Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A questão que move esta dissertação é a noção do liame composto a partir do encontro entre duas redes conceituais: o método de ensino musical Pré-Figurativo, de Hans-Joachim Koellreutter, e o pensamento sem imagem, de Gilles Deleuze. Tais conceitos são tomados, aqui, como Multiplicidades em que um é constituído pelo outro, e vice-versa. Trata-se, no caso do ensino musical pré-figurativo, de um método que não se utiliza de modelos prévios e por isso coloca o pensamento em devir e, do pensamento sem imagem, a maneira como tal movimento da produção desse devir-pensar se desterritorializa sendo capaz de delinear algo que ainda não existe, mas que pode existir. Isso caracteriza uma zona de vizinhança, uma espécie de telhagem (tuilage), ou timbragem (no sentido musical do termo), como num telhado mesmo, em que as telhas se recobrem apenas em partes o existir no outro e pelo outro simultaneamente, o que permite que se diga de um devir-outro. O que é um quase outro, mas que não se efetiva no outro ou como outro. Contudo, é com o advento desse liame, ou desse fazer borda, como diria Deleuze, que a música, como ato de criação, acontece, se produz, se autoproduz. / We work here with the notion of bond, composed by the meeting of two conceptual nets: the pre-figurative method of music education, by Hans-Joachim Koellreutter, and the thinking without an image, by Gilles Deleuze. These concepts are taken as multiplicities, one being constituted by the other and vice versa. In the case of pre-figurative, we have a method that does not use previous models and because that takes thinking as becoming; and thinking without an image is a deterritorialising movement designing something that still does not exist but that can exist. That characterized an area neighborhood, a kind of roof, or a tone (in a musical sense), like a concrete roof, in which the tiles to recover only in parts the existence in the other and for the other simultaneously, which allows it to be said of a becoming-other. What is almost another, but it is not another or like another. Its starting from this bond, or this edging, as Deleuze would say, that music, as an act of creation, happens, or is produced.

The aim of this study has been to analyse metaphorical strings which have been interpreted literally, a process referred to as metaphor reversal. This was first described by Löflund (1999:18) and the specific term was later coined by Alm-Arvius (2006:6). Metaphor reversal is basically a subcategory of the broader term polysemy punning. When a metaphor unexpectedly is interpreted literally, a humorous effect takes place and a pun is created. Especially if the metaphorisation in question has an entrenched figurative meaning, the unexpectedness of the literal interpretation is greater and the pun more obvious. The examples of these puns exploiting metaphor reversal have been taken from films featuring the verbal comedian Groucho Marx (GM), who frequently used this type and other kinds of puns in his films. The terms internal and external metaphor, coined by Alm-Arvius (2003:78), have been used in order to distinguish between two different types of metaphorisations. Internal metaphor refers to metaphors with obvious internal collocational clashes and external metaphor refers to metaphors without such clashes, which can thus be given a literal as well as a figurative reading. However, this is not a clear-cut distinction and occasional overlapping between the two categories is common. Therefore, a continuum has been given which shows the overlapping category ‘more figurative external metaphors’. These are metaphors without collocational clashes, but with entrenched figurative meanings which make them metaphorical and not literal. GM does not only revert external metaphors; he also reverts internal metaphors although this category contains collocational clashes which should make a literal interpretation impossible. Internal metaphor puns tend to be more absurd than external metaphor puns due to the collocational clashes which make the literal interpretation less probable. Reverted external metaphors are referred to as REM and reverted internal metaphors as RIM. Most examples analysed are metaphorisations with idiom status with clearly preferred figurative meanings. Consequently, their figurative meanings are deeply entrenched and should not be altered. However, these figurative meanings are altered by GM in his punning; they are reverted and interpreted literally. This indicates that one of the few occasions when it is accepted or even possible to interpret a metaphorical idiom literally is in punning.

