Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Esta tese dedicou-se a descrever e interpretar a tessitura textual dos fenômenos insólitos no romance Sombras de Reis Barbudos, de José J. Veiga, com base na associação entre a Teoria da Iconicidade Verbal e a Linguística de Córpus . Centrou-se, especificamente, nas marcas linguísticas que representam ideias ou conduzem o intérprete à percepção de que o insólito é construído no texto por meio itens léxicos que constituem pistas icônicas. Merecem especial interesse, sobretudo, os substantivos, que, por serem palavras com alta iconicidade, participam da construção/representação de fenômenos insólitos e criam, por meio da trilha léxica, o itinerário de leitura para o texto-córpus. Para que os resultados fossem significativos, análise apoiou-se nos recursos digitais da Linguística de Córpus (SARDINHA, 2004; 2009), que possibilitaram realizar uma pesquisa baseada em um córpus. A utilização da Linguística de Córpus como metodologia permitiu levantar, quantificar e tabular os signos que corroboram com a compreensão da incongruência e da iconicidade lexical dos fenômenos insólitos em um texto literário, identificando os substantivos-nódulos e seus colocados, para avaliá-los quanto à incompatibilidade das escolhas lexicais realizadas por José J. Veiga em relação às estruturas lexicogramaticais da Língua Portuguesa. Fundamentou-se a discussão no insólito como categoria essencial do fantástico modal (BESSIÈRE, 2009; COVIZZI, 1978, FURTADO, s.d.; PRADA OROPREZA, 2006); na Semiótica de extração peirceana, com enfoque na Teoria da Iconicidade Verbal (SIMÕES, 2007,2009) e na colocação lexical (BÉNJOINT, 1994; SINCLAIR, 1987, 1991, 2004; TAGNIN, 1989). A tese demonstra que a incongruência e a iconicidade lexical são identificadas a partir da seleção vocabular obtida pelo processamento digital e pelo confronto com o Córpus do Português. A análise comprova que os substantivos, como categorias linguísticas caracterizáveis semanticamente, têm a função designatória ou de nomeação na arquitetura de um texto em que se manifesta o insólito. Revela também que a incongruência lexical constitui-se em uma chave para a construção do ilógico, mágico, fantástico, misterioso, sobrenatural, irreal e suprarreal no texto-córpus / The objective herein is to describe and understand the textual tessiture of the insolite phenomena in the novel Sombras de Reis Barbudos, by José J. Veiga, based on the association between the Theory of Verbal Iconicity and Corpus Linguistics. It focused specifically in the linguistic marks that represent ideas or lead the interpreter to the perception of how the insolite is constructed in the text, by means of lexical items that constitute iconic hints. In the study, nouns are given a special attention, above all the other word categories, because, being words with a high inconicity level, they take part in the construction/representation of the insolite phenomena and create, by means of the lexical path, the reading itinerary to the text-corpus. In order to have a significant result, the research had as support the digital resources of Corpus Linguistics (SARDINHA, 2004; 2009), which made it possible to fulfill a research based on only one corpus. The use of Corpus Linguistics as methodology allowed to rise, quantify and tabulate the signs that corroborate the comprehension of the incongruence and the lexical iconicity of the insolite phenomena in a literary text, identifying the node nouns and their collocates to evaluate them in relation to the incompatibility of the lexical choices fulfilled by José J. Veiga in comparison with the grammar-lexical structures in Portuguese. This study justified discussion on the insolite as an essential category of the Fantastic as a mode (BESSIÈRE, 2009; COVIZZI, 1978; FURTADO, s.d.; PRADA OROPREZA, 2006); on the Peircean Semiotic, which highlights the Verbal Iconicity Theory (SIMÕES, 2007, 2009) and on the lexical collocation (BÉNJOINT, 1994; SINCLAIR, 1987, 1991, 2004; TAGNIN, 1989). The thesis demonstrates that the incongruence and the lexical iconicity are identified by vocabulary obtained by digital processing and confrontation with Portuguese Corpus. The analysis proves that nouns, as a linguistic class that can be semantically categorized, have either designation or nominative functions in the construction of a text in which the insolite is manifested. It also reveals that the lexical incongruence constitutes itself a key to the construction of the illogical, magical, fantastic, mysterious, supernatural, unreal and super real in the corpus text

