Although the earliest known literary evidence for a dual-sexed divinity on Cyprus dates to the fifth century BCE, archaeological evidence indicates there was a tradition on the island of sexually ambiguous imagery which predates the literary sources. This information prompted the present research, which traces the tradition back to the earliest known examples on Late Neolithic Cyprus, and tracks its evolution through to the Cypro-Archaic period. Rather than rely upon descriptions, photographs and drawings presented in consulted publications, the various international museums that house the figures were visited by the writer in order to physically examine the images. Controversial aspects of these figures were discussed with senior museum staff and/or curators. If figurines were unavailable for viewing, where possible, photographs were acquired from the relevant museums, and controversial aspects of the figures discussed by email. As a result, the majority of the images discussed in this thesis have been examined and photographed by the author. A catalogue of the sexually ambiguous imagery for Cyprus from the Neolithic to the Cypro-Archaic period has been compiled and is included in this work. It is proposed that the imagery is of Cypriot innovation, and consists of proto-anthropomorphic, anthropomorphic and half-animal, half-human representations. The genre is influenced from its earliest period by the figurative art of the Syro-Anatolian mainland, but from the Late Bronze Age onwards, influences from the western Mediterranean and Aegean are also evident. Despite the periods in which there is little evidence for figurine production, sexually ambivalent imagery re-emerges when figurative evidence is once more apparent in the archaeological records. Furthermore, stylistic continuity of the genre from one period to the next is also apparent. This continuity is regardless of the cultural changes which occur intermittently during the seven millennia period relevant to this study. Although it is not until the Cypro-Geometric period that there is firm evidence to support a religious interpretation of sexually equivocal imagery, it is suggested that the genre from the earliest period was at least associated with fertility, and perhaps religious cult.

Thesis (M.A.)--Syracuse University, 2001. / "Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Illustration in the Graduate School of Syracuse University." Includes bibliographical references.

Thesis (doctoral)--Université de Lille III, 1976. / Includes bibliographical references (p. 930-950).

Cette thèse de doctorat ne vise pas tant à questionner la pertinence de la formule d'École romaine (Scuola Romana) appliquée à un groupe de peintres et de sculpteurs actifs à Rome dans l'entre-deux-guerres qu'à tenter de comprendre le succès de cette étiquette jusqu'à nos jours. Différentes méthodes sont utilisées pour aborder les écrits de critique d'art et les discours scientifiques, mais aussi les productions textuelles plus liées à la fiction et au témoignage. D'autre part, ce travail analyse les carrières singulières des artistes ainsi que le devenir des œuvres afin de replacer l'École romaine par rapport à une histoire du goût en Italie et au-delà. L'étude suit une progression chronologique. Elle porte d'abord sur la réception de l'École romaine du temps de son activité, entre 1918 et 1945, puis interroge la place des artistes du mouvement dans l'Italie de l'après-Seconde Guerre mondiale, dans un contexte marqué par les divisions politiques. Enfin, à partir des années 1980, l'on assiste à une tentative de revalorisation marchande de l'École romaine sans précédent. Il s'agit alors d'évaluer les résultats de cette action et de comprendre ce qui l'a rendue possible. Les questions de la modernité artistique ainsi que celles des liens de la scène artistique romaine avec le fascisme puis avec la mémoire du régime sont au cœur de cette recherche, constituant des approches neuves pour étudier un objet encore mal connu en France. / This PhD thesis questions the label « Ecole romaine » (also known as Scuola romana) used to designate a group of painters and sculptors in Rome between 1918 and 1945. We aim to understand the reasons for the success of this expression until now. We use various methods in order to investigate the discourses of both art critics and scholars as well as more fictional texts, often written as testimonies. Furthermore, this work analyses the singular career of each artist and the reception of their works in order to consider the Ecole Romaine within a history of taste in Italy and abroad. Our study follows a chronological development. First, we analyse the reception of the School when active, between 1918 and 1945. Then, we examine the place of our artists in post-war Italy, in a context of great political divisions. Finally, we study how, in the early 1980s, various actors on the artistic scene tried to raise the value of the Ecole Romaine's works on the art market. What were the results of their attempt, and to what extent this renewal of interest had a lasting impact, especially in the museums field ? The questions of artistic modernity and of the relationship between the Ecole Romaine and the fascist regime are central in this research. These constitute new approaches to a theme which has remained relatively unknown outside of Italy.

