[pt] Esta dissertação propõe a análise da formação de uma cultura figurativa do Design a partir da experiência da Bauhaus. A escola surge, em 1919, imbuída de ideais expressionistas e obstinada em promover a união entre todas as artes. Porém, já em 1923, inicia-se um processo de ressignificação e adaptação dos métodos e pesquisas formais, tradicionalmente vinculadas à arte, a um pensamento técnico científico. Embora essa inflexão tenha atenuado a relevância da arte dentro da instituição – e dominado o pensamento subsequente acerca do design moderno –, a crença no potencial educativo da forma permaneceu forte graças à presença de grandes artistas-professores, como Paul Klee, Wassily Kandinsky, László Moholy-Nagy e Josef Albers. Ao retomar tal experiência, a pesquisa pretende resgatar a dimensão filosófica da cultura visual produzida pelo design, entendendo que a forma tem a capacidade de gerar reflexão e inovação. / [en] Taking the Bauhaus experience as a starting point, this research analyses the formation of a figurative culture of Design. The school emerges in 1919, imbued with expressionist ideals and obstinate to promote the union between all arts. However, already in 1923, a process of revision and adaptation of methods and researches of form begins to shift from the art sphere to the technical-scientific one. Although this inflection has undermined the relevance of art within the institution – and influenced the subsequent thinking on modern design –, the belief in form as an educational instrument have remained relevant thanks to the presence of great artist-teachers, such as Josef Albers, Wassily Kandinsky, Paul Klee and László Moholy-Nagy. With special reference to the Bauhaus, this dissertation intends to recover the philosophical dimension of the visual culture produced by design, understanding that the form has the capacity to generate reflection ad innovation.

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Initially, my developing body of work aimed to redesign the traditions of representational painting, specifically the female nude, to depict the contemporary notions of lesbianism and femininity in an honest and empowering manner as a form of identity and not as vehicle for voyeurism. As an artist who paints the female nude and identifies as a woman and a lesbian, I examine the preexisting notions of the male gaze and the effect of socialization as it pertains to my work. The act of looking from the point of view of a woman, which is not synonymous with a "female gaze", or from the point of view of a lesbian, is not a birthright, but a conscious effort to constantly question the way we see and produce pictures and realizing that the male gaze permeates most images of female nudes. By the nature of my sexuality and my exposure to existing male-produced images, do I see the female nude through the male gaze or is there a gaze that is essentially female? Does it matter either way if the image is aesthetically compelling? My paintings neither attempt to conform to the male gaze or debunk it, nor do I attempt to prove the existence of a female gaze. Like Edgar Degas, I wish to look through a keyhole-a form of voyeurism-to see people outside of their public facade.

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<p>This thesis examines the metaphorical expressions of Robert Southwell and John Donne in light of the instability created in metaphorical thought by Reformational debates. I argue that the theological doctrines regarding the Eucharist and Biblical interpretation had associated consequences for figurative thought and that the violence with which these doctrines were interrogated in early modern England created a crisis of figurative representation that contributed to the elaborate experimentation of metaphor (layerings, argued conceits, rapid transitions between tropes, etc.) found within the poetry of Southwell and Donne.</p> <p>My first chapter traces the theological landscape of early modern England, noting the continental Catholic and Protestant positions which defined the Reformational debates, as well as roughly locating the position of the English Church in the centre of these debates. While each of these doctrinal positions contains certain understandings about metaphorical thought, this chapter argues that it is the general uncertainty and the society-wide fluctuations between these ideas that defines my concept of the “theological aesthetic.” In my final two chapters I look at specific metaphors in the works of Robert Southwell (“Saint Peter’s Complaint,” “Christ’s bloody sweat,” and “The prodigal childs soule wracke”) and John Donne (“The Cross,” “Holy Sonnet 10: Batter my heart, three- personed God,” and “Holy Sonnet 2: I am a little world made cunningly”). Close analysis of these poems reveals that Southwell’s poetry often combines imagery and tropes in complicated ways to form multifaceted metaphors, while Donne’s poetry often functions as a meditation upon the possibilities of figurative language to create meaning.</p> <p>This thesis does not attempt to form a comprehensive theory of early modern metaphor, but rather examines how the theological debates of the Reformation questioned the representational efficacy of figurative language, allowing metaphor to be redefined by the experiments of early modern poets like Southwell and Donne.</p> / Master of English