Cette thèse s’inscrit en sciences du langage dans le domaine de la sémiotique littéraire et utilise les outils de la sémiotique littéraire et de la sémiotique du sensible. Le corpus d’étude est constitué de poèmes de trois auteurs français du XXème siècle : Jean Tortel, Philippe Soupault et Yves Bonnefoy. Ce travail met en évidence les stratégies textuelles qui visent le lecteur comme instance perceptive. La première partie du travail expose le cadre théorique et l’inscription interdisciplinaire de notre thèse entre phénoménologie, sémiotique des instances, et sémiotique figurative. La deuxième partie traite, en premier lieu, de la description du corpus et, en second lieu, de l’analyse des différentes descriptions en vue d’une synthèse générale. Cette analyse révèle que les textes mettent en place trois niveaux de stratégies en interaction : l’embrayage subjectif, les dynamiques internes au texte et le rythme de l’énoncé. Le lien avec les stratégies et l’instance réceptrice (lecteur) est traité à la fin de la deuxième partie à travers le concept d’encyclopédie naturelle. Le but de cette étude est de montrer la fécondité d’une analyse sémiotique permettant une saisie fine des phénomènes discursifs/textuels, de mettre à profit une inter-sous-disciplinarité raisonnée, tout en montrant l’utilité descriptive et théorique de traiter le texte comme espace-temps d’expérience pour un lecteur-corps. / This thesis situates itself within the field of literary semiotics. However, our work tools are also related to figurative semiotics and the semiotics of discourse. The corpus under study is composed of three French poems from the 20th century written by different poets : Yves Bonnefoy, Jean Tortel and Philippe Soupault. The study focuses on textual strategies allowing the construction of the reader as a perceptive receptor. In the first part of the study, we present the interdisciplinary theoretical framework. In the second part, the poems will be analysed : the principal concern of corpus description is to highlight interaction between different levels of textual dynamics. The results reveal indeed three levels of textual strategies : subjective shifting, internal text dynamics, and rhythm. The end of the second part reveals the link between the reader’s natural encyclopedia and textual strategies. This study shows the benefits of a complex theoretical framework and furthermore demonstrates the analytical scope of the idea of the text-experience. This may encourage other researchers to base their reflections on this concept and to interrogate the reader as a perceptive receptor.