This is a systematic study of tropes of the Holy Qur`an, divided into four chapters… The first chapter is entitled: “An historical review of rhetoric and stylistics” and it consists of two sections; the first section is entitled: “Western rhetoric and stylistics” where as the second section deals with “Arabic rhetoric and stylistics”. The second chapter is entitled: “Tropes and their components” and it consists of two sections; the first section is entitled: “the definition of tropes”. This section deals with the definition of “literal expressions” and “figurative expressions”, and the required condition for figurative expressions; that is the syntactical and semantic coherence and relationships. The second section is entitled: “Components of tropes” which deals with different components of tropes. The third chapter is entitled: “Linguistic tropes of the Holy Qur`an” and it consists of two sections; the first section is entitled: “The spread of linguistic tropes in the Holy Qur`an”. The second section is entitled: “Relationship of linguistic tropes in the Holy Qur`an”. This section quotes each and every relationship of linguistic tropes in the Holy Qur`an. The fourth chapter is entitled: “mental tropes in the Holy Qur`an”, and it consists of three sections; the first section is entitled: “Mental tropes in the Holy Qur`an, from part 1 to part 10”. The second section is entitled: “Mental tropes in the Holy Qur`an, from part 11 to part 20”, and the third section is entitled: “Mental tropes in the Holy Qur`an, from part 21 to part 30”. These sections quote verses of the Holy Qur`an which contain mental tropes. / Religious Studies and Arabic / Psychology

The topic of this dissertation is the stylistic application of Figurative Language Device in Baroque Homilie. As a material information source serves sermons focused on e.g. praise of St. John of Nepomuk. The dissertation drala with a concept of every single preacher writing in the last period of the Czech Baroque. The sermons date back to years 17271734. The opening part sum sup the basic features of historical the same as stylistic Baroque with specialization in Homilie. Furthermore, the work follows up the Figurative Language Devices in every Homilie. The goal of this work is to provide a charakteristic of Figurative Language Devices (e.g. simile, metaphor, metonymy, synecdoche, periphrasis, personification, oxymoron, allegory, symbol, allusion etc.). This dissertation aims to prove their importance and function in the Baroque Homilie in order to extend one's knowledge about Rhetorical Art of the Baroque Preachers.