This dissertation proposes a new method of studying pragmatic language use in autism spectrum disorder (ASD). The existing research into pragmatic language use in ASD has predominantly used interviews and experiments in clinical environments to gather data from participants with ASD. These research methods focus heavily on comprehension, on comparing the performance of the participant with ASD to their non-autistic interlocutor. The methodology proposed in this thesis involves using observation and a naturalistic environment to gather conversational data that can be used to fill several gaps in the current research on pragmatic language use in ASD. In this study, people with ASD interacted with either non-autistic people or other people with ASD in triadic conversation sessions. These sessions were recorded, transcribed, and analysed for various pragmatic uses of language that previous research had observed were impaired, such as types of non-literal language and conversational turn taking. The pragmatic language use of three participants with ASD, representing three different levels of language ability, was analysed. The results showed that some participants used types of pragmatic language differently based on with whom they were communicating and also that some purported pragmatic impairments in ASD may not be as ‘impaired’ as they seemed based on previous research. For example, while all participants in this study used more interruptions when interacting with others with ASD compared to when interacting with non- autistic people, the rates of interruption were far less than what has been observed between non-autistic speakers (Hancock & Rubin, 2014), even though people with ASD have been described in the research literature as interrupting frequently (Ochs, Kremer-Sadlik, Sirota, & Solomon, 2004). The research presented in this dissertation has implications for future clinical research into pragmatic language impairments in any speech community and provides an additional methodology that can be used, expanding on the types of research questions that can be investigated in this area. / Thesis / Doctor of Philosophy (PhD) / This thesis proposes a new method of studying pragmatic language use in people with autism spectrum disorder (ASD). This methodology involves using observation and the data that can be gathered using it can fill several gaps in the current research on pragmatic language use in ASD. In this study, people with ASD interacted with either non-autistic people or other people with ASD in triadic conversation sessions. These sessions were recorded, transcribed, and analysed for various aspects of pragmatic uses of language. The pragmatic language use of three participants with ASD, representing three different levels of language ability, was analysed. The results showed that some participants used types of pragmatic language differently based on with whom they were communicating and also that some purported pragmatic impairments in ASD may not be as ‘impaired’ as they seemed based on previous research.

Tesis por compendio / Social media platforms, like Twitter, offer a face-saving ability that allows users to express themselves employing figurative language devices such as irony to achieve different communication purposes. Dealing with such kind of content represents a big challenge for computational linguistics. Irony is closely associated with the indirect expression of feelings, emotions and evaluations. Interest in detecting the presence of irony in social media texts has grown significantly in the recent years. In this thesis, we introduce the problem of detecting irony in social media under a computational linguistics perspective. We propose to address this task by focusing, in particular, on the role of affective information for detecting the presence of such figurative language device. Attempting to take advantage of the subjective intrinsic value enclosed in ironic expressions, we present a novel model, called emotIDM, for detecting irony relying on a wide range of affective features. For characterising an ironic utterance, we used an extensive set of resources covering different facets of affect from sentiment to finer-grained emotions. Results show that emotIDM has a competitive performance across the experiments carried out, validating the effectiveness of the proposed approach. Another objective of the thesis is to investigate the differences among tweets labeled with #irony and #sarcasm. Our aim is to contribute to the less investigated topic in computational linguistics on the separation between irony and sarcasm in social media, again, with a special focus on affective features. We