The empirical question which is the focus of present research is: How may the lexicons from different languages interact in the course of one syntactical derivation, resulting in code switching phenomena? We develop the following hypothesis concerning code switching: The units of intrasentential code switching are either heads or functional maximal projections. To get support for this hypothesis, intrasentential code switching instances from Russian-English-Turkish and Dutch- Turkish spoken data are analyzed within the minimalist framework. In the data analysed, it has been observed that the data gathered support this hypothesis and that the Minimalist Program has an explanatory force for bilingual language processing.

Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.

Doctor of Philosophy / Many criticisms of the prevalent deflationary theories of truth stem from some misunderstanding. Clarification can be found from considering Quine's reasoning on the disquotational feature of the truth predicate. Quine's disquotationalism and Horwich's minimalism are similar theses with respect to the concept of truth, though the difference between the choices of the primary truth bearers and the divergence in their accounts of meaning and reference are striking. Chapter Two is devoted to making plain Quine's reasoning regarding the disquotational concept of truth, and to constructing a disquotational theory of truth. Also in this chapter, the topic of how to enhance the deductive power of this theory is discussed. The following chapter aims to square Quine's theses of inscrutability of reference and ontological relativity, with an account of the disquotational schema of reference. Whether or not a disquotational schema of reference and all its instances can be seen as providing a genuine reference scheme, as claimed by Horwich and most deflationists, is also discussed. In Chapter Four, after an introduction of Horwich's minimalist conception of truth, there are a number of issues considered, in particular Horwich’s use-theoretic account of meaning and compositionality, along with the divergence between his account of meaning and Quine's. The final chapter, Chapter Five, provides a thorough analysis of three important factors regarding the disquotational theory and the minimal theory of truth. Among them, the first factor discussed is what sort of equivalence relation occurs within each instance of the disquotational schema or each axiom of the equivalence schema. Following this, there is an analysis of in what way the disquotationalist and the minimalist can explain all general facts involving truth. The last factor involves considering the proper ascription of the disquotational or the minimal truth predicate. Along with the analysis of these three factors, the issue regarding which theory of truth is preferable is elaborated.

This thesis examines the core concepts of early minimalism and the ways that they were influenced by recording as a medium of musical creation. The first chapter considers early minimalism’s historical lineage as the narrative has been passed down by music scholars, noting over-arching trends and problems of exclusion and misunderstanding inherent within it. Having established the myriad of concepts at the core of the early minimalist movement, the second chapter examines the recording medium’s effect on art music performance, noting trends in repetition, objectivity, and process that are represented within minimalism itself. With these ideas in mind, the idea of “post-minimalism” is interrogated, proposing that a music for the concert hall is not the natural development of the early minimalists’ expansive mission. In the third chapter, analysis of one iconic late-twentieth century musical style, techno music, demonstrates that it is fundamentally of the same artistic spirit as the early minimalists and an alternate manifestation of Minimal art. Ultimately, early minimalism and techno are “alternate minimalisms” of the age of the recording, referencing and embodying the musical consciousness of the twentieth century.

Syftet med denna studie var att ta fram ett minimalistiskt bokomslag till fantasyromanen HarryPotter och De vises sten av J.K Rowling. Studien riktar sig till målgruppen svenska läsare. Inledningsvis undersöktes teori inom minimalism samt inom framtagning av design till bokomslag, sedan följde en förstudie i form av en trendspaning för att styrka behovet och intresset för studiens syfte. Förstudien tog även fram vilka värdeord som behövde uppfyllas för att omslaget skulle upplevas som tilltalande och unikt av målgruppen. Förstudien följdes av en designprocess som startade med en webbaserad enkät där det togs fram värdeord som behövde uppfyllas för att omslaget skulle upplevas som tilltalande och unikt av målgruppen. Efter detta formgavs fem omslag vilka föreställde motiv tagna från bokens innehåll. De fem bokomslagen togs vidare till en värderingsfas där tre bokomslag valdes ut som mest minimalistiska av en yrkesverksam designer, en expert. Dessa bokomslag värderades sedan av fyra respondenter som ingick i studiens målgrupp. Slutsatsen av studien visar på att de i denna studie använda sätten av minimalistiska designprinciperna upplevdes rikta sig mot en äldre målgrupp vilken respondenterna ansåg vara målgruppen för de senare delarna av de sju böckerna i serien om Harry Potter. Sammanfattningsvis var respondenterna trots detta positivt inställda till minimalistisk design och uttryckte att det kändes kreativt, tilltalande och unikt.