Orientador: Maria Luiza Braga / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T00:47:01Z (GMT). No. of bitstreams: 1 Carvalho_CristinadosSantos_D.pdf: 1949611 bytes, checksum: 878738ebe19c4154ae4c1b804878fae3 (MD5) Previous issue date: 2004 / Resumo: Na presente tese, investigo as sentenças complexas portuguesas com verbos causativos e perceptivos em que se dá encaixamento de cláusulas completivas. Restrinjo minha análise, no primeiro grupo semântico, aos verbos mandar, deixar e fazer e, no segundo, a ver, ouvir e sentir, pelo fato de esses seis verbos terem sido mais freqüentes na amostra. Como referencial teórico, utilizo-me dos pressupostos do funcionalismo lingüístico, principalmente daqueles seguidos pela vertente americana (cf. Givón, 1990, 1995; Hopper e Traugott, 1993, dentre outros) e dos contidos em Lehmann (1988). Fundamento-me nas noções de iconicidade, integração sintática e gramaticalização para descrever e comparar o comportamento sintático e semântico das sentenças encaixadas em verbos causativos e perceptivos. Abordo, numa perspectiva pancrônica, os usos dessas cláusulas na língua portuguesa, com o intuito de verificar, nesses usos, a atuação do princípio de uniformitarismo (Labov, 1995). Para tanto, examino dados de diferentes fases do português, a arcaica e a contemporânea, com ênfase no estágio atual dessa língua. A amostra sincrônica consta de dados da modalidade falada do português brasileiro do século XX. A amostra diacrônica é composta de textos escritos do português do século XV: A Crônica de D. Pedro e A Carta de Pero Vaz de Caminha. Da perspectiva da metodologia adotada na pesquisa, utilizo os pressupostos metodológicos da Teoria da Variação Lingüística. Seguindo esses pressupostos, submeti os dados sincrônicos a um tratamento quantitativo através do programa de pacotes VARBRUL (mesmo sem estar operando com uma regra variável). Com base nas noções de iconicidade, integração sintática e gramaticalização, assumo como hipóteses principais desta tese as seguintes: (a) as cláusulas encaixadas em verbos causativos e perceptivos se distinguem não só por atributos semânticos mas também por atributos sintáticos e constituem diferentes níveis de integração sintática; (b) existem diferenças de níveis de integração sintática e gramaticalização entre os verbos de cada grupo semântico e entre as acepções de cada verbo. Visando à comprovação empírica dessas hipóteses, os graus de integração sintática e gramaticalização entre as completivas aqui analisadas e suas matrizes são medidos a partir de parâmetros sintáticos e semântico-pragmáticos. Neste trabalho, em relação a alguns desses parâmetros, os resultados quantitativos evidenciam que: (a) as sentenças encaixadas em verbos causativos e perceptivos exibem, no português brasileiro, um padrão distribucional divergente entre si e, portanto, remetem a distintos graus de integração sintática; (b) essas diferenças se explicam pela atuação do subprincípio da proximidade (Givón, 1990); (c) alguns usos dos verbos causativos e perceptivos representam diferentes estágios de gramaticalização; (d) nos grupos semânticos examinados, alguns verbos se destacam por possuírem mais usos integrados e/ou gramaticalizados / Abstract: In the present work I investigate Portuguese complex sentences which involve embedded clauses with causative and perception verbs. I examine causative verbs such as mandar ¿to order¿, deixar ¿to let¿ and fazer ¿to make¿ and perception verbs such as ver ¿to see¿, ouvir ¿to hear¿ and sentir ¿to feel¿, because they were the most frequent ones, of each semantic group, to appear in the sample. Some theoretical assumptions from the functionalist approach are used, mainly these ones adopted by Givón (1990, 1995), Hopper e Traugott (1993) and Lehmann (1988). The analysis is based on the notions of iconicity, syntactic integration and grammaticalization, since the aim is to confront the embedded clauses of causative and perception verbs as far as their syntactic and semantic properties are concerned. I also study the Portuguese usages of these clauses in a panchronic perspective to verify the action of the Uniformitarian Principle (Labov, 1995). Then, I examine data from two periods of Portuguese, the archaic and contemporary ones, emphasizing the latter. The synchronic sample consists of data of spoken Brazilian Portuguese from the XXth Century. The diachronic sample consists of written texts from the XVth Century: A