Master of Science / Psychological Sciences / Richard J. Harris / Figurative language use is not limited to poetry or literature but is a ubiquitous part of speech. Studies that looked at figurative language comprehension have shown that some cognitive mechanisms, such as working memory, may be involved in figurative language comprehension. For example, individuals with high working memory span tend to produce deeper metaphor interpretations. The current work was interested in how working memory is involved in a particular figure of speech comprehension: idioms. An idiom is a phrase whose meaning cannot be simply deduced from the literal meanings of the words that comprise that idiom. Idioms can vary according to their compositionality, which refers to the extent with which meanings of the idiom constituents provide cues for the idiom's idiomatic meaning. A number of researchers agreed upon certain idioms being decomposable and other idioms being fixed. The two different types were used in the Main Study. Models of idiom comprehension also vary from traditional "lexical look-up" models that consider idioms as multi-word lexical units stored as such in speakers' mental lexicons to "nonlexical" models, such as the Configuration Hypothesis, that states that an idiom as a whole does not have a separate lexical representation in the mental lexicon. Both models are considered in this work. Finally, understanding idiomatic expressions may require inhibiting irrelevant literal information. For example, literal meanings of the words dogs and cats in an idiom it is raining cats and dogs have to be inhibited in order to gather the figurative meaning of the expression. Thus, the main objective of the current work was to assess the role of working memory in idiom comprehension, as well as to explore whether idiom compositionality had an effect on how fast idioms were interpreted, while also considering implications for the two main models of idiom comprehension. A Preliminary Study narrowed down the list of idioms to the 26 that were used in the Main study, ensuring that both types of idioms did not differ in familiarity or length. The Main Study consisted of four tasks: working memory (Operation span task), inhibition (reading with distractions), idiom comprehension, and familiarity. Seventy-three general psychology students participated in the Main Study. The data were analyzed by several regression analyses and t-tests. The main finding was that there seems to be a difference in a way the two accepted types of idioms are interpreted: fixed idioms were interpreted faster than decomposable idioms. This is consistent with the lexical lookup hypothesis but only for fixed idioms and suggests that readers may not have to analyze the literal word meanings of fixed idioms when interpreting them, thus making their interpretation faster, since retrieving is faster than computing. Neither familiarity nor idiom length could account for this difference. On the other hand, neither operation span nor the number of critical errors committed by participants on the inhibition task predicted how long it took participants to interpret either type of idioms. Several possible explanations for such results are discussed, as well as the limitations and future directions.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / Nesta dissertaÃÃo, apropriamo-nos da base teÃrica da SemiÃtica Francesa para depreender como as diferentes linguagens que compÃem o filme Dogville se articulam e contribuem para a construÃÃo do sentido e para a produÃÃo do efeito de realidade nesse texto fÃlmico. Esse tipo de texto se caracteriza pela pluralidade de linguagens cujas categorias do plano da expressÃo se relacionam para produzir um Ãnico conteÃdo. Assim, para atingir nosso objetivo, partimos do conceito de sincretismo proposto por Hjelmslev (1975), Greimas e CourtÃs (2011) e das contribuiÃÃes teÃricas de Floch (1986) sobre o semissimbolismo. Em seguida, utilizamo-nos do percurso gerativo do sentido centrando a nossa atenÃÃo sobre o nÃvel discursivo da narrativa fÃlmica de Dogville, para depreender como os procedimentos da ordem da Sintaxe Discursiva se articulam com os mecanismos de tematizaÃÃo e figurativizaÃÃo para a produÃÃo do sentido e efeito de realidade. Por fim, descrevemos, com base em Bertrand (2003), como as figuras que compÃem o universo figurativo da narrativa se apresentam e contribuem para a impressÃo referencial por parte do espectador, tendo em vista que o plano visual desse filme apresenta um desinvestimento figurativo que lhe confere uma âestÃtica teatralâ. Quanto aos resultados, observamos que o desinvestimento figurativo que caracteriza o filme Dogville constitui uma opÃÃo do enunciador para chamar a atenÃÃo do espectador para conteÃdos de natureza temÃtica. Nesse processo de desadensamento de figuras, o sincretismo de linguagens contribui sobremaneira para a apreensÃo do efeito de realidade pelo espectador jà que seus elementos constituintes nos ajudam a compor essas lacunas que sÃo deixados pelo plano visual, levando-nos à identificaÃÃo das isotopias presentes e à compreensÃo da narrativa. / In this dissertation, we use the theoretical basis of French Semiotics to understand how the different languages that form the film Dogville articulate and contribute for the construction of meaning and for the production of the effect of reality in this filmic text. This kind of text contains language plurality which categories of the expression plan are combined to produce a unique meaning. Thus in order to achieve our objectives, we start with the concept of syncretism proposed by Hjelmslev (1975), Greimas and CourtÃs (2011) and the theoretical contributions of Floch (1986) about Semisymbolism. Next, we follow the route of the generative process in meaning focusing our attention on the discourse level of the narrative of the film Dogville to understand how the procedures of discursive syntax articulate the mechanisms of themes and figures in order to produce the meaning and the effect of reality. Finally, we describe, based on Bertrand (2003) how the figures that form the figurative universe of the narrative present and contribute to referential illusion relative to the spectator, taking in the consideration that the visual plan of this film presents a figurative disinvestment that provides a theatrical appearance. Regarding the results, weÂve observed that the figurative disinvestment that characterizes the film Dogville is an option of the enunciator to draw the attention of the viewer for its thematic contents. In this process, the syncretism of languages contributes to referential illusion once its elements help us to fill the gaps left by the visual plan, leading us to identify the present isotopies and to understand the narrative.

