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Este trabalho nasceu do desejo de destrinçar a noção de escritura de Roland Barthes a partir do pressuposto de sua indistinção entre o aspecto estético e o ético. Considerando que desde seus primeiros escritos identifica-se esta percepção que a forma também é valor, desejamos mostrar como a materialidade da escritura encena essa ligação do escritor com seu presente ao longo de seus textos. Nessa travessia, defendemos que Barthes se apropriou das noções de discurso e enunciação, propostas por Émile Benveniste, uma vez que elas ajudaramno a conformar uma compreensão inédita da frase como atividade criadora, particular e inédita. Para Barthes, tal compreensão foi ao encontro de sua concepção sobre a escritura, possibilitando a esta ser entendida precisamente como produção de um sujeito sempre presente, mas que paradoxalmente se dissemina e se constitui pelo exercício da língua. A frase, assim, torna-se o espaço que o sujeito varia infinitamente, produzindo nuances que o afetam de modo contínuo. A escritura entendida como enunciação possibilita a Barthes o exercício infinito de uma forma que o vincula ao outro e que por isso designa uma inscrição ética, moral ou de moralidade, ondulação de nuances que dão-se a ver conforme o deslocamento de sua escritura. No encontro entre sujeito e mundo, da singularidade de seu corpo e dos corpos dos outros, a escritura torna-se o ângulo e o modo de enunciar cada vez \"uma visão sutil do mundo\". / This work came up as a wish to unravel the writing notion proposed by Roland Barthes from the assumption of the indistinct aspect of aesthetic and ethic elements. Taking into consideration that since his first writings one identifies the idea of form understood as a value, we would like to demonstrate how the materiality of his writings plays the bind between the writer with his present throughout the years. In this crossing, we propose that Barthes has appropriated the notions of discourse and enunciation by Émile Benveniste, once they helped him to conceive a new comprehension of the sentence as a creative, particular and unprecedented activity. This comprehension of Benveniste suited Barthes idea of writing, making it possible to be precisely understood as produced by an always-present subject, although paradoxically disseminated and constituted through the language. The sentence, therefore, becomes the space where the subject varies infinitely and constantly produces nuances. Writing comprehended as enunciation makes possible the unlimited exercise of a form that binds the subject to the others. This designates an ethical, moral or morality inscription, hues of concepts produced according to the shift of Barthes texts. In the encounter of the subject and the world, of the singularity of his body and the others bodies, writing becomes the very angle and the manner to enunciate each time a \'subtle vision of the world\'.

Este trabalho nasceu do desejo de destrinçar a noção de escritura de Roland Barthes a partir do pressuposto de sua indistinção entre o aspecto estético e o ético. Considerando que desde seus primeiros escritos identifica-se esta percepção que a forma também é valor, desejamos mostrar como a materialidade da escritura encena essa ligação do escritor com seu presente ao longo de seus textos. Nessa travessia, defendemos que Barthes se apropriou das noções de discurso e enunciação, propostas por Émile Benveniste, uma vez que elas ajudaramno a conformar uma compreensão inédita da frase como atividade criadora, particular e inédita. Para Barthes, tal compreensão foi ao encontro de sua concepção sobre a escritura, possibilitando a esta ser entendida precisamente como produção de um sujeito sempre presente, mas que paradoxalmente se dissemina e se constitui pelo exercício da língua. A frase, assim, torna-se o espaço que o sujeito varia infinitamente, produzindo nuances que o afetam de modo contínuo. A escritura entendida como enunciação possibilita a Barthes o exercício infinito de uma forma que o vincula ao outro e que por isso designa uma inscrição ética, moral ou de moralidade, ondulação de nuances que dão-se a ver conforme o deslocamento de sua escritura. No encontro entre sujeito e mundo, da singularidade de seu corpo e dos corpos dos outros, a escritura torna-se o ângulo e o modo de enunciar cada vez \"uma visão sutil do mundo\". / This work came up as a wish to unravel the writing notion proposed by Roland Barthes from the assumption of the indistinct aspect of aesthetic and ethic elements. Taking into consideration that since his first writings one identifies the idea of form understood as a value, we would like to demonstrate how the materiality of his writings plays the bind between the writer with his present throughout the years. In this crossing, we propose that Barthes has appropriated the notions of discourse and enunciation by Émile Benveniste, once they helped him to conceive a new comprehension of the sentence as a creative, particular and unprecedented activity. This comprehension of Benveniste suited Barthes idea of writing, making it possible to be precisely understood as produced by an always-present subject, although paradoxically disseminated and constituted through the language. The sentence, therefore, becomes the space where the subject varies infinitely and constantly produces nuances. Writing comprehended as enunciation makes possible the unlimited exercise of a form that binds the subject to the others. This designates an ethical, moral or morality inscription, hues of concepts produced according to the shift of Barthes texts. In the encounter of the subject and the world, of the singularity of his body and the others bodies, writing becomes the very angle and the manner to enunciate each time a \'subtle vision of the world\'.