À partir d'une étude philologique attentive de l'Esprit géométrique, je montre l'évolution épistémologique de Pascal qui, découvrant la corruption naturelle d'un langage humain impuissant à assurer ses propres fondements, quitte ses positions cartésiennes. Par contrecoup, la prétention de la raison à formuler des principes universels est anéantie : toute connaissance rationnelle se fonde sur un socle autoritaire. Je souligne alors l'importance actuelle de l'œuvre mathématique pascalienne par sa mise en perspective dans la crise moderne des fondements. En lui appliquant les méthodes de la poétique aristotélicienne, je la caractérise par sa sensibilité figurative, qui s'étend à l'œuvre non scientifique et en révèle l'unité esthétique. Je montre ensuite l'originalité philosophique de Pascal qui sort du scepticisme en recherchant de nouveaux usages de la langue propres à communiquer la certitude. Je reprends le débat sur le chantier des Pensées pour en distinguer les éditions objectives, qui restituent le seul classement dont nous disposons effectivement, des éditions apologétiques qui le recomposent à partir de certaines des indications laissées par l'auteur. La grande originalité des Pensées classées est de proposer une recherche du bonheur sans a priori religieux. Elles établissent les contrariétés de la condition humaine, que philosophies et sciences humaines sont impuissantes à décrire ou résoudre car elles refusent, par principe, la contradiction. L'Écriture chrétienne entre alors en scène pour présenter le seul langage capable de faire aboutir la recherche, parce qu'acceptant et faisant signifier la contradiction. La double nouveauté est ici d'introduire la Bible dans le champ de l'existence par nécessité, et comme un simple livre, dont il s'agit de décrire le pouvoir cognitif. Structuré par la narration et par la figure (typologique), ce modèle biblique élargit la connaissance rationnelle et son référentiel spatio-temporel restreint. Il ouvre ainsi à son lecteur un horizon d'existence et lui montre un chemin pour réparer ses ses contrariétés. On voit là chez Pascal un profond renouveau de la pensée figurative et de l'approche littéraire de la Bible. / A thorough philological study of l'Esprit géométrique shows an evolution in Pascal's epistemology. Discovering a form of natural corruption in the incapacity of self foundation of the human langage, he leaves his former Cartesian positions. As a consequence, Reason's pretention to formulate universal principles is erased : every rational knowledge is based on a form of authority. This reveals the importance of Pascal's scientific work as regards to the crisis of fundation in modern Science. Using Aristotle's Poetic's methods, I show that Augustinian notion of figuration both applies to mathematics and Biblic litterature, and gives the aesthetic unity of the whole Pascal’s work . Its originality in philosophy is to get rid of scepticism by searching new languages capable of certitude. I reopen a long debate on the unaccomplished Pensées. I propose to distinguish between objective and apologetic editions. The latter are based on some of the author's indications on his intentions, the former use the only classification available. The thorough originality of what I call Les Pensées classées is to propose a quest for happiness with no religious a priori. After having established the contrarieties of humain condition which no philosophy or human science can describe or resolve because they reject contradiction, as a principle, this classification introduces the Christian Scripture as it carries the only language capable of accepting contradiction and giving a meaning to it. There are two new approaches here : introducing the Bible in the field of existence by necessity, and as a simple book with cognitive power. Structured by narration and figuration (typology), this Biblical model extends rational knowledge by extending its restricted space-time referential. It enlarges the horizon of existence of the reader and shows a path for repairing their contrarieties. Pascal deeply renews the classic figurative thought and the poetic approach of the Bible.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-07-14T19:27:20Z No. of bitstreams: 1 2015 - Susana Linhares Haidamus.pdf: 4430503 bytes, checksum: 8b067f3310cc073f8b11947a2a31ce98 (MD5) / Made available in DSpace on 2017-07-14T19:27:20Z (GMT). No. of bitstreams: 1 2015 - Susana Linhares Haidamus.pdf: 4430503 bytes, checksum: 8b067f3310cc073f8b11947a2a31ce98 (MD5) Previous issue date: 2016-08-06 / CAPES / The identification of the blossoms in honeys for marketing is a major challenge for the Brazilian beekeeping sector, which requires information on the botanical and geographical origin of honey and also assist in quality control of this bee product. The aim of this study is to identify the plant species that contribute mostly to the production of honey in the state of Rio de Janeiro, to evaluate the floral origin presents on the label is in line with the laboratory method, and check the quality of the product according to the presence of figurative elements. 152 honey samples were acquired in trade from the state of Rio de Janeiro, among informal and legalized brands. The melissopalinological analysis followed the European standard methodology without acetolysis, to identify the pollen types, their percentages in the sample and their arrangement in the frequency classes. Were identified 60 pollen types, belonging to 27 plant families, 34 genera and nine species. Fabaceae and Asteraceae presented the highest diversity of pollen types. Of all pollen types, 31% were more frequent as Eucalyptus sp., Myrcia sp. and Piptadenia sp. According to the predominance of pollen types in the honey samples, 58.5% were honeys classified as unifloral, the major is Eucalipto honey; 35.5% were heterofloral and 8% bifloral. In the melissopalinological analysis there was an important difference in the floral diversity from the report of the samples and from the frequency of sampling. When the floral identification is made from lab and check the brands of the honeys, there was a difference; only 13% from 89 monofloral samples were in agreement with its botanical origin; five were Eucalyptus, three Citrus, two Vernonia and two Gochnatia. The analysis of the figurative elements in the honey samples, either biological origin or dust, was high (73% of samples). In the sampling, 58% did not obey the standards and quality of honey, due to the presence of microorganism and distiness. / A identifica??o das floradas dos m?is comercializados ? um importante desafio para o segmento ap?cola brasileiro, que requer informa??es sobre a origem bot?nica e geogr?fica do mel e tamb?m por auxiliar no controle de qualidade deste produto da abelha. O objetivo do presente trabalho ? identificar as esp?cies vegetais que mais contribuem para a produ??o de mel no estado do Rio de Janeiro, verificar se a nomina??o da origem floral no r?tulo est? em conson?ncia com o m?todo de laborat?rio, e verificar a qualidade do produto por meio da presen?a de elementos figurativos. Foram avaliadas 152 amostras de m?is do com?rcio do estado do Rio de Janeiro, dentre marcas informais a legalizadas. A an?lise melissopalinol?gica seguiu a metodologia padr?o europ?ia, sem uso de acet?lise, para a identifica??o dos tipos pol?nicos, de suas porcentagens na amostra e da disposi??o em classes de frequ?ncia. Foram identificados 60 tipos pol?nicos, pertencentes a 27 fam?lias, 34 g?neros e nove esp?cies. Fabaceae e Asteraceae apresentaram a mais alta diversidade em tipos pol?nicos. Do total de tipos pol?nicos, 31% foram mais frequentes como, Eucalyptus sp., Myrcia sp. e Piptadenia sp. Segundo a predomin?ncia dos tipos pol?nicos nas amostras, 58,5% foram do tipo monofloral, sendo o mel de Eucalipto o mais predominante; 35,5% do tipo heterofloral e 8%, biflorais. H? importante diferen?a na diversidade floral pela an?lise melissoplanol?gica de laudo das amostras e das frequ?ncias na amostragem. A identifica??o floral pelo m?todo de laborat?rio diverge da presente no r?tulo, apenas 13% das 89 amostras tipo monofloral no r?tulo, estavam em concord?ncia com sua origem bot?nica; cinco eram de Eucalyptus, tr?s de Citrus, duas de Vernonia e duas de Gochnatia. A presen?a de elementos figurativos, sejam de origem biol?gica ou sujidades, foi alta (73% das amostras). Das amostras, 58% estavam fora dos padr?es de identidade e qualidade do mel, devido ? presen?a de microrganismos e sujidades.