Crônica de D. Pedro and A Carta de Pero Vaz de Caminha. Adopting the methodological principles from the Theory of Linguistic Variation, I make a quantitative analysis of the synchronic data through the VARBRUL, a package of statistical programs (although I am not studying a variable rule). Based on the claims about iconicity, syntactic integration and grammaticalization, it is assumed that: (a) the embedded clauses of causative verbs differ, semantically and syntactically, from the sentential complements of perception verbs because they exhibit different levels of syntactic integration; (b) there are distinct degrees of syntactic integration and grammaticalization among the verbs of each semantic group and among the meanings of each verb. In order to check these hypotheses, the degrees of syntactic integration and grammaticalization between the sentential complements and their matrixes are measured based on syntactic and semantic-pragmatic parameters. As far as these parameters are concerned, the results show that: (a) the embedded clauses of causative and perception verbs exhibit different distributional patterns and, therefore, they display different degrees of syntactic integration; (b) these differences are explained by the Proximity Subprinciple (Givón, 1990); (c) some usages of causative and perception verbs represent distinct stages of grammaticalization; (d) in the semantic groups examined, some verbs have more integrated and grammaticalized usages than others / Doutorado / Doutor em Linguística

This dissertation investigates whether transitivity distinctions are manifest in the phonetics of linguistic and paralinguistic manual actions, namely lexical verbs and classifier constructions in American Sign Language (ASL) and gestures produced by hearing non-signers without speech (i.e., pantomime). A positive result would indicate that grammatical features are (a) transparent and (b) may thus arise from non-linguistic sources, here the visual-praxic domain. Given previous literature, we predict that transitivity is transparent in pantomime and classifier constructions, but opaque in lexical verbs. <div><br></div><div>We first collected judgments from hearing non-signers who classed pantomimes, classifier constructions, and ASL lexical verbs as unergative, unaccusative, transitive, or ditransitive. We found that non-signers consistently judged items across all three stimulus types, suggesting that there is transitivity-related information in the signed signal. </div><div><br></div><div>We then asked whether non-signers’ judging ability has its roots in a top-down or bottom-up strategy. A top-down strategy might entail guessing the meaning of the sign or pantomime and then using the guessed meaning to assess/guess its transitivity. A bottom-up strategy entails using one or more meaningful phonetic features available in the formation of the signal to judge an item. We predicted that both strategies would be available in classing pantomimes and classifier constructions, but that transitivity information would only be available top-down in lexical verbs, given that the former are argued to be more imagistic generally than lexical verbs. Further, each strategy makes a different prediction with respect to the internal representation xv of signs and pantomimes. The top-down strategy would suggest signs and pantomimes are unanalyzable wholes, whereas the bottom-up strategy would suggest the same are compositional. </div><div><br></div><div>For the top-down analysis, we correlated lexical iconicity score and a measure of the degree to which non-signers ‘agreed’ on the transitivity of an item. We found that lexical iconicity only weakly predicts non-signer judgments of transitivity, on average explaining 10-20% of the variance for each stimulus class. However, we note that this is the only strategy available for lexical verbs. </div><div><br></div><div>For the bottom-up analysis, we annotate our stimuli for phonetic and phonological features known to be relevant to transitivity and/ or event semantics in sign languages. We then apply a text classification model to try to predict transitivity from these features. As expected, our classifiers achieved stably high accuracy for pantomimes and classifier constructions, but only chance accuracy for lexical verbs. </div><div><br></div><div>Taken together, the top-down and bottom-up analyses were able to predict nonsigner transitivity judgments for the pantomimes and classifier constructions, with the bottom-up analysis