Virtual Environment (VE) user interfaces do not generally support personalized interaction or the ability to adapt to the user. Our research is developing nuance-oriented interfaces that take advantage of subtle clues that users give in their actions. To that end, we have performed five experiments with the goal of recognizing and applying nuances for the task of selection. We found evidence that users adapt their behavior to the feedback given by the system, rather than using a preconceived mental model of the environment. In addition, users' behavior can be modeled by a reward function. Lastly, users interact by trading off exploration with exploitation. We propose a method of modeling this behavior using machine learning as future work. / Master of Science

This dissertation was a continuation of study on a theory of a learning window for the perception of expressive qualities in music and speech. The proposed theory suggested that a practice window must overlap a learning window before it closes around the age of 10. This dissertation sought to determine whether children older than the proposed learning window continued to improve in speech and musical discrimination skill, or leveled off in this ability. It also examined the impact of gender and private lesson experience on discrimination ability. Instrumental music students (n = 292) attending a public magnet school for visual and performing arts in North Carolina between the ages of 11 and 18 participated in the study. Each student was administered a forty-item listening test containing 20 speech items and 20 instrumental music items. Each test item consisted of three short speech or musical phrases. All three phrases in each item were the same written words or notated music, but one phrase was different in interpretation or expression from the other two phrases. Two of the phrases were intended by the performers to be the same in interpretation or expression and one was intended to be different in interpretation or expression. Subjects were asked to determine which of the three phases in each item was different in interpretation or expression from the other two. Results of the study suggested that students with prior private lesson experience scored significantly higher than those students that had never taken private lessons. This study seemed to reinforce the proposed learning window for speech and music interpretation in that interpretation ability did appear to level off.

Inom The Nuance Group, vilket är ett ledande globalt företag inom tax-free, finns det en finansiell syn på verksamheten som kan utvidgas till att bli mer konkurrenskraftig. Syftet med denna uppsats är att upptäcka och synliggöra faktorer och perspektiv i företaget som kan utvidga den traditionella finansiella styrningen och bidra till bättre verksamhet och balanserad styrning. Med hjälp av fyra perspektiv har vi belyst betydelsen av medarbetare, kunder och processer, som i samverkan med de finansiella aspekterna kan utgöra en del av företagets ekonomistyrning. Genom att bryta ner The Nuance Groups verksamhet i olika perspektiv skapas det mer fokus på särskilda fokusområden där företaget lättare kan se vilka områden som är viktiga för framgång. Utarbetningen av mål, mått och framgångsfaktorer inom varje perspektiv bidrar till fokusering inom perspektiven samtidigt som mellan dem skapas det förutsättningar för balans. Det är ett sätt att mobilisera alla resurser inom företaget för att öka verksamhetens konkurrenskraft. När fokus förflyttas från traditionella finansiella tal till immateriella resurser synliggörs faktorer som är betydelsefulla för företagets framgång. Flera framgångsfaktorer är nödvändiga än bara ekonomiska i ekonomistyrningen och därför utgör kund-, process- och medarbetarperspektivet den grunden som behövs för skapandet av en integrerad syn på ekonomistyrning.