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.

Studien kartlägger vanliga adjektivliknelser i svenska bloggtexter ur två aspekter, vilka adjektiv och substantiv som förekommer tillsammans i konstruktionen ADJEKTIV som en/ett SUBSTANTIV samt deras grad av konventionalisering. Tidigare forskning visar att liknelser är svårdefinierade, vilket tas upp i bakgrunden. Materialet är hämtat från fem korpusar med svensk bloggtext. Resultaten visar att de vanligaste adjektivliknelserna föredrar att knyta an till ett eller några substantiv. Däremot finns det visst utrymme för produktivitet. Studien är en preliminär kartläggning över hur pass konventionaliserade liknelserna är. Möjliga källor för uppkomst av liknelserna diskuteras i diskussionen. Resultaten belyser även att det finns en ytterligare dimension i definitionen av liknelser utöver kontinuumet mellan bokstavlighet och figurativitet, nämligen en distinktion mellan exaktare måttangivelse och figurativitet.

Uppsatsen utgör en analys av utvalda delar av den tyska översättningen av guideboken På fjälltur: Sarek av Claes Grundsten. Fokus i analysen ligger på översättningen av termer och bildspråk. Syftet med analysen var att undersöka hur översättaren på tyska har återgett naturbeskrivningarna som speglas i termerna och bildspråket, och hur denna återgivning påverkar läsarens uppfattning av boken. Analysen visade att översättaren, Florian Martin, till största del har bevarat bildspråket, med några fall av försvagade eller utelämnade bildspråksuttryck. Majoriteten av termerna var översatta med generaliseringar, vilket kan innebära att författarens specialkunskaper undanhålls. Detta i kombination med att författarens personliga engagemang för fjällen uttrycks i något lägre grad i och med bildförluster i översättningen av bildspråket kan innebära att guidebokens trovärdighet uppfattas som något lägre i den tyska översättningen. / This master’s thesis consists of an analysis of selected parts from the German translation of the Swedish guidebook På fjälltur: Sarek by Claes Grundsten. The analysis focuses on the translation of terminology and figurative language. The purpose of the analysis was to investigate how the German translator had rendered the descriptions of nature reflected in the terminology and the figurative language, and how this rendering affects the reader’s perception of the book. The analysis showed that the translator, Florian Martin, for the most part had preserved the figurative language, with the exceptions of a few diminished or omitted expressions. The majority of terms were translated by means of generalization, which could suppress the author’s expertise knowledge. This, in combination with the author’s personal dedication for the Swedish mountains being expressed to a lower extent, due to the loss of figuration in the translation of the figurative language, could mean that the credibility is perceived as slightly lower in the German translation.

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