also studied a less explored hashtag: #not. We find data-driven arguments on the differences among tweets containing these hashtags, suggesting that the above mentioned hashtags are used to refer different figurative language devices. We identify promising features based on affect-related phenomena for discriminating among different kinds of figurative language devices. We also analyse the role of polarity reversal in tweets containing ironic hashtags, observing that the impact of such phenomenon varies. In the case of tweets labeled with #sarcasm often there is a full reversal, whereas in the case of those tagged with #irony there is an attenuation of the polarity. We analyse the impact of irony and sarcasm on sentiment analysis, observing a drop in the performance of NLP systems developed for this task when irony is present. Therefore, we explored the possible use of our findings in irony detection for the development of an irony-aware sentiment analysis system, assuming that the identification of ironic content could help to improve the correct identification of sentiment polarity. To this aim, we incorporated emotIDM into a pipeline for determining the polarity of a given Twitter message. We compared our results with the state of the art determined by the "Semeval-2015 Task 11" shared task, demonstrating the relevance of considering affective information together with features alerting on the presence of irony for performing sentiment analysis of figurative language for this kind of social media texts. To summarize, we demonstrated the usefulness of exploiting different facets of affective information for dealing with the presence of irony in Twitter. / Las plataformas de redes sociales, como Twitter, ofrecen a los usuarios la posibilidad de expresarse de forma libre y espontanea haciendo uso de diferentes recursos lingüísticos como la ironía para lograr diferentes propósitos de comunicación. Manejar ese tipo de contenido representa un gran reto para la lingüística computacional. La ironía está estrechamente vinculada con la expresión indirecta de sentimientos, emociones y evaluaciones. El interés en detectar la presencia de ironía en textos de redes sociales ha aumentado significativamente en los últimos años. En esta tesis, introducimos el problema de detección de ironía en redes sociales desde una perspectiva de la lingüística computacional. Proponemos abordar dicha tarea enfocándonos, particularmente, en el rol de información relativa al afecto y las emociones para detectar la presencia de dicho recurso lingüístico. Con la intención de aprovechar el valor intrínseco de subjetividad contenido en las expresiones irónicas, presentamos un modelo para detectar la presencia de ironía denominado emotIDM, el cual está basado en una amplia variedad de rasgos afectivos. Para caracterizar instancias irónicas, utilizamos un amplio conjunto de recursos que cubren diferentes ámbitos afectivos: desde sentimientos (positivos o negativos) hasta emociones específicas definidas con una granularidad fina. Los resultados obtenidos muestran que emotIDM tiene un desempeño competitivo en los experimentos realizados, validando la efectividad del enfoque propuesto. Otro objetivo de la tesis es investigar las diferencias entre tweets etiquetados con #irony y #sarcasm. Nuestra finalidad es contribuir a un tema menos investigado en lingüística computacional: la separación entre el uso de ironía y sarcasmo en redes sociales, con especial énfasis en rasgos afectivos. Además, estudiamos un hashtag que ha sido menos analizado: #not. Nuestros resultados parecen evidenciar que existen diferencias entre los tweets que contienen dichos hashtags, sugiriendo que son utilizados para hacer referencia de diferentes recursos lingüísticos. Identificamos un conjunto de características basadas en diferentes fenómenos afectivos que parecen ser útiles para discriminar entre diferentes tipos de recursos lingüísticos. Adicionalmente analizamos la reversión de polaridad en tweets que contienen hashtags irónicos, observamos que el impacto de dicho fenómeno es diferente en cada uno de ellos. En el caso de los tweets que están etiquetados con el hashtag #sarcasm, a menudo hay una reversión total, mientras que en el caso de los tweets etiquetados con el hashtag #irony se produce una atenuación de la polaridad. Llevamos a cabo un estudio del impacto de la ironía y el sarcasmo en el análisis de sentimientos, observamos una disminución en el rendimiento de los sistemas de PLN desarrollados para dicha tarea cuando la ironía está presente. Por consiguiente, exploramos la posibilidad de utilizar nuestros resultados en detección de ironía para el desarrollo de un sistema de análisis de sentimientos que considere de la presencia de ironía, suponiendo que la detección de contenido irónico podría ayudar a mejorar la correcta identificación del sentimiento expresado en un texto dado. Con este objetivo, incorporamos emotIDM como la primera fase en un sistema de análisis de sentimientos para determinar la polaridad de