Réfléchir les images pour réfléchir le monde. Entre unité, éclats et nuances, Kumonekotabi est un travail de recherche fonctionnant à la fois sur des images et des écritures qui sont comme autant d’espaces où une figure photographique entretient une relation à la fois simple et pourtant liée avec le Japon. Construites sur des modalités comme le plié, l’encadré, le sériel, les images construisent une logique bricolée mais également performative qui expose le corps capté dans sa relation avec le Japon, ses rêves et ses ancrages. Le travail d’écriture est une analyse de ces mêmes images, mettant en évidence les histoires mais aussi les forces et les intertextes qui habitent leurs territoires.Ainsi, à la fois théoricienne, poète et plasticienne, Kumonekotabi est une thèse éventail, entremêlant expériences visuelles et écrites avec la culture japonaise. C’est une ouverture et une fermeture, une interface de créativité, un espace entre lenteur et vitesse, la maturation et la fulgurance. Un phénomène qui avec ces emmêlements nous donne finalement les outils pour comprendre la pertinence de cet archipel éphémère créé par les images et leur simultanéité.En cela, Kumonekotabi est un travail qui envisage avec des images et leurs interprétations une certaine idée de la limite et de l’écart, du contact et de la distance. Un travail d’ambiance pris dans ce dialogue entre l’art de la relation, la relation comme œuvre d’art pour aboutir à cette idée que réfléchir les images permet de comprendre une certaine partie de notre monde et vice-versa. / Think about the pictures to think about the world. Between unity, slivers and nuances, Kumonekotabi is a research work balanced between visual shapes and articulated theory, both working like spaces where the idea of a photographic figure is having a simple and yet established relationship with Japan.Based on visual specificities like folds, frames, series, the pictures are building an homemade logic but also a performative one that display the captured body in its relationship with Japan, its dreams and anchors. The writing part then is an analysis of those very pictures, putting together the stories but also the strenghts and the interexts living in their territories.Thus, at the same time theoritical, poetic and artistic, Kumonekotabi is a dissertation to be considered like a fan, intertwining visual and literary experiences with the Japanese culture. It’s an opening, a creative interface, a space between slowness and speed, maturation and outbreaks. A phenomenon that, with its intricacy, gives us tools to understand the relevance of this archipelago created by the pictures and their simultaneity.In short, Kumonekotabi is a dissertation to contemplate with pictures and their interpretations a certain idea of limits and contrasts, contacts and distances. An atmospheric work placed in this dialog between the art of relation, relationship as a work of art in order to get to this idea that thinking about pictures allows to understand a certain part of our world, and vice-versa.

This paper delineates meaningful relationships of passions, emotions, feelings, affections, nuances and aural perceptions of expressions and utterances, for understanding human artistic possibilities historically and contemporarily in the fraternal arts of music and poetry, with reference to sounds, silences, sequences, rhythms, rhymes, repetitions, retards, accelerations, tempos, harmonies, melodies, forms, etc., in four poetic and three musical compositions uniquely created by its author.

Submitted by Daniele Amaral (daniee_ni@hotmail.com) on 2016-09-26T20:33:35Z No. of bitstreams: 1 DissPFJ.pdf: 1221348 bytes, checksum: 0b9ff5d14c45cdedb2409fc1bfde0532 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:30:51Z (GMT) No. of bitstreams: 1 DissPFJ.pdf: 1221348 bytes, checksum: 0b9ff5d14c45cdedb2409fc1bfde0532 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:30:58Z (GMT) No. of bitstreams: 1 DissPFJ.pdf: 1221348 bytes, checksum: 0b9ff5d14c45cdedb2409fc1bfde0532 (MD5) / Made available in DSpace on 2016-10-04T18:31:05Z (GMT). No. of bitstreams: 1 DissPFJ.pdf: 1221348 bytes, checksum: 0b9ff5d14c45cdedb2409fc1bfde0532 (MD5) Previous issue date: 2015-10-07 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / In the present study the aim is to investigate the role of sexuality in the development of sociability in Jean-Jacques Rousseau. This research works in two contexts. The first comprises the denaturation of man in general and the general formation of societies; in this case, the works that support this reading are: Discourse on the Origin of Inequality, Essay on the Origin of Languages, Social Contract and Fragment of the Climates Influence on the Civilization. The second context comprises the education of the man from nature prepared to live in any kind of society. In this case, the work that supports this reading is Emilio, or On education. In both, first or second context, the socialization process of specie and the development of sociability in the individual can be divided into distinct stages in which sexuality acts, alternately, in the nuances that separate these stages. By their specific character, the sexual need allows a way to understanding the relationship between the instinct and the genesis of passions. In this context, the sexuality operates as a kind of catalyst for social potentialities that places the society in the horizon of man as a possible way of collective survival or as a specific destination of specie. In short, the sexuality is a little studied topic in Rousseau; however, it is a possible interpretation key to understanding how the man, who was not social by nature, found the sociability as a proper element to their nature. / O presente trabalho tem por objetivo investigar o papel da sexualidade no desenvolvimento da sociabilidade em Jean-Jacques Rousseau. Essa pesquisa trabalha em dois contextos. O primeiro compreende a desnaturação do homem em geral e a formação geral das sociedades; nesse caso, as obras que embasam essa leitura são: Discurso sobre a origem da desigualdade, Ensaio sobre a origem das línguas, Contrato social e Fragmento da influência dos climas sobre a civilização. O segundo contexto compreende a educação do homem da natureza preparado para viver em qualquer tipo de sociedade; nesse caso, a obra que embasa essa leitura é Emílio, ou da educação. Tanto no primeiro quanto no segundo contexto, o processo de socialização da espécie e o desenvolvimento da sociabilidade no indivíduo podem ser divididos em etapas distintas em que a sexualidade atua, alternadamente, nas nuanças que separam esses estágios. A necessidade sexual, por sua natureza específica, permite um meio de compreensão da relação entre o instinto e a gênese das paixões. Nesse contexto, a sexualidade opera como uma espécie de catalisador das potencialidades sociais que coloca no horizonte do homem a sociedade como uma maneira possível de sobrevivência coletiva ou como uma destinação específica da espécie. Em suma, a sexualidade é um tema pouco estudado em Rousseau, no entanto, é uma chave de interpretação possível para compreender como o homem, que não era social por natureza, encontrou a sociabilidade como um elemento próprio à sua natureza.

Abstracts in Afrikaans and English / Aangesien die konsep van kleur vaag en abstrak is, verskil die ervaring én beskrywing daarvan van individu tot individu en van kultuur tot kultuur. Aldus word die waarneem van kleur dikwels ʼn persoonlike en subjektiewe ervaring. In die geval van historiese tale, egter, is die uitdaging om kleurbeskrywing korrek oor te dra, nie sielkundig of esteties van aard nie, maar kultureel, aangesien daar onderliggend aan hierdie tale ʼn unieke linguistiese sisteem gekoppel is. So byvoorbeeld moet die ontleding van Latynse kleurwoorde en die toewysing van relevante betekenismoontlikhede op ʼn besondere wyse aan die Afrikaanse idioom geanker word, sonder om die uniekheid van elk van hierdie tale in te boet. Dit is gevolglik die taak van die navorser om moderne wetenskaplike beskouings oor kleuraanwending met sensitiwiteit en oordeelkundig op die antieke kleursisteme toe te pas. Die bestudering van kleur en kleurgebruik in die Oudheid was vir ʼn lang tyd in omstredenheid gehul. Navorsing in hierdie verband het aanvanklik slegs op die tegniese en argeologiese aspekte van kleurproduksie en -gebruik in die Griekse en Romeinse kuns en argitektuur gefokus. Daarenteen is teoretiese kwessies oor die funksie van kleur in die non-tegniese, estetiese letterkunde selde aangespreek, veral weens die invloed van linguisties-semantiese en kleur-psiogologiese vraagstukke. In hierdie proefskrif val die kollig op Vergilius se keuse en aanwending van dié kleurterme wat beide eksplisiet en implisiet in die Georgica voorkom. Aangesien ʼn sinvolle analise van hierdie digter se kleurgebruik nie tot die Georgica beperk kan word nie, moet die ooreenstemmende terme nie net in sy Eclogae en Aeneïs nie, maar ook in die werke van sy voorgangers, die digters Lucretius en Catullus, betrek word. Uit ʼn beperkte omvang selekteer en gebruik Vergilius kleurwoorde met ʼn delikate presisie van betekenis. Hoewel die stelselmatige ontleding van hierdie terme se betekenismoontlikhede kontekstueel beperk is, toon hierdie benadering in watter mate Vergilius innoverend en verbeeldingryk voorkom. Hierdie inligting dien vervolgens as parateks vir die studie wat volg: Vergilius se gebruik van kleurterme deur die verloop van die vier boeke van die Georgica met die fokus op die letterkundige impak en literêre effekte wat deurgaans as ‘eg Vergiliaans’ beoordeel kan word. . Sou hierdie kleurterme geïgnoreer of net nie raakgelees word nie, kan die leser nie daarop aanspraak maak dat die Georgica waarlik verstaan word nie. Dit is dus die doel van hierdie navorsing om die leser toe te rus met middele tot die vind van ʼn dieper insig in en groter waardering vir hierdie werk as uitnemende poësie. / Since the concept of colour is vague and abstract, the perception of colour differs from individual to individual and from culture to culture to become a highly personal and subjective experience. In the case of historical languages, however, the description of colour is challenging. Conveying colour description correctly is not a psychological or aesthetic exercise, but cultural, as each language has a unique underlying linguistic sensitivity. Consequently, in this dissertation which is written in Afrikaans, the analysis of Latin colour words must be anchored to the Afrikaans idiom in such a unique way as not to detract from the differences in cultural feel between these two languages. Therefore, and in spite of obvious differences, it is the task of the researcher to apply modern scientific views discerningly and sensitively to any ancient colour system. The study of colour and its application in antiquity has long been controversial. Initially research on these aspects of Greek and Roman societies focused only on the technical and archaeological aspects of colour production and its application in their art and architecture. In the wide array of theories regarding linguistic-semantic issues, colour-psychology and also colour aesthetics, theoretical issues regarding the function of colour in non-technical (‘literary’) works were rarely addressed, This dissertation focuses on those colour terms which Vergil uses both explicitly and implicitly in the Georgica. A meaningful analysis of this poet's use of colour must of necessity also include the application of the corresponding terms in his Eclogae and Aeneid, as well as those in the works of his poetic predecessors, Lucretius and Catullus. Selected from a limited range, Vergil applies colour words with a delicate precision of meaning. Although the systematic analysis of these words indicates a range of meaning which can be contextually limited, this approach highlights Vergil’s innovative and imaginative use of colour. With these findings as basis the focus shifts to the consecutive use of colour terms throughout the four books to indicate extraordinary and innovative literary effects which can only be described as ‘thoroughly Vergilian’. If these colour strategies were to escape the reader’s attention, it would result in a poorer understanding of the poem. It is therefore the purpose of this research to equip readers with strategies that will lead to a greater appreciation of the Georgics as exceptional poetry. / Classics and World Languages / D. Litt. et Phil. (Klassieke Studies)