance to the parents. Parents actively sought information through the internet. When the crying became overwhelming, there could be a concern among the parents about harming the child. Many parents, however, experienced a lack of support from the district nurse and a more manageable information material about crying. Suggestions for an increased knowledge in the district nurse and a development of existing material, to meet the parents' need for support.

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The purpose of this study was to examine the effects of cry pitch and attributions that crying infants had or had not been abused on the perceptual ratings of maltreating and comparison parents. Twenty maltreating parents and 20 comparison parents rated 12 cries which varied in the pattern of their fundamental frequency on (a) the cry's similarity to their own child's cry, (b) the likelihood that the crying infant would be abused in the future, (c) 5 perceptual items and (d) 7 caregiving response items. Attributions of whether the crying infant was "abused" or "not abused" were varied before each cry sound during the ratings of the perceptual and caregiving response items. Results showed that as the pitch of the cries increased, all parents rated the cries' as less similar to their own infant's cries and the crying infants as more likely to be abused. Maltreating parents, however, rated mixed- and high-pitched cries as more similar to their own child's cries than comparison parents did. Generally, more sympathetic perceptions and responses were given to "abused" infants. However, perceptions of how "arousing" and "distressing" cries sounded were equally high for high-pitched "abused" and "not abused" infants' cries. Maltreating parents were more likely to "ignore" cries, and their ratings of urgency for mixed- and high-pitched cries were lower than comparison parents' ratings. The results are discussed within the framework of how children may contribute to the development of their own abuse or neglect. / M.S.

自一九六六年付梓以來，聘瓊的短篇小說《番號四十九的拍賣》中超現實的敘述技巧，以及科學、文學領域相互交織、對話的風格，一直是批評家立文探究的重點。批評家對聘瓊技巧的純熟以及風格的艱澀，給予高度的肯定。另外，批評家也推崇其對後現代小說發展的貢獻。本論文分成四章：首章討論女主角伊蒂帕．瑪絲如何成功地顛覆父權建構的被動身分；並且繪建女性自主性及書寫女性歷史。第二章討論本小說如何藉「縫隙」牽引讀者的想像力，並且讓讀者和聘瓊進行一場想像力的競技。第三章指出小說豐富的隱喻語言有助於想像力的馳騁及意義的繪建，閱讀行為即是書寫創作。第四章討論聘瓊的歷史觀：他揭櫫了歷史的虛構性，歷史不再是客觀的真理，而僅是歷史學者主觀意識及權力運作的產物。結論則指出「陰謀」是本小說最重要的主題。另外，「偏執狂」式的閱讀或「顛覆性」的閱讀乃是聘瓊的讀者所需具備的態度。讀者反應理論是本論文遵循的分析方法。本論文主張閱讀行為乃是想像力之旅。於閱讀的旅程中，讀者必須成為「偏執狂」，展現顛覆的精神，才是詮釋的真諦。 / Since its publication in 1966, Pynchon's short novel The Crying of Lot 49 has received considerable attention and discussion from critics. They are largely concerned with Pynchon's narrative technique of surrealism and his style of inter-disciplinarity. Pynchon's mature technique along with his style of elusiveness is highly celebrated. In addition, Pynchon's notable contribution to the development of postmodernist fiction is also recognized and respected by critics. 　　There are four chapters in this thesis. Chapter One is focused on Oedipa Maas's successful subversion of phallically or politically constructed identity of passivity. Furthermore, her mapping of femininity and writing of "herstory" are also the main concerns of this chapter. Chapter Two manifests that Pynchon leaves several "unwritten parts", or "gaps," to engage the reader's creative imagination. The novel, hence, is an arena, in which the reader and Pynchon participate in a game of imagination. Significantly, the dynamic interaction of imagination between the reader and Pynchon brings this novel into concretization. Chapter Three is devoted to discussing the profusion of metaphors of Lot 49. Through the interpretation of the metaphors, my reading of this novel is active. Further, instead of a passive consumer, or receiver, I become a co-producer of meanings, not only completing, but also enriching the novel. Chapter Four concentrates on Pynchon's aspects of concerns of history and linguistics. He exposes the fictiveness of history, calls into question the historical end and cause-and-effect, and reduces history to a linguistic construct of a verbal fiction virtually indistinguishable from Lot 49. I conclude that conspiracy is the central theme of this novel. Moreover, to proffer a positive interpretation of Pynchon's Lot 49, paranoid, or subversive reading is indispensable. 　　In conclusion, reader-response theory, promising freedom and autonomy of interpretation, is adopted as a strategy of analysis in this thesis. By this thesis, I argue that reading actually is a travel of imagination. In the travel of reading, to be a paranoia and to display the spirit of subversion are two important goals.

Diss. (sammanfattning) Stockholm : Karolinska institutet, 2007. / Härtill 5 uppsatser.