providing a stronger, more convincing result. For lexical verbs, only the top-down analysis was relevant and it performed weakly, providing little explanatory power. When interpreting these results, we look to the semantics of the stimuli to explain the observed differences between classes: pantomimes and classifier constructions both encode events of motion and manipulation (by human hands), the transitivity of which may be encoded using a limited set of strategies. By contrast, lexical verbs denote a multitude of event types, with properties of those events (and not necessarily their transitivity) being preferentially encoded compared to the encoding of transitivity. That is, the resolution of transitivity is a much more difficult problem when looking at lexical verbs. </div><div><br></div><div>This dissertation contributes to the growing body of literature that appreciates how linguistic and paralinguistic forms may be both (para)linguistic and iconic at the same time. It further helps disentangle at least two different types of iconicities (lexical vs. structural), which may be selectively active in some signs or constructions xvi but not others. We also argue from our results that pantomimes are not holistic units, but instead combine elements of form and meaning in an analogous way to classifier constructions. Finally, this work also contributes to the discussion of how Language could have evolved in the species from a gesture-first perspective: The ‘understanding’ of others’ object-directed (i.e. transitive) manual actions becomes communicative.</div>

This thesis is about the making of a power plant. It sheds light on how neoliberal ideas shape large public investments in sustainable energy infrastructure. It tells the story of how the City of Copenhagen decided to build what was claimed to be the greenest waste-fired power plant in the world: Copenhill. The plant was to have a ski slope at the rooftop and a chimney puffing smoke-rings. However, conflicting urban visions and rationalities led to a year-long crisis in the project’s planning phase. In the end, Copenhill was built over capacity, which today makes it difficult to match budget and costs. I combined information from internal municipal documents, interviews with decision makers and informal corridor talk to identify the driving forces behind the outcome of the crisis, and the contradictions and complexities of the case. I found that the crisis had roots in the way the public energy company ARC began to act like a private firm, with an entrepreneurial vision. ARC adopted an expansionist growth plan to build a large power plant with iconic architecture. The Copenhill project attracted local politicians wishing to brand Copenhagen as a green world city. However, the city’s Technical and Environmental Administration (TEA) was guided by a managerial vision with a strong sustainability focus. TEA’s analysis showed that there would not be enough garbage in the city to power the over-sized plant. Consequences for economy and environment were seen as potentially disastrous. Supported by city council and government, TEA tried to stop Copenhill. The clash between the two different urban visions led to the formation of two opposing coalitions with each their own rationality. The contradictions between growth rationality and green rationality caused the Copenhill Crisis. The direct intervention of the power élite in support of a growth solution short-circuited the norms of transparent public decision-making. Bowing to political pressure, TEA produced new documents saying that Copenhill would be great for economy and climate. Dark planning practices led to an outcome that was falsely presented as a compromise between green and growth strategies. It was in fact a growth solution, wrapped in green arguments that were not rational. The case study supports a key proposition in theory on the dark side of planning: that rationality is context-dependent and that the context of rationality is power. The case study adds insights to theory by showing the ways neoliberal thought merges with existing socio-economic conditions in space and time, specifically within a Nordic welfare-state context. It shows how public energy companies can face challenges, not only from neoliberal-driven privatization attempts, but also from ideas of iconicity and city marketing. The case study reaffirms the strength of a Flyvbjergian approach to understand the effects of hidden power mechanisms on planning of public energy infrastructure.

Un mot et une signification peuvent entretenir une relation naturelle, motivée, plutôt qu’arbitraire, via la composition segmentale dudit mot. Ce phénomène est souvent appelé symbolisme sonore, même si nous préfèrerons employer le terme de motivation par la suite. Dans la littérature, des éléments en faveur d’une relation motivée apparaissent à la fois dans des analyses translinguistiques et des expérimentations psycholinguistiques. Par exemple, une voyelle fermée telle que [i] est davantage associée à la petitesse qu’une voyelle ouverte telle que [a], davantage associée à une taille importante. Ce schéma apparait à la fois dans les lexiques de différentes langues (Ohala, 1997) et dans les résultats de tâches d’associations (Sapir, 1929), avec des participants parlant différentes langues et à différents âges. Du fait de ces éléments communs (Iwasaki et al., 2007) et de leur précocité (Ozturk et al., 2013), il est possible de formuler l’hypothèse que la motivation a pu être un élément clé dans l’émergence du langage (Imai et al., 2015), en facilitant les interactions et l’accord entre les individus.Cette thèse offre plusieurs contributions méthodologiques à l’étude des associations motivées entre formes phonétiques et significations. La première étude a pour objectif de déterminer si des caractéristiques associées à des animaux (e.g. la dangerosité) ou à leurs catégories biologiques (oiseaux vs. poissons, sur la base de l’étude conduite par Berlin en 1994)peuvent représenter des concepts pertinents dans la mise en évidence d’associations motivées, en se basant sur l’hypothèse que les animaux étaient des sujets récurrents et importants des premières interactions langagières (en tant que potentielles sources de nourriture ou de menace). Cette étude a soulevé des questions méthodologiques, qui ont conduit à une seconde étude, dont le but était de comparer différents protocoles de tâches d’association que l’on peut trouver dans les études sur la motivation. En effet, les protocoles et les populations étudiées varient d’une étude à l’autre, et il est ainsi difficile de déterminer quel est le contraste le plus déterminant pour la mise en valeur expérimentale d’associations motivées : le contraste phonétique, ou le contraste conceptuel. Cette deuxième étude a ainsi permis d’apprécier l’influence de différents protocoles en contrôlant d’autres sources de variations à travers les différentes tâches. Elle a aussi permis de mettre en évidence la nécessité d’étudier davantage les processus cognitifs impliqués dans les associations. Ainsi, nous avons poursuivi notre investigation en noustournant vers l’influence de la forme des lettres, un facteur potentiellement déterminant dans les tâches ‘bouba-kiki’, comme l’ont proposé Cuskley et al. (2015). Bouba-kiki est un paradigme très répandu dans l’étude des associations motivées et consiste à associer des pseudomots avec des formes pointues ou arrondies. Cuskley et al. ont proposé qu’une forme pointuefaciliterait le traitement d’un pseudo-mot contenant une lettre anguleuse, telle que ‘k’. Dans notre troisième étude, nous avons adopté une version implicite de la tâche bouba-kiki, plus précisément une tâche de décision lexicale, en nous basant sur une étude antérieure de Westbury (2005). Dans cette expérience précédente, des cadres pointus et arrondis, dans lesquels apparaissaient les stimuli linguistiques, facilitaient le traitement de pseudo-mots en fonction de leurs compositions segmentales (e.g. les formes pointues accéléraient le traitement d’occlusives non-voisées telle que [k]). Nous avons manipulé les formes des lettres via deux polices de caractères différentes, une anguleuse et une curviligne, et avons ainsi essayé de démêler lesimpacts respectifs des formes des cadres et des polices sur les temps de réponse des participants. Les résultats ont mis en lumière l’importance de prendre en considération des processus visuels de bas-niveau dans l’étude des associations motivées. / Sound symbolism, or motivation as we will later refer to it, corresponds to the assumption that some words have a natural relation with their significations, instead of an arbitrary one, through their segmental composition. Some evidence stands out from the literature, from cross-linguistic investigations to psycholinguistic experimentations. For example, a closed vowel [i] is more associated to smallness, while an open vowel like [a] is more associated to largeness. This pattern appears in the lexicon of different languages (e.g. Ohala, 1997), as well as in results of associative tasks (Sapir, 1929) with participants speakingdifferent languages and at different life stages. These commonalities (e.g. Iwasaki, Vinson, & Vigliocco, 2007) and their earliness (e.g. Ozturk, Krehm, & Vouloumanos, 2013) enable to formulate the hypothesis that motivation may have represented a key-driver in the emergence of language (Imai et al., 2015), by facilitating interactions and agreement between individuals.This thesis offers several methodological contributions to the study of motivated associations. The first study of this thesis aimed at assessing whether animal features (e.g. dangerousness) or biological classes (birds vs. fish, based on Berlin, 1994) would be relevant concepts for highlighting motivated associations, based on the assumption that animals would have represented suitable candidates for the content of early interactions (as potential sources of food and threats). It raised issues regarding methodological settings which led to the second study consisting in comparing different protocols of association tasks that are found across experimentations. Indeed, in the literature, the settings and population vary from one study to another, and it is therefore not possible to determine which one of the two types of contrasts implied in association tasks is determinant for making associations: either the phonetic one or the conceptual one. This second study permitted to appraise the influence of different protocols by controlling for other sources of variation across the tasks. It also highlighted the need to better analyze the cognitive processes involved in motivated associations. This led us to complement our investigation of phonetic and conceptual contrast with a study on the influence of the graphemic shapes of letters, following Cuskley, Simmer and Kirby (2015)’s proposal of an impact of the shapes of letters in the bouba-kiki task. This task is a well-known paradigm in the study of motivated associations, based on associating pseudo-words with round or spiky shapes. Cuskley et al. suggested that a spiky shape would facilitate the processing of a pseudoword that contains an angular letter such as ‘k’. On our third study, we considered an implicit version of the ‘bouba-kiki’ task, namely a lexical decision task, building on a previous experiment by Westbury (2005). In this experiment, spiky and round frames, in which the linguistic stimuli appeared, seemed to facilitate the processing of pseudo-words according to their segmental composition (e.g. spiky frames would facilitate the processing of voiceless plosives like [k]). We manipulated the shapes of letters with two different fonts for displaying linguistic stimuli – one angular and one curvy – and tried to disentangle the respective impacts of frames and of these fonts on the participants’ response times. The results highlighted the importance of taking into account low-level visual processes in the study of motivated associations.

[pt] A escrita chinesa sempre exerceu fascínio no Ocidente, despertando um interesse apreciável entre filósofos, linguistas e leigos. Devido à sua complexidade e à diferença gráfica marcante no contraste com as escritas ditas alfabéticas, tomou um papel protagonista dentro dos estudos sobre a escrita em geral. Este trabalho constrói uma reflexão sobre a forma como a escrita chinesa é historicamente apresentada e avaliada vis-à-vis outras formas de escrita e na sua relação com o chinês falado. Analisa-se uma mostra representativa da produção intelectual ocidental sobre o assunto, cobrindo um período de 1784 até 2009, trabalho de linguistas, sinólogos, filósofos e especialistas em estudos sobre a escrita. Tais discursos teóricos são avaliados criticamente com o auxílio de ferramentas metalinguísticas escolhidas a partir dos estudos sobre a escrita, em sintonia geral com a abordagem proposta por Sylvain Auroux. A análise mostra que os estudos investigados têm propensão a se distribuir por três vertentes básicas – aqui denominadas foneticista, semanticista e pragmatista –, cada uma revelando distintas filiações epistemológicas quanto ao modo como compreende (a) a relação entre escrita e fala, (b) o nexo entre escrita e metalinguagem e (c) o importe icônico da escrita chinesa. Mostra-se ainda que, em sua grande maioria, tais estudos tendem a considerar a escrita chinesa abstraída de seu contexto histórico-cultural, acabando por subvalorizar sua importância dentro da civilização chinesa. / [en] Chinese writing has always fascinated the Western reader, raising a substantial interest among philosophers, linguists and laymen alike. Due to its complexity and the striking graphic difference when viewed side by side with the so-called western scripts, Chinese writing plays a protagonist role among the studies of writing in general. The present work develops a reflection on how Chinese writing is historically presented and evaluated in comparison to other scripts and to the Chinese spoken language. A representative spectrum of the Western intellectual production on this matter is analyzed, covering the period from 1784 until 2009, using texts written by linguists, sinologists, philosophers and specialists on writing. These theoretical works are critically evaluated with the aid of metalinguistic tools chosen from texts about writing, in accordance to the view advocated by Sylvain Auroux. This analysis shows that these texts can basically be considered to adopt three basic views: foneticist, semanticist and pragmatist. Each one reveals its epistemological associations on how they understand: (a) the relation between writing and speech, (b) the nexus between writing and metalanguage and (c) the iconic significance of the Chinese writing. This study suggests that the vast majority of previous research tends to consider Chinese writing as abstracted from its historical-cultural context, which results in underestimating its importance for the development of the Chinese civilization.

Durch die räumliche Anordnung von Symbolen stellt die Notenschrift zeitliche Verläufe dar. Sie ermöglicht dadurch, die Ordnung dessen, was in der Zeit abläuft, nicht nur überblicken, sondern auch manipulieren zu können. Es wäre also anzunehmen, dass diese bildliche Eigenschaft der Schrift, die das Nacheinander in der Zeit zu einem Nebeneinander im Raum werden lässt, gerade bei komplexen Tempostrukturen zu Übersichtlichkeit und Verständlichkeit beiträgt und so ein operatives Potenzial entfaltet. Tatsächlich ist die Partiturdarstellung von tempopolyphoner Musik aber oft eine grafische Herausforderung. Die Festlegung der räumlichen Anordnung der Symbole ist bei der Gleichzeitigkeit verschiedener Tempi nicht trivial und oft mit einem erheblichen (rechnerischen) Mehraufwand verbunden. Dieser Beitrag möchte, unter Bezugnahme auf den aktuellen Diskurs zur Schriftbildlichkeit, Überlegungen dazu anstellen, wie die Notenschrift beim Komponieren von tempopolyphoner Musik ihre Funktion als Denk- und Handlungsraum entfaltet. Dazu werden Erkenntnisse aus einem laufenden Forschungsprojekt beigezogen, die sich auf Beobachtungen, Analysen und Interviews mit den beteiligten Komponist*innen stützen. / Musical notation represents the progress of time through the spatial arrangement of symbols. It thus provides not only an overview of the temporal arrangement of events but also the possibility to manipulate it. One would therefore assume that this graphical property of musical notation, which turns the succession in time into a juxtaposition in space, would contribute to clarity and comprehensibility, especially in complex tempo structures, and thus develop an operative potential. In reality, however, the representation of polytempic music in a score often presents a graphical challenge. Determining the symbols’ positions is not trivial when different tempos are played simultaneously, often requiring considerable additional (mathematical) effort. Regarding the current discourse on ‘notational iconicity’, this article reflects on how when composing polytempic music, notation unfolds its function as a space for thinking and acting. For this purpose, the author refers to findings from an ongoing research project, based on observations, analyses and interviews with the involved composers.

Made available in DSpace on 2016-04-26T18:10:50Z (GMT). No. of bitstreams: 1 Fabiola Corbucci.pdf: 1966762 bytes, checksum: e0e3a72fde2585d2a8356419831aef40 (MD5) Previous issue date: 2011-05-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The relative (in)efficiency of environmental awareness programs carried out by various communication media is considered here as a social symptom in which great success and failure paradoxically coexist. This research investigates one type of image related to this thematic communication with the purpose of discussing the imaginary on which it draws. We note that there is a type of image that fits into the aesthetics of the death drive: at the indexical level it portrays degraded environments and apocalyptic phenomena; at the iconic level it recurs to a plasticity that mimics the qualities of death. Why is this type of image presented even when the subject it addresses intends to promote the continuity of life? This question led us to analyze of the iconicity (Peircean semiotics) of the catastrophic images transmitted by the media as revealing a thanatophilic imaginary and promoting an interpretant that invites the observer to contemplation, inertia, and the Nirvana. With this purpose, the relative inoperativeness of populations concerning environmental movements emphatic demand for a radical transformation in their ways of life is questioned. This relative inoperativeness, announced not only in environmental reports, but also in the media, is surprising in view of the widespread dissemination of the ecological issue in urban societies at least since the 1960s. We interpret this paradoxical gap in the environmental movement as a social symptom and relate it to the thanatophilic imaginary manifested in the images of the environmental campaign and generalized through the media. We draw on the social, political, and cultural context of modern capitalism with the purpose of better understanding how the representation of nature is implicated in the daily practices of urban societies. We reflect on the vicissitudes of a glocalizing process of civilization for the effectiveness of the human relation to nature. With this in mind, we carry out a theoretical and interpretive discussion of the visual communication accomplished by the environmental campaign, especially in its psychic and imaginary dimensions. We investigated the discourse of this widespread environmental campaign based on an analysis of its images in order to make evident latent points or aspects and, thus, interpret inoperativeness concerning the environmental threat. The theories of Peirce and Freud have been fundamental for our analysis, as well as reflections by other authors, such as Keith Thomas, José Augusto Pádua, Eugênio Trivinho, Vladimir Safatle, and Slavoj i ek. Concepts such as sign (especially icon and index, but also symbol), imaginary, fetishism, the unconscious, and death drive are also central to our analysis / Considerando a relativa (in)eficiência da disseminada conscientização ambiental desenvolvida pelos meios de comunicação mais diversos como um sintoma social, em que um grande sucesso e um grande fracasso coexistem paradoxalmente, esta pesquisa investiga um tipo de imagem veiculado a essa comunicação temática com o propósito de discutir o imaginário que o alimenta. Verificamos que há um certo tipo de imagem que se enquadra no que denominamos estética da pulsão de morte: retrata, no nível indicial, ambientes degradados e fenômenos apocalípticos; no nível icônico, recorre a uma plasticidade que mimetiza as qualidades da morte. Por que esse tipo de imagem é apresentado mesmo quando o assunto tratado pretende clamar pela continuidade da vida? Essa questão instigou-nos a analisar a iconicidade (semiótica peirceana) das imagens catastróficas veiculadas pelos media como reveladora de um imaginário tanatofílico e promotora de um interpretante que convida à contemplação, à inércia, ao Nirvana. Para isso, indagamos sobre uma relativa inoperância das populações frente à grande demanda dos movimentos ambientais por uma transformação radical do modo de vida. Essa relativa inoperância, anunciada não apenas nos relatórios ambientais como nos media, surpreende diante da disseminação da questão ecológica un peut partout nas sociedades urbanas pelo menos desde a década de 1960. É esse lapso paradoxal do movimento ambiental que é tomado como sintoma social e relacionado ao imaginário tanatofílico manifestado nas imagens da campanha ambiental generalizada dos media. Resgatamos, para isso, o contexto social, político e cultural do capitalismo moderno a fim de compreendermos melhor como a representação da natureza está implicada nas práticas cotidianas das sociedades urbanas. Refletimos, ainda, sobre as vicissitudes de um processo civilizatório glocalizante para a efetivação da relação dos homens com a natureza. Com esse suporte, propomos realizar uma discussão teórico-interpretativa sobre a comunicação imagética da campanha ambiental, sobretudo em suas dimensões psíquica e imaginária. Investigamos o discurso dessa disseminada campanha de conscientização ambiental a partir de uma análise de suas imagens para evidenciar pontos ou aspectos latentes e, com isso, construir uma interpretação sobre a inoperância frente à ameaça ambiental. Para isso, são fundamentais as teorias de Peirce e Freud, além das reflexões de outros autores, como Keith Thomas, José Augusto Pádua, Eugênio Trivinho, Vladimir Safatle e Slavoj i ek. São centrais, ainda, conceitos como o de signo (ícone e índice, sobretudo, mas também o de símbolo), imaginário, fetichismo, inconsciente e pulsão de morte

The dissertation deals with two different subjects: on the one hand the interrelations of narrative prose fiction and narrative fiction film, on the other hand fictional narration and intermediality as such. The first part discusses the concepts of medium and intermediality, and presents some general theoretical models. Of special importance is the three level structure of fictional representations: sign vehicle, meaning and fictional content. The second part focuses on the qualities of the sign vehicle, and on different kinds of meaning and fictional content. The sign vehicle of language and literature is digital, and consists of replicas of types. The film medium is analogue, the cinematic sign is a copy. The conventionality of literary fictions is primary, i. e. literary meaning depends on the conventions of language. The conventionality of film narratives is secondary, mediated by non-conventional meaning. The second part also deals with specific, general, generic, concrete and abstract meaning, and discusses the concepts of metaphor, symbol and expression. Part three focuses on iconic and index relations, i. e. relations of similarity and contiguity, of the fictional representation. Cinematic narratives are characterized by primary iconicity, i. e. all meaning and fictional content are dependent on the iconic relation between the poles of the representation. The iconicity of prose fiction is, by contrast, secondary, mediated by conventional sign relations. Also abductive and performative, fictional and non-fictional indexical signs, and different kinds of implications and lacunas are discussed. Part four deals with the concepts of fictionality and narrative perspective, such as the fictional stance, the narrator and focalization. Four different notions of fictionality are scrutinized and brought together, and narrative perspective is described and analyzed in terms of two different game fictions: epic games and perceptual games. Depending on the semiotic resources, the possibilities and limits of prose fiction and fiction film described in the first three parts of the dissertation, fictional games are shown to be more or less rich and realistic.

Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. James O'Rourke, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 19, 2005). Document formatted into pages; contains iv, 62 pages. Includes bibliographical references.