mensajes en Twitter. Comparamos nuestros resultados con el estado del arte establecido en la tarea de evaluación "Semeval-2015 Task 11", demostrando la importancia de utilizar información afectiva en conjunto con características que alertan de la presencia de la ironía para desempeñar análisis de sentimientos en textos con lenguaje figurado que provienen de redes sociales. En resumen, demostramos la utilidad de aprovechar diferentes aspectos de información relativa al afecto y las emociones para tratar cuestiones relativas a la presencia de la ironí / Les plataformes de xarxes socials, com Twitter, oferixen als usuaris la possibilitat d'expressar-se de forma lliure i espontània fent ús de diferents recursos lingüístics com la ironia per aconseguir diferents propòsits de comunicació. Manejar aquest tipus de contingut representa un gran repte per a la lingüística computacional. La ironia està estretament vinculada amb l'expressió indirecta de sentiments, emocions i avaluacions. L'interés a detectar la presència d'ironia en textos de xarxes socials ha augmentat significativament en els últims anys. En aquesta tesi, introduïm el problema de detecció d'ironia en xarxes socials des de la perspectiva de la lingüística computacional. Proposem abordar aquesta tasca enfocant-nos, particularment, en el rol d'informació relativa a l'afecte i les emocions per detectar la presència d'aquest recurs lingüístic. Amb la intenció d'aprofitar el valor intrínsec de subjectivitat contingut en les expressions iròniques, presentem un model per a detectar la presència d'ironia denominat emotIDM, el qual està basat en una àmplia varietat de trets afectius. Per caracteritzar instàncies iròniques, utilitzàrem un ampli conjunt de recursos que cobrixen diferents àmbits afectius: des de sentiments (positius o negatius) fins emocions específiques definides de forma molt detallada. Els resultats obtinguts mostres que emotIDM té un rendiment competitiu en els experiments realitzats, validant l'efectivitat de l'enfocament proposat. Un altre objectiu de la tesi és investigar les diferències entre tweets etiquetats com a #irony i #sarcasm. La nostra finalitat és contribuir a un tema menys investigat en lingüística computacional: la separació entre l'ús d'ironia i sarcasme en xarxes socials, amb especial èmfasi amb els trets afectius. A més, estudiem un hashtag que ha sigut menys estudiat: #not. Els nostres resultats pareixen evidenciar que existixen diferències entre els tweets que contenen els hashtags esmentats, cosa que suggerix que s'utilitzen per fer referència de diferents recursos lingüístics. Identifiquem un conjunt de característiques basades en diferents fenòmens afectius que pareixen ser útils per a discriminar entre diferents tipus de recursos lingüístics. Addicionalment analitzem la reversió de polaritat en tweets que continguen hashtags irònics, observant que l'impacte del fenomen esmentat és diferent per a cadascun d'ells. En el cas dels tweet que estan etiquetats amb el hashtag #sarcasm, a sovint hi ha una reversió total, mentre que en el cas dels tweets etiquetats amb el hashtag #irony es produïx una atenuació de polaritat. Duem a terme un estudi de l'impacte de la ironia i el sarcasme en l'anàlisi de sentiments, on observem una disminució en el rendiment dels sistemes de PLN desenvolupats per a aquestes tasques quan la ironia està present. Per consegüent, vam explorar la possibilitat d'utilitzar els nostres resultats en detecció d'ironia per a desenvolupar un sistema d'anàlisi de sentiments que considere la presència d'ironia, suposant que la detecció de contingut irònic podria ajudar a millorar la correcta identificació del sentiment expressat en un text donat. Amb aquest objectiu, incorporem emotIDM com la primera fase en un sistema d'anàlisi de sentiments per determinar la polaritat de missatges en Twitter. Hem comparat els nostres resultats amb l'estat de l'art establert en la tasca d'avaluació "Semeval-2015 Task 11", demostrant la importància d'utilitzar informació afectiva en conjunt amb característiques que alerten de la presència de la ironia per exercir anàlisi de sentiments en textos amb llenguatge figurat que provenen de xarxes socials. En resum, hem demostrat la utilitat d'aprofitar diferents aspectes d'informació relativa a l'afecte i les emocions per tractar qüestions relatives a la presència d'ironia en Twitter. / Hernández Farias, DI. (2017). Irony and Sarcasm Detection in Twitter: The Role of Affective Content [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90544 / Compendio

A wide variety of aspects of Machaka's poetry was treated. His poetry which is meaningful when viewed against his traditional culture brings inspiration and a formal mode of literary expression. Death was never accepted by the Tlokwa as an end to life. Machaka has succeeded in blending the ancestral worship with Christian faith. He has used euphemism to modify pain. He makes use of imagery to execute cruelty and bluntness of death. Machaka's protest poetry echoes the same protest of those of other protesters. These refer to the injustice the Blacks experienced from the white regime prior to independence. From his love poems, it is noticed that Machaka is a great lover. When he is in love, he becomes a slave. Machaka uses traditional and modem praise poetry techniques. This made him manage to produce poetry which made a definite impact on Northern Sotho literature and contributed to its depth / African Languages / M.A. (African languages)