Orientadora: Profª. Drª. Maria Teresa Carthery-Goulart / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Neurociência e Cognição, 2017. / Uma série de modelos e hipóteses já foram propostas para descrever como o cérebro processa figuras de linguagem. Uma questão central no debate dessa temática é se a compreensão de figuras de linguagem configura um tipo especial de material linguístico que desvie dos processos comuns de processamento da linguagem (literal), demandando mecanismos adicionais para a compreensão. A técnica de potencial relacionado a evento (ERP), focado no marcador eletrofisiológico N400, tem sido a ferramenta mais comum para obtenção de evidências sobre o acesso ao sentido figurativo, fornecendo indícios sobre como se comportam as etapas do curso de processamento figurativo em comparação ao literal. No entanto, algumas controvérsias sobre o seu uso podem surgir pela interpretação da funcionalidade do N400 e quais tipos de variáveis têm potencial de influenciar os níveis desse marcador. A presente dissertação é dividida em dois estudos, o primeiro teve como objetivo verificar e sumarizar os usos da componente N400 em uma revisão crítica da literatura sobre quais tipos de processos o N400 indexa. O segundo estudo foi feito em abordagem experimental com o objetivo de investigar o curso temporal do processamento semântico de verbos empregados de forma figurativa. Os participantes foram submetidos a uma tarefa de julgamento de plausibilidade de três tipos de sentenças (metafóricas, idiomáticas e literais), em que foram registrados os tempos de reação e, simultaneamente, as respostas eletrofisiológicas para cada condição. Os dados comportamentais demonstraram que o processamento de sentenças idiomáticas é mais rápido que as demais condições e que as metáforas foram a condição com maior demanda de tempo de processamento. Os resultados do EEG mostraram que as sentenças idiomáticas não apresentaram a deflexão negativa característica do N400, por outro lado, as metafóricas e literais apresentaram grandes picos de N400, mas sem diferenças estatisticamente significantes entre si. Os resultados evidenciam que não há efeito de figuratividade na janela temporal do N400, mas indicam possíveis efeitos mais tardios do julgamento do sentido figurado relacionados com os tempos de reação. Esses resultados dão suporte a hipótese de Saliência Graduada e Teoria do Mapeamento Conceitual, além disso, a dissertação como um todo fornece evidências que corroboram com a visão de acesso lexical do N400. / A number of models and hypotheses have been proposed to describe how the brain process figurative language. A central question is whether the comprehension of figurative language configures a special kind of linguistic material that deviates from the common mechanism of language processing (literal), so demanding additional processing for the comprehension. The event-related potential (ERP) technique, focused on the N400 electrophysiological marker, has been the most common way for obtaining evidence on the access to the figurative meaning. However, some controversies over its use may arise from the interpretation of the N400 functionality and which types of variables have been considered confounding factors of this potential. The present dissertation is divided in two studies: the first one aimed at verifying and summarizing the uses of the N400 component in a critical review of the literature on what types of processes the N400 indexes. The second study was done in an experimental approach aimed to investigating the temporal course of the semantic processing of verbs used figuratively. The participants undertook a plausibility judgment task of three conditions of sentences (metaphorical, idiomatic and literal), in which the reaction times were recorded and, simultaneously, electrophysiological responses. In the behavioral study, it was observed that the processing of idiomatic sentences is much faster than two other conditions, and the metaphors are longer than literal. The EEG results showed that the idiomatic sentences did not present the negative deflection characteristic of the N400; on the other hand, the metaphorical and literal ones presented large peaks of N400, but without significant statistical differences between them. The results show that there is no figurative effect in the N400 temporal window, but they indicate possible later effects of the judgment of the figurative sense, related to reaction times. Our study provides evidence that metaphorical processing has no literal content differences in the first processing window. These results support the hypothesis of Graduated Salience and Conceptual Mapping Theory, in addition, the dissertation as a whole provides evidence that corroborate with the lexical access view of the N400.

Esta dissertação trata da interação entre linguagem escrita e figurativa, aproveitando um debate geral, mas concentra-se na experiência grega sobre o tema. Assim, partindo da compreensão antiga dessa aproximação, serão perseguidos os aspectos gráficos (que integravam conceitualmente escrita e desenho - como indica o verbo graphêin), presentes na cerâmica ática ornamentada do período arcaico. Questões sobre a articulação de fontes escritas e materiais na pesquisa arqueológica também serão tratadas. Estruturalmente, este texto se divide em questões teórico-metodológicas relativas à natureza da documentação e seu tratamento no campo da Arqueologia Histórica e Epigrafia; e as justificativas das delimitações espaço-temporais. Depois, uma discussão sobre o gráfico, de forma geral, caminhando para o caso grego. Por fim, a apresentação de questões gráficas e relacionadas, próprias da documentação selecionada; bem como um estudo de caso: as ânforas panatenaicas / This work deals with the interaction between written and figurative languages in the general debate, but concentrates in the Greek experience about this subject. Therefore, we will begin with the ancient understanding of this approach; the graphical aspects present at Attic decorated ceramics of the archaic period will be pursued (due to the fact that these graphical aspects conceptually included writing and drawing, as it is indicated by the verb graphêin). Questions about the relationship between written and material sources in the archaeological research will be also considered. Structurally, this text is divided in theoretical-methodological questions about the nature of the documentation discussed in the field of Historical Archaeology and Greek Epigraphy and the justifications of time and space limits. After that, it is also included a general debate over the graphic, restricting to the Greek example. Finally, there will be a presentation of graphical questions and the ones related to the chosen documentation, as well as a case study: the panathenaic amphorae.