Esta dissertação consiste em uma abordagem do fenômeno da luz que interesse ao Design da Iluminação. Isso se faz aqui através da leitura da obra de Dan Flavin, artista americano que utilizou a lâmpada fluorescente como material quase que exclusivo em seus trabalhos. Flavin conhece e explora a luz como um fenômeno intangível. Recusa noções preconcebidas de espaço, e busca novas experiências perceptuais e espaciais. Assim, sua obra nos permitiria uma leitura múltipla, levantando diversos aspectos importantes para a atividade do designer da Iluminação. Pesquisar Flavin é uma imersão na luz, na cor, no espaço e na percepção humana. A riqueza visual e conceitual de sua obra nos levaram a explorar o conhecimento que se tem sobre a presença da luz no espaço que complementem a prática do Design. / This essay proposes an approach to the phenomenon of light that involves Lighting Design. The route to this exploration is the work of Dan Flavin, an American artist who used fluorescent lamp as the practically exclusive material of his work. Flavin knows and explores light as an intangible phenomenon. He refuses preconceived notions of space and seeks new perceptual and spacial experiences. As a result, his work allows multiple readings and raises several key aspects for the activity of the Lighting designer. To research Flavin is to immerse oneself in light, color, space and human perception. The visual and conceptual richness of his work led us to explore the knowledge we have of the presence of light in space, which complements the Design practice.

La transformación digital, el cambio de la memoria cultural e individual y el cambio de lo social a lo individual han impactado en la forma de comunicación de las organizaciones. Estos factores han impulsado a que las empresas de distintos mercados opten por renovar su imagen. La proyección de su imagen es fundamental porque está vinculada con la posición de la empresa dentro del mercado en el que se desarrolla. Es ahí cuando surge la idea de sintetizar sus logotipos; de modo que no se pierde la información que quieren transmitirle a sus clientes. Por tal motivo, en el presente trabajo se busca analizar la aplicación de la síntesis o minimalismo gráfico en logotipos como herramienta de construcción de marca en personas de 25 a 35 años de Lima Metropolitana. Se realizará una metodología cualitativa enfocado en el proceso empleado para el desarrollo del nuevo logotipo de Bembos. / The digital transformation, the change of cultural and individual memory and the change from the social to the individual have impacted on the way organizations communicate. These factors have prompted companies in different markets to choose to renew their image. That's when the idea of synthesizing their logos arises; so that the information they want to transmit to their customers is not lost. For this reason, this paper seeks to analyze the application of graphic synthesis or minimalism in logos as a brand building tool in people aged 25 to 35 in Metropolitan Lima. A qualitative methodology focused on the process used for the development of the new Bembos logo was carried out. / Trabajo de investigación

I have written and translated a collection of poetry into German, comparing the obvious constraints of minimalist poetry to longer and prosaic forms. In addition to pertinent literature, I utilize my educational background in German as well as a recent foreign language internship to explore the limitations and complexities of translating contemporary minimalist poetry. I focus on how, because of its inherent need for syntactic brevity, minimalist poetry can often be one of the most difficult types of poetry to translate.

This master thesis consists of three parts. The first part presents an overview of the development of minimalism and its importance in literature, more specifically in the Scandinavian area. The second part introduces the prose writer Helle Helle in context of the contemporary Danish literature, and presents her work. The third part of the thesis deals with analysis of the minimalist approach of the author, throughout her novel Ned til hundene.

Två olika ljudläggningar, en hyperrealistisk och en minimalistisk, skapades till ett videoklipp av en spindel i ett datorspel för att undersöka och jämföra upplevelsen av dessa olika ljuddesignskoncept i relation till varandra. Frågan som besvarats lyder;“Hur upplevs minimalistisk kontra hyperrealistisk ljuddesign i kontext av skräckmedia?”. Arbetet har inspirerats av spindlars verkliga läten samt filmer och datorspel som innehåller jättelika spindlar eller insekter, vilket har kombineras med författarnas uppfattning och definitioner av minimalistisk och hyperrealistisk ljuddesign. Ljud har spelats in och signalbehandlats för att ljudlägga videoklippen. Denna artefakt testades med hjälp av åtta deltagare som fick se de två olika versionerna av videoklippen och sedan svara på relaterade frågor i en enkät. Den hyperrealistiska ljudläggningen var den föredragna av majoriteten av deltagare på grund av att den upplevdes mer obehaglig och för att den minimalistiska ljudläggningen uppfattades som ofullständig. Dock föredrog vissa deltagare den minimalistiska ljudläggningen då ljuden upplevdes tydligare och därmed mer obehagliga. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>