<p>This study examines how the meanings of onomatopoeic phrasal verbs are created and in which register these verbs are most frequently used. Through the study of previous research on the subject qualities of onomatopoeia and phrasal verbs are identified. Based on this a framework for identifying phrasal verbs and categorizing the meanings of onomatopoeic verbs and particles was created. Using the Corpus of Contemporary American English (COCA), a study of concordance lines and frequency in different registers was carried out on 50 onomatopoeic phrasal verbs. These verbs were constructed from ten mono-syllabic onomatopoeic verbs and three opposite pairs of spatial adverbs. The study found that several metaphorical meanings of the onomatopoeic verbs examined were not listed in the Oxford English Dictionary (OED). The meanings of the particles were strongly linked to metaphorical structures.The conclusion of this study was that onomatopoeic verbs possess a flexibility that allows them to create a variety of different meanings. Furthermore, the types of meaning can be categorized after a pattern, although this pattern is often not found in the dictionary. The onomatopoeic phrasal verbs studied were most frequent in the fiction register, more so than other phrasal verbs. Understanding of the metaphorical nature of particles such as up and down is imperative to understand how the meaning of a phrasal verb is created. This should be taken into consideration when teaching English as a second language or creating a dictionary.</p>

Thèse réalisée en cotutelle avec l'Université de Provence au sein du département d’études cinématographiques, U.F.R. Lettres et Arts, L.E.S.A. École doctorale Lettres, Langues et Arts. Soutenue publiquement à l'Université de Provence le 16 juillet 2010. / Un film problématise en images et en sons ce dont il traite. Le type d’analyse faisant apparaître cette relation étroite entre les formes du contenu et les formes de l’expression est l’analyse figurative. En voici la méthode exposée par Nicole Brenez en 1998 dans De la figure en général et du corps en particulier. Tout d’abord, il doit être admis que le film prime sur son contexte. Ensuite, les composantes d’un film sont des éléments. Puis, ces éléments sont autant de questions. Enfin, le cinéma problématise ce dont il traite. Seulement, ces quatre présupposés ne vont pas de soi. Ils induisent un double mouvement : le film pose des exigences à l’analyse que seule l’analyse rend visibles. Ce double mouvement dépasse le film pour questionner le cinéma. Cette thèse a pour but de démontrer que, d’une part, l’analyse figurative trouve ses fondements dans l’histoire du cinéma et que, d’autre part, grâce à des analyses figuratives, nous pouvons mettre à jour des changements dans le fonctionnement des images, du montage, des personnages. La méthodologie de l’analyse filmique repose par conséquent sur une étude historico-esthétique des formes cinématographiques. Or, ces formes sont autant de façons de penser le cinéma et de penser au cinéma. C’est précisément la circulation entre les formes du contenu, les formes de l’expression et les formes de l’analyse qui rend visible ce champ sensible d’expérimentations qu’est le film – une pensée-cinéma. / What is a cinematographic thought? A film theorized with images and sounds what it is dealing with. The methodology of film analysis which reveals that close relationship between images, sounds and thought is figurative. It was exposed in Nicole Brenez De la figure en général et du corps en particulier in 1998. First, the analyst must consider that the film is more important than its context. Next, its components shall be understood as elements. Then, those elements are regarded as questions. Finally, the film has to be considered as an interrogation of its subject. However, those four steps aren’t necessarily clear. They lead to a double thought: the film forces the analysis to include elements that are only made visible with the analysis. This double thought goes beyond the film and questions cinema itself. This study’s aim is to prove that a figurative analysis finds its foundations within the history of cinema, and due to these analyses, the changes regarding the construction of the image, editing, and character can be revealed. This methodology lies on an historical and aesthetic study of the cinematographic forms. Those forms are the way cinema thinks. Emerging from this relationship of a form, its expression, and its analysis is a sensitive field of experimentations: a